Folk tuned melodies (kuu) of different sizes are classical musical heritage of the Kyrgyz, which are performed on national musical instruments. Each of them is exceptional and unique in its own way. The main musical instrument used in solo performance of kuu is a three-stringed plucked instrument – komuz. Well-known folk tuned melodies as Kambarkan, Botoi, Kerbez, Tolgoo and Kairyk have become the basis for emergence of separate genres of kuu and have had their own impact on development of the Kyrgyz instrumental music as a whole. Performance of each kuu is distinguished by the diversity of methods of artistic expressiveness and playing technique. Kuu are divided into program and non- program musical pieces. The bases of program folk tunes are folk life, epical, and historical plots, historical geneses of which are presented before each kuu performance. Non-program kuu reflect certain life circumstances and have their own titles. They reflect deep human experiences about the meaning of life, images of the human. In general, kuu have laid the foundations for development of the Kyrgyz instrumental music. The Kyrgyz instrumental music performed by folklore groups is very popular now. No cultural event is organized without it today, whether it is a festive or a national event. Depending on the complexity of compositions, sounds of typical musical instruments of the Kyrgyz such as komuz, kyl kiyak, temir komuz, chopo-choor, dobulbas and sybyzgy are present in the instrumental music. National musical instruments of the Kyrgyz can be functionally divided into instruments bearing artistic and esthetic function, instruments bearing application purpose, and the ritual ones that combine the first two features. Along with concert and orchestral practice, some instruments of applied and ritual character continue to be used in ceremonial songs up today.

The art of tanbur craftsmanship and performance is a vital component of Uzbekistan’s musical and cultural heritage. The tanbur is a traditional long-necked string instrument known for its deep, resonant sound and symbolic significance within classical and folk music traditions of the region. This element encompasses two interconnected domains: 1.\tThe craftsmanship of the tanbur, which involves selecting wood (often mulberry or walnut), carving the body and neck, assembling the instrument, and applying decorative elements that often hold symbolic meaning. 2.\tThe performance art, involving complex plucking techniques, melodic improvisation, and integration into musical forms such as shashmaqom. Both aspects are traditionally preserved and transmitted through ustoz-shogird (master-apprentice) relationships and family-based teaching, making it a living heritage across generations.