Folk Musical Instruments Research Articles

Exploring Organology and Learning Techniques of Dongxiao Chinese Folk Musical Instruments in Shandong Province

Back ground and Aims: This study explores the organology and learning skills of Dongxiao Chinese folk musical instruments in Shandong Province, a traditional Chinese folk musical instrument with deep historical and cultural significance, particularly in Shandong Province. The aim is to provide a comprehensive understanding of Dongxiao music culture, ensuring its preservation and development alongside contemporary music cultures in Asia. Materials and Methods: The study is conducted through fieldwork in Heze, Shandong, China, involving data collection, identification of key informants, and systematic data collation. Observations and interviews are used as research tools to gain insights into Dongxiao materials, organology, and playing techniques. Data analysis includes quantitative and qualitative methods to identify patterns and themes related to Dongxiao. Results: The study reveals the organology of Dongxiao, highlighting materials such as bamboo, hardwood, jade, metal, and PVC, along with their advantages and disadvantages. It categorizes the instrument's components, including the mouthpiece, body, finger holes, and barrel holes, elucidating their roles in sound production. Additionally, the study explores the learning techniques for Dongxiao, emphasizing playing postures, finger hole techniques, and lip positioning. Conclusion: Dongxiao, with its rich history and cultural significance, plays a vital role in traditional Chinese music. Understanding its organology and learning techniques is essential for its preservation and promotion. Recommendations include the establishment of music education centers, digital learning platforms, collaborative performances, music festivals, and documentation efforts. Further study avenues include acoustical analysis, pedagogical approaches, regional variations, cross-cultural studies, contemporary compositions, and exploring the psychological and health benefits of Dongxiao.

ДИАЛОГ КАК НАУЧНАЯ ИДЕЯ: БЕСЕДЫ Д. С. ДМИТРИЕНКО С М. И. ИМХАНИЦКИМ

Dialogues as a form of communication are no less in demand today. To a certain extent, they replenish the knowledge that was previously discovered through epistolary and diary entries. We can talk about “hidden” dialogue, “internal” dialogue, and, of course, dialogue as a form of answering questions during an interview, a conversation with a famous person. Dialogues are attributes of modern knowledge about writers, artists, performing musicians, and conductors. The range of published dialogue books is vast, and their fund continues to be actively replenished. There are various approaches to this format of books: conversations, implied dialogues, interviews. The focus of dialogues on art is clear: to hear the voice of an artist, a writer, a musician answering questions about the creative process, specific works, and life path. At the same time, it is not so common to find books of conversations with scientists, since their works speak for themselves. The more interesting is the recently published book by Imkhanitsky M. I. Dialogues with D. S. Dmitrienko [2015]. Honoured Artist of the Russian Federation, Doctor of Art Criticism, Professor, M. I. Imkhanitsky, whose works have long become scientific classics on a wide range of topics “folk musical instruments”, answers the questions of the famous musician, Honoured Artist of the Russian Federation, Chief Conductor and Artistic Director of the State Russian Folk Ensemble Russia named after L. G. Zykina, D. S. Dmitrienko.

Specific characteristics of the technical and artistic expression possibilities of Azerbaijan folk musical instruments

Specific characteristics of the technical and artistic expression possibilities of Azerbaijan folk musical instruments

Musical Instruments in the Cultural Life of the Xơ Đăng Ethnic Group In Quảng Ngãi

In this paper, entitled "Musical Instruments in the Cultural Life of the Xơ Đăng Ethnic Group in Quảng Ngãi, Vietnam (Chordophone)," the author conducts an in-depth study of folk musical instruments in the social life of the Cadong people, a sub-ethnic group of the Xơ Đăng ethnic group, who have long settled in the eastern foothills of the Trường Sơn mountain range in the northwest of Quảng Ngãi province, Vietnam. The paper will systematically present issues related to Xơ Đăng’s chordophone, including classification, material, structure, and crafting methods; playing techniques, performance environments, and instrument features; and the system of compositions of the Xơ Đăng’s chordophone (V'roac, Goong, Kaní, and Rauốt). This study was conducted based on the results of the author's survey and fieldwork in the following Xơ Đăng villages: Sơn Bua, Sơn Tân, Sơn Mùa, Sơn Dung (in Sơn Tây district), Trà Kem, and Trà Xinh (in Tây Trà district) in Quảng Ngãi province.

