The film is dedicated to the Kyrgyz folk instrument komuz. An expert on making and playing komuz shares an komuz origin story. The film shows the interconnectedness between the models and melodies of komuz. Outstanding komuz makers and players as well as komuz beginners present some classical komuz melodies in the film. \nThis film is dedicated to kalpak—a traditional male felt hat. Knowledgeable people (a teacher, a journalist, an activist, and craftswomen) talk about the social functions and spiritual meanings behind kalpak. The film shows traditional and modern methods of making kalpak.

The film is dedicated to the Kyrgyz folk instrument komuz. An expert on making and playing komuz shares an komuz origin story. The film shows the interconnectedness between the models and melodies of komuz. Outstanding komuz makers and players as well as komuz beginners present some classical komuz melodies in the film.

Katta ashula is a vocal direction, a song genre typical for the Ferghana Valley, in which peculiar style and manner of singing is observed. It is performed by two or more singers in turns and without accompaniment of musical instruments. Katta Ashula is characterized by laconism (in means of expression), expressiveness (in music language), dynamism (in melodic development) and bright emotionality. Its figurative structure (or style) is closely connected to the traditional (classical) poetry of lyrical and philosophical nature. And ghazals of Navoi, Lutfi, Mashrab, Khazini, Muqimi, Furqat, Zavqi, Miskin serve as main poetic texts in this genre. Though, since the XX century the poems of contemporary Uzbek poets (such as Sobir Abdulla, Charkhi, Chusti, Akmal Polat, Khabibi, and others) as well as examples of folk poetry have been widely used. In terms of subject matter katta ashula songs can be divided into love-lyrical, didactic, religious and contemporary ones. The origins of katta ashula genre should be looked for in ancient folk-ritual chants, songs of "praise" (such as marsiya, navkha, ayolgu), agriculture- and labor-related songs with their original combination of recitative-declamatory beginning and chanting; and in distiches of ghazals (ghazalkhonlik), written in aruz prosody. Performance with high-pitched voice, existence of culmination parts, clarity of words for and their impact to the listeners – all these are features of this type of song. Katta ashula has several genres, such as “Yovvoi maqom” (“Yovvoi Ushshoq”, “Yovvoi Chorgoh”),"Yovvoyi asula" ("Yovvoyi Tanovar", "Yovvoyi Munojat"), "Yakkahonlik" ("Ohkim, gulzorim qani topmadim").\nNotably, the emergence and development of Katta ashula genre is closely linked with existence of corresponding performance schools, which stand out with their style of interpretation, manner of singing and bearers. From among katta ashula performance schools it is possible to mention Qoqand, Margilan, Andijan, Namangan and Tashkent performance schools.

The flute (pa lwei) is a wind instrument which consists of a hollow tubed played by blowing through a hole at one end. There are two kinds of Myanmar flutes: The "khin balwei" and the "kjo palwei". The khin balwei is commonly played. It has a ventage and a reed at the blowing end. The kjo balwei has no reed. Blowing the kjo balwei may be seen in the murals at Ananda and Mingalar Zedi in Bagan. Earlier flutes are wood or plastic. The ventage holes are made according to the diameter of the bamboo. Altogether 10 holes are perforated: seven finger holes, thumb- hole, the membrance hole and the "pinkelu" hole. The membrance hole is now not made because it tends to produce a shrill sound.\nIn preparing the tube, the lowest hole is perforated at two- thirds of the way up the flute. Then the six holes are perforated at distances according to the diameter of the bamboo. The thumb- hole is perforated on the lower side of the flute at the point half- way between the upper sixth and seventh hole. The "pinleku: vent hole is perforated between the topmost finger hole and the tube end. The membrane hole lies between the vent hole and the seventh hole. \nThe flute can be seen playing together with the shawm in pot- drum troupe, dobat troupe, classical music troupe, modern music troupe. The flute comes in two sizes: the big and small. The flute can cover the chromatic scale.

The flute (pa lwei) is a wind instrument which consists of a hollow tubed played by blowing through a hole at one end. There are two kinds of Myanmar flutes: The "khin balwei" and the "kjo palwei". The khin balwei is commonly played. It has a ventage and a reed at the blowing end. The kjo balwei has no reed. Blowing the kjo balwei may be seen in the murals at Ananda and Mingalar Zedi in Bagan. Earlier flutes are wood or plastic. The ventage holes are made according to the diameter of the bamboo. Altogether 10 holes are perforated: seven finger holes, thumb- hole, the membrance hole and the "pinkelu" hole. The membrance hole is now not made because it tends to produce a shrill sound.\nIn preparing the tube, the lowest hole is perforated at two- thirds of the way up the flute. Then the six holes are perforated at distances according to the diameter of the bamboo. The thumb- hole is perforated on the lower side of the flute at the point half- way between the upper sixth and seventh hole. The "pinleku: vent hole is perforated between the topmost finger hole and the tube end. The membrane hole lies between the vent hole and the seventh hole.\nThe flute can be seen playing together with the shawm in pot- drum troupe, dobat troupe, classical music troupe, modern music troupe. The flute comes in two sizes: the big and small. The flute can cover the chromatic scale.

The tradition of doira performance in Uzbekistan is an integral part of the nation’s musical heritage and identity. The doira is a circular frame drum made from a wooden rim covered with leather, often fitted with metal rings or jingles. It produces a wide range of tones and rhythmic effects, serving as both a solo and accompanying instrument.\nIn Uzbek culture, doira is played in various contexts: to accompany classical music genres such as maqom and ashula, at weddings and festive gatherings, and as a key rhythmic foundation in folk dances. Master performers develop a deep understanding of usul (rhythmic cycles), improvisation, and expressive performance techniques.\nBeyond its musical role, the doira represents the artistry, craftsmanship, and communal traditions of Uzbekistan, uniting people in celebration and cultural expression.