This lullaby playfully asks the child, “Do you resemble a lotus or a creeper? A dancing peacock, a Parijat flower, a lamp, or a bouquet of flowers? Are you as pure as milk or as fine as jasmine? Are you born with the blessings of Lakshmi Bhagavati or Lord Padmanabha?” The themes are typical and include the beauty of the child and the blessings of a god. It is sung to the rhythm of the cradle’s rock.

The Rai or Kirat people of Eastern Nepal perform Sakela during Udhauli Parba and Ubhauli Parba, which fall in December or January and April or May respectively. The Rai people express their daily happenings and well wishes via Sakela songs and melodies. This song is performed in medium beat rhythm by dancers wearing traditional attires.

Paglami-lamihan Soundscapes 2: Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble  May be played by two or three musicians. Performed by Uwang Ahadas, kwintangan kayu (melody) Accompanied by Sanira Ahadas, kwintangan kayu (rhythm) Recording Credits Producer NCCA-Intangible Cultural Heritage Unit Audio Engineer Froilan Malimban Studio Fastgen Media Productions Year Recorded 2011

Paglami-lamihan Soundscapes 2: Music by National Living Treasure Uwang Ahadas and the Ahadas Family Ensemble  May be played by two or three musicians. Performed by Uwang Ahadas, kwintangan kayu (melody) Accompanied by Sanira Ahadas, kwintangan kayu (rhythm) Recording Credits Producer NCCA-Intangible Cultural Heritage Unit Audio Engineer Froilan Malimban Studio Fastgen Media Productions Year Recorded 2011

“Chandi Kaati Chandra Maalaa” is a traditional Tappa song from the mid-western region of Nepal. This song has a distinctive rhythm and uses a question-and-answer form between two groups of singers, one male and one female. This type of song is heard when people gather in the evening at the haat bazaar (temporary market), where goods are exchanged by bartering.\nInstruments: maadal, baansuri, saarangi, chum chum, machetaa

This is a nursery rhyme that teaches children rhythm, numeracy, ancestral names, and the history of battles.

Bắc phản is often played to start a singing session in the environment of Hát chơi (singing for entertainment) and ca quán (singing in the cabaret). The lyrics of the Bắc phản are poems in six-eight-word distich meter. Every six verses of six-eight-word distich meter forms a poem. The first four verses are sung in a Nam tone at a delibrate rhythm; the two last verses are sung in a Bắc tone at a quick tempo that later changes back into a Nam tone with the delibrate tempo. Although Bắc phản song modulates and changes rhythm, its melody is basically stable and pianissimo.

Dồn is the last melody in hát văn thờ. Dồn means that lyrics are sung increasingly more quickly to the end of a song. The hát văn thờ consists of Dồn trầm ngâm and Dồn đại thạch. Dồn trầm ngâm has a stable rhythm while the rhythm is high and slow in Dồn đại thạch. This Dồn melody is performed in accordance with the Dồn trầm ngâm style. Similar to Phú bình, Phú chênh, and Phú nói, the Dồn melody is sung in triple time and tuned at dây bằng. Each Dồn phrase includes a pair of seven-seven-six-eight metre and a pair of six-eight metre and the four ending words of the first verse of the following phrase. This singing style is called hạ tứ tự, one of the specific characteristics of the Dồn melody. ‘