The preservation of Isan folk music with digital sound technology

The preservation of Isan Folk Music is of the utmost significance for preserving the rich cultural heritage of the region and nurturing artistic innovation. Digital sound technology has emerged as a potent instrument for this endeavor, allowing for the construction of an exhaustive and diverse digital sound library. In this study, traditional Isan Folk Music instruments were meticulously recorded using the cutting-edge Logic Pro X software, capturing their nuances in volume and dynamics. The authenticity of each instrument's timbre and unique characteristics were preserved through the use of sound adjustment and editing techniques. The appropriate organization and note nomenclature within the Kontakt software contributed to the library's well-structured and user-friendly design. The process of importing the sounds of musical instruments into Kontakt was seamless, involving selection, customization, and modification, resulting in a vast repository of sounds that are available for exploration. A user-friendly interface was thoughtfully designed to enhance the user's experience exploring the captivating sounds of traditional Isan Folk Music instruments. This digital sound library stands as a testament to the preservation and celebration of Isan Folk Music, providing artists and enthusiasts alike with a resourceful outlet for artistic expression and promoting global appreciation for this distinctive musical tradition, demonstrating the important role of music in cultural preservation and human evolution.

The Physics of Electric Saroj Veena: A Folk Musical Instrument from India's North Eastern Region

Saroj Veena is known as a famous Folk musical Instrument in the North eastern part of India. We will discuss about the Shape and Size, Structure, body mechanism of Saroj Veena. In our lab studies, we look at the harmonic structure of standing waves in Saroj Veena strings. Using a digital oscilloscope with a Fast Fourier transform and a magnetic pickup from a Saroj Veena, the experimental data was gathered. Depending on where the string is plucked, the harmonic amplitudes in the measured signal vary, giving the sound a distinct timbre. The relative amplitudes of transverse standing waves in a string were determined from experimental data and predicted by the wave equation when the boundary and beginning circumstances matched the initial shape of the string.

A study on the classification of Chinese folk instruments based on deep learning

Due to the Internet's tremendous expansion in recent years, digital music has seen explosive growth. It is becoming increasingly important to provide fast and accurate music retrieval for users, and music information retrieval has gradually become a research hotspot. Among them, the classification of musical instruments is one of the hot research directions. As an important part of the world's musical instruments, the Chinese folk musical instrument tradition has great research value, but there is less research in this direction. Traditional music classification methods can be roughly divided into two steps: manual feature extraction and traditional machine learning. But traditional music classification has several shortcomings, as follows. Firstly, manual extraction of music features has a high error rate and it is very difficult to ensure the accuracy of the features, and the labor cost is high; secondly, traditional machine learning still has problems with multiple classifications and training on large scale data. Therefore, in this paper, based on previous research, the original data features are extracted from the Mel Frequency Cepstrum Coefficient (MFCC), which is a feature that can represent musical timbre, and deep learning is proposed to be used to classify traditional Chinese folk instruments. This paper finds that the results of identifying and classifying Chinese folk musical instruments using different classical classification methods are compared when the training set and test set data are the same. According to the experimental results, the use of KNN has the best performance among these classification methods.

Sight vs. Sound Judgments of Music Performance Depend on Relative Performer Quality: Cross-cultural Evidence From Classical Piano and Tsugaru Shamisen Competitions

Which information dominates in evaluating performance in music? Both experts and laypeople consistently report believing that sound should be the most important domain when judging music competitions, but experimental studies of Western participants rating video-only vs. audio-only versions of 6-second excerpts of Western classical performances have shown that in at least some cases visual information can play a stronger role. However, whether this phenomenon applies generally to music competitions or is restricted to specific repertoires or contexts is disputed. In this Registered Report, we focus on testing the generalizability of sight vs. sound effects by replicating previous studies of classical piano competitions with Japanese participants, while also expanding the same paradigm using new examples from competitions of a traditional Japanese folk musical instrument: the Tsugaru shamisen. For both classical piano and Tsugaru shamisen, we ask participants to choose the winner between the 1st- and 2nd- placing performers in 5 competitions and the 1st-place and low-ranking performers in 5 competitions (i.e., 40 performers total from 10 piano and 10 shamisen competitions). We tested the following three predictions twice each (once for piano and once for shamisen): 1) an interaction was predicted between domain (video-only vs. audio-only) and variance in quality (choosing between 1st and 2nd place vs. choosing between 1st and low-placing performers); 2) visuals were predicted to trump sound when variation in quality is low (1st vs. 2nd place); and 3) sound was predicted to trump visuals when variation in quality is high (1st vs. low-placing). Our experiments (n = 155 participants) confirmed our first predicted interaction between audio/visual domain and relative performer quality for both piano and shamisen conditions, suggesting that this interaction is cross-culturally general. In contrast, the second prediction was only supported for the piano stimuli and the third prediction was only supported for the shamisen condition, suggesting culturally dependent factors in the specific balance between sight and sound in the judgment of musical performance. Our results resolve discrepancies and debates from previous sight-vs-sound studies by replicating and extending them to include non-Western participants and musical traditions. Our findings may also have practical applications to evaluation criteria for performers, judges, and organizers of competitions, concerts, and auditions.

An analytical study of folk musical instruments of the rural area of Tripura

A music library or music application's listening and search experiences can be greatly enhanced by music recommendation systems. There is simply too much music available in the market for a user to efficiently navigate tens of millions of songs. The demand for good music recommendations is so great that the field of MRS (Music Recommendation Systems) is growing quickly. Extraction of relevant information from user reviews of instrumental music was the primary motivation behind the development of the rating-based recommendation system. On the passage of times most of instruments are not being used by the new generation people as a result, these musical instruments are being wiped out from the world. The research discusses the main features of the performance of Folk Instrumental Music (FIM). In public concert Tripura conditions, it addresses different components of the FIM conducted. The research also examines the components historically recommended by FIM performers and the results provided by music in performances such as raga mood, tranquilly, scalability and astonishments.

CHOREOGRAPHIC AND MUSICAL ANALYSIS OF DANCE CULTURE ACCOMPANIMENT OF LEMKIV REGION

The matter about formulation, study and inveStigation process of the formulation of choreography culture in Ukraine as for example of Ukrainian ethnographic region of Lemkivshchyna is considered in the given article . The outlining of the matters of the importance of spreading and popularization of Ukrainian original culture, therefore the understanding and realization of the importance of saving the traditions of dancing Ukrainian culture in the modern world is done. The object of the article – to consider the eminent features of the national dancing culture of Ukraine on the basis of the example of the dances of Lemkivshchyna, and also their tendencies of the perception in the context of the integrated changes and globalization of world art space at the beginning of 21St century. The inveStigation formulating objects: the inveStigation of the choreography heritage of Lemkivshchyna and hiStorical facts which affected its formulation. The methodology of the inveSStigation: consists of approbation the methods of objectivity, hiStoricism in comparative and art cultural analysis of choreographic processes. Art hiStoric method – for learning the hiStory of the ethnic region of Lemkivshchyna and historical factors which influenced the formulation of the choreography culture of the lemky authority. The method of generalization – for working out the theoretical references, formulation personal summaries on the basis of processed literature and other possible references. The method of providing the scientific analysis – for the inveStigation of the ethnic region of Lemkivshchyna, segmenting it to several elements (geographic peculiarities, hiStory, lifeStyle, cuStoms, choreographic art). The scientific novelty of the given article deals with the extension of the concepts of the function of choreographic art in the formulation of the perception of the high-grade dance in modern science. Also it consists in outlining the expressive features in the dancing culture of Lemkivshchyna. Summaries. The choreographic and musical culture of Lemkivshchyna has its own and unique character, which reflects the traditions, hiStory and specification of this ethnic group. The principal features of the choreographic musical aspect of dancing culture of Lemkivshchyna concludes in few issues. The music is often played on authentic folk musical inStruments such as violins, trembitas, drakys and baradan. The clothes for traditional lemky’s dances reflect the cultural heritage and regional identity. The dancing culture of Lemkivshchyna represents social cultural context of the history of the given ethnos including its authority, belief, holidays and cuStoms. The dances can be performed during religious ceremonies, weddings, and other important occasions. Generally, the choreographic and music culture of Lemkivshchyna is multi-layered and colorful displaying the high range specter of traditions, beliefs and authorities bounds in the entire ethnical group. It suStains the important part of the cultural heritage of Lemkivshchyna that represents the uniqueness of Ukrainian choreographic art.

TOPICAL PROBLEMS OF RESEARCH OF MUSICAL INSTRUMENTS OF THE KAZAKH PEOPLE

The article is based on the essence of folk musical instruments that have survived for centuries. Its introduction analyzes the research written in different years on the nature of multi-stringed musical instruments, which is reflected in Kazakh national culture. And it also analyzes their scientific degree and cognitive nature. The polyphonic nature of musical instruments, such as the three-stringed dombyra, the sherter, the seven-stringed zhetigen and their ability to combine with the monodic system of Kazakh music which have not yet been studied in depth are critically discussed. The etymology of the name "chartar" in the context of the origin of these instruments in Kazakh music, its connection with the instrument "sherter" is considered. Opinions on the etymology and semantics of the word "Zhetigen" are also critically analyzed. Further, it is shown that the opinions about the instruments "sherter", "zhetigen" do not correspond to the requirements of instrumental science. The article notes that the opinions published in the periodical press about our national musical instruments are limited in scope, mostly compilation.

Dombra phenomenon in the Kazakh reality

The dombra is one of the most widely used musical instruments, which originated in ancient times and is still preserved today. The dombra is widespread among the Turkic peoples from Altai to Anatolia. According to archeological excavations and stone monuments, the origin of the dombra dates back to the ancient Turkic era. The origin of the dombra was the Altai Mountains, the golden cradle of the Turkic peoples. According to the research of the well-known turkologist Sartkozha Karzhaubayevich, an ancient dombra-like musical instrument found in a cave of the ZhargalantKairkan ridge in the foothills of the Mongolian Altai Mountains has two strings and nine keys. In the ancient Turkic period, the dombra instrument was widely used, as can be seen in the images of a man holding a dombra, carved on the balbal stones, the handles of weapons such as swords and daggers. This article is devoted to the problems of philosophical analysis, which can be used to identify reliable information about the phenomenon under study. In addition, this article summarizes the characteristic features of traditional Kazakh culture, as well as the features of the existence of folk musical genres. The historical data of the dombra phenomenon in the culture and musical creativity of the postSoviet era and its influence on the development of the activities of the Kazakh people are considered. The article also describes the varieties of dombra of standard factory manufacture, defines the features of the structure and manufacture of dombra – the most common folk musical instrument in Kazakhstan, the types of dombras, the physical and mechanical properties of strings made of guts, and polymer material. The results of the study allow us to delve into many current problems that have not been fully solved: leveling cultural differences between different ethnic groups, preserving the self-identity of the nation in the era of all-consuming globalization

Популяризация народных музыкальных инструментов среди молодёжи (на примере казахского традиционного кобыза)

The author of the article researches the subject of popularization of folk musical instruments in the milieu of young people, regarding the traditional Kazakh instrumental kobyz. In the current conditions of globalization and westernization the succession of musical culture from one generation to the next has been made considerably more difficult. The possibility of solving this problem is perceived in the synthesis of contemporary music with an original national tradition, and specimens of Kazakh music are cited in the article. It has become a widespread form of activity among graduates of musical higher educational institutions in Kazakhstan to form their own musical ensembles which include the kobyz as a mandatory instrument in their ensembles. The author of the article demonstrates that the Kazakh traditional kobyz is endowed a huge potential for its popularization among the youth. The question of defining the paths of development of traditional art without violation of its originality in the process of popularization is indicated. Its solution is perceived in following the principle of preserving the specificity of the arsenal of a concrete folk instrument when performing on it or using its sound in experimental compositions. The present approach is substantiated by the ability of each folk instrument to preserve and transmit the mentality of the people that created it. Keywords: folk musical instruments, popularization, music for the youth, kobyz, ethnic-folk music

An Analytical Study of the Folk Musical Instruments of Meghalaya

"Meghalaya is a richly inhabited Indian state. Drums, flutes of bamboo and hand-held small cymbals are a common ensemble. The advent of Christianity in the middle of the 20th century marked the start of a decline in tribal popular music. Over time, Meghalaya’s music scene has evolved, attracting many talented artists and bands from both traditional and not-so traditional genres. Any of the most recent Meghalaya musicians and bands is: The Plague Throat, Kerios Wahlang, Cryptographik Street Poets, etc., Soulmate, Lou Majaw, and Snow White. Meghalaya’s music is characterised by traditional instruments and folk songs. The Musical Instruments of Meghalaya are made from local materials. Meghalayan people honour powerful natural forces and aim to pacify animistic spirits and local gods. The instruments are made of bamboo, flesh, wood, and animal horn. Any one of these musical instruments is considered to have the ability to offer material benefits. The Meghalaya musical instrument is an essential part of traditional folk music in the region. In this article, we offer an overview of the folk musical instruments of Meghalaya. Keywords: Idiophone, Aerophone, Chordophone, Membranophone, Trumpet. "

MUSIC-MAKING IN A FAMILY – THE LIFELONG LEARNING TRADITIONS AND CHALLENGES OF HOME-LEARNING

The aim of the present study is to compare the training of folk musical instrument play within families until 1960s in the traditional cultural environment of Latvia’s countryside to the opportunities of the same training in the early 21st century – outside the formal education but within the context of life-long learning.Data for the research were acquired in field study, questionnaires in the virtual environment, and also the information from the Internet on the offer of music schools and institutions of non-formal education in the field of musical instrument play was used.Until 1950s and ‘60s the basics of the musical instrument play were acquired by children within their respective families, with the musicians of the elderly generation being their tutors. The aspirations to become a musician were sparked by family traditions, the high esteem of a musician as a personality by the local community, as well as the child’s own willingness and perseverance in acquisition of an instrument’s technique. The field-study interviews show musicians always referring to past experience and family tradition, namely, some member of the family already was a musician – granddad, dad, uncle – while granny or mother have been good singers. In the cultural environment of 1960s’ countryside the two traditions – singing and music-making – are separated. The tradition of singing (both everyday and church) and its functioning in the local community was mainly sustained by the women, while playing the instruments was the part of the men. The children started to acquire the technique of a musical instrument roughly at the age of 6–10 years, while the full status of a musician within a community could be acquired by the aspiring player as early as at the age of 16, after having played for several times at some community events (an open-air dance “zaļumballe” or an evening get-together „večerinka” in Latgale). During that period the playing skills were acquired without the ability to read score, based on musical memory.At the end of the 20th century and the early 21st most frequently the playing skills of an instrument (like violin, clarinet or accordion) are acquired attending some institution of music education, while both children and adults have an opportunity to learn the technique of some folk instrument (zither, harmonica, little drum, etc.) within some non-formal education setting or that of an amateur group.The present study analysis the factors either helping or hindering the continuation of the folk music- making tradition in the cultural environment of the 21st century, based on the opportunities for learning the techniques within the home-learning and life-long learning contexts.

CFD Simulation of Air Flow Behaviour at Different Flow Rates in a Turkish Woodwind Instrument (Turkish Treble Recorder)

In musical instruments, the geometric design and material features of the instrument are the most important factors that determine the sound characteristics of the instrument. Traditional replication and experiment-based handcrafting methods are predominant in the production of Turkish Folk Music wind instruments. The instrument manufacturing and standardization approaches, which include the relevant rules of physics and engineering practices, are limited purely to prototype studies for scientific research purposes. It is almost impossible to find studies on Turkish Folk Music wind instrument design and production involving computer aided design and engineering applications. In this study, an example Turkish woodwind instrument, the Turkish Treble Recorder (dilli kaval) is considered, and the air flow behaviour and acoustic (sound) power magnitudes that occur at different air flow rates are simulated in a computer environment using a Computational Fluid Dynamics (CFD) simulation technique. In the study, numerical and visual outputs related to air behaviour at different air flow rates that may be used in the instrument manufacturing phases were obtained. Acoustic power level was also measured experimentally. Simulation outputs (the acoustic power level) were compared to experimental results in order to validate the simulation results. The comparison revealed that the highest relative difference was calculated as 13.32(%). This value indicated that the simulation results were reasonably consistent with the results of the experimental measurement. Additionally, this study was constructed as a case study that may provide reference for future research studies in this field.

ФУНКЦІОНУВАННЯ ТА ЗБЕРЕЖЕННЯ УКРАЇНСЬКИХ НАРОДНИХ ІНСТРУМЕНТІВ НА ТЕРИТОРІЇ СЛОВАЧЧИНИ

The purpose of the article is to summarize the functioning of Ukrainian folk musical instruments on the territory of the Slovak Republic and identify the areas of its today’s existence for further research. A comprehensive approach is the main principle of solving the task. The research methodology consists in using theoretical, historical, culturological, art studies approaches, which allowed revealing the interaction of trends represented by multicultural phenomena, as well as the relations between the ethnic groups, regions and countries. The article is based on the methodological principles of the historical approach to the analysis of artistic phenomena. By self-improving and adapting to the new forms of living, the folk instrumental, vocal and dance culture of Ruthenian-Ukrainians of Eastern Slovakia is, to a great extent, a component of the artistic process in modern social life. The scientific novelty of the study consists in an attempt to comprehensively generalize the existence and functioning of Ukrainian folk musical instruments on the territory of Slovakia in the historical aspect. Conclusions. The nature of the distribution and use of Ukrainian folk musical instruments on the territory of the Slovak Republic is influenced by the existence of rituals among Ruthenian-Ukrainians; the development of the folklore movement; the introduction of folk instruments to academic, popular, rock and other music styles; stage culture (amateur and professional), etc. The factors that influence the existence of folk musical instruments are: academic, social (at the levels of distribution and existence); cultural, which reveals the level of spread of mass culture, the influence of popular and rock music; ethnic and national, which results from ethnic or national musical traditions.

Vývoj a vliv tradiční a moderní hudby v každodennosti Kyrgyzů / The development and influence in traditional and modern music on the everyday life of the Kyrgyz people

The principal aim of this paper is to define Kyrgyz music in Kyrgyzstan ethnomusicology in order to assess whether the traditional Kyrgyz music has an essential impact on the identity of the Kyrgyz people and, if so, how does this impact manifest itself. In order to assess the impacts during research, the author was concerned with the influence of urbanization, globalization on processes related to music, the preference of either traditional or modern music, and how music is perceived in a cross-generational perspective. Furthermore, the thesis focuses on related phenomena including folk music instruments of the Kyrgyz or the Kyrgyz storytellers and musicians, who call themselves aqyns and manaschi. Additionally, the relationship of the national pride and music or the most common forms of music education of children and adolescents and its financial and spatial availability are being explored and scrutinized. The unifying theme of this thesis is music in everyday life of the Kyrgyz. The analytical part of this research mainly draws on the results of the author’s month-long field research from 2018 which took place in various diverse regions of Kyrgyzstan. The research includes a questionnaire, overt participant observation, and semi-structured interviews.

Народные музыкальные инструменты в субкультуре детства

The article is concerned with the problematics of resource analysis of folk musical instruments in childhood subculture. The features and main characteristics of the childhood subculture are revealed. The sociocultural experience acquired by a child is classified, the options of musical activity and folk instruments as well as the mechanisms of their application in the childhood subculture are distinguished. The attributes of childhood lifesustaining activity are considered, folk musical instruments as the attributes of childhood life-sustaining activity and the features of their functioning are analyzed. The main diff erences and positive effects of folk musical instruments and playing them within the childhood subculture are distinguished and presented, a comparative analysis of their use in the typology of cultures is carried out. The subcultural forms of children’s interaction when playing folk instruments are presented. The key potentials that actively infl uence the formation and development of the modern childhood subculture with the use of folk instruments are identifi ed and substantiated.

Legowanie na Lubelszczyźnie. Współczesne odkrycia i kontynuacje lokalnej praktyki muzycznej

The article presents the most recent research on the reactivation of an old musical tradition in the Lublin region, called “trumpet blowing at Advent.” This custom is connected with playing an aerophone named ligawa and with a local practice of making this instrument. The ligawa or ligawka has an eventful history of presence in Poland. In the folk culture, it is associated with the signalling function widespread among shepherds in the mountains. The current research is focused on the ritual practice connected with the liturgical period of Advent in the Roman Catholic Church. The presence of this custom has been confirmed in the neighbouring regions of Mazowsze and Podlasie.The author reviews the ethnographical descriptions of the ritual ligawa playing in the Lublin region and compares them with the results of her own field research conducted in villages near Lublin since 2008. The author attempts to answer the question to which extent contemporary societies are able to revive and practise on a regular basis forgotten rites of the musical character. In the study contains examples of documented instruments, descriptions of instrument playing circumstances and profiles of the depositaries of this tradition: ligawa players and makers from the Lublin region. The discussed subject is part of a broader discussion on the issues of preserving and safeguarding intangible cultural heritage and – due to its topicality – requires continuation and comparison with similar undertakings in the field of revival of local musical practices. Key words: traditional music in the Lublin region, ligawa playing, building of folk musical instruments, aerophones in folk culture, reconstruction of intangible cultural heritage