Traditional music and indigenous people complement each other. It is impossible to imagine the life of indigenous people without various rituals, cultures, and religious activities. Music is connected to that culture and traditions.

 In that sense, whether it is the music sung at fairs or the songs and music used in agricultural work. From the birth to the death rituals of the indigenous people, music is connected. Therefore, the lifestyle and behavior of the indigenous people are truly musical. To understand and feel them, it is enough to listen to and understand their music. 

First, let's talk about the valley! The music of the Newa community is especially connected to religious and ritual activities. These musics are preserved in this cultural activity. For example, the Chariya dance. It has songs and dances. The Bajracharyas still present the Chariya dance in religious functions.

Various types of gods are described in the Chariya. Another traditional music of the Newa community is the Dafa Bhajan. In the evening, the elders gather on the temple terrace and sing the Dafa Bhajan. Dafa Bhajan is currently becoming popular among the youth due to the young singer Kum Sagar. 

The musical festivals of the Newa community are special. The songs sung on Phagu Purnima are different from the songs sung on Malashree Dhun sung on Dashain. Dhanashree is sung in the month of Chaitra. Moreover, the songs sung according to the seasons are also heard differently. The instruments sung in the festival have become a specialty. Be it the Red Matsyendranath or the Seto Matsyendranath, playing instruments is a must in the Indra Jatra. In the Jyapu community, one has to learn the Jyapu rituals while observing the fast, and a certain period of time is allotted to learn the Jyapu instrument slowly. There are also branches in the community's Guthi, the Khals, who preserve the instruments.

The instruments played in various rituals are also given equal importance in the Newa community. Instruments are indispensable from birth to death. Such rituals and culture have preserved the traditional music in the Newa community, says researcher Suresh Kiran. 'Folk music has been preserved only because of various festivals and festivals,' said Kiran.

Folk music is prevalent in the Newa community. Where social events are transformed into folk music. For example, there are ‘Shilu Mhe’, ‘Sheetala Mheju’ to ‘Rajamati’. According to Suresh, these songs cover the events that happened in the society. Shilu Mhe is a folk song sung while going to Gosainkunda. Shilu means Gosainkunda.

Rajamati describes a beautiful beauty. When smallpox came during the reign of Rana Bahadur Shah, it was started to be sung to cover the oppression done by the state, Sheetala Mheju. Be it the Asare song sung while sowing rice or the song sung while plowing the fields. One song sung while harvesting rice and another song sung while drying the same rice. Kiran says that folk music has been preserved professionally as well. ‘Newa music is being saved by rituals, culture, religious activities, and traditional life. Many of what was there before have disappeared. However, what is there is still in existence,’ said Kiran.

The music of the Tamang community is found in their residence and lifestyle. The beauty of this community is permeated in the sweetness of music. Tamangs from Sindhupalchowk do not sing Khangdoke, which is sung by Tamangs from Nuwakot. Tamangs from Sindhuli sing Phapre. The songs sung by Tamba also differ according to the region. Even though Tamba Hwai (song) is heard the same, Tamang dialects differ from place to place.

The Sepru dialect sung in Rasuwa sounds different. The Tamang dialect of Sindhuli does not match the dialect sung by Tamangs from Nuwakot, Rasuwa, and Dhading. The song ‘Mhendo Maya’ popular among Tamangs from Dhading cannot be found in Sindhupalchowk or Sindhuli and Kavre. The dialect adopted by Rasuwa is different from that sung by Tamang communities from other regions. That is why Tamang folk music is beautiful because of its diversity, says singer and musician Shubha Tamang. 

‘The original Tamang song should be the same, but it varies from region to region,’ says Shubha, ‘The traditional song of the Tamang community belongs to a specific community. It is believed that Tamang folk songs came into existence due to the food, drink, habitat, mountains and rivers of that place.’ He says that the music of the Tamang community is very deep.

says, ‘Even if we look at Khangdo in particular, there are differences according to the region. There are many rhythms that the Bon and Lamas have been preserving spiritually in the Tamang community. Based on that, original songs were created. The cello is the ‘patron’ of the Tamang community. Tamang folk music was not limited to the cello. Not only ‘Mhendo Maya’, but also ‘Juhari Bhaka’ are popular in this community.’ 

The Tamang community seems to have long embraced the dohori style of Juhari songs, which are exchanged rather than one-sided. Not only Rai, Limbu, Tamang, Gurung, Magar, but most indigenous ethnic groups’ traditional songs/music seem to have traveled along with their festivals and culture. However, even in this community, the music of the majority caste seems to have overshadowed the traditional language and rhythm of the minority. ‘There is a strong musical atmosphere in Tamang society. Bonbo sings songs while beating the dhyangro. Eating, sitting, and getting up are all in the same rhythm. Music 

is used even when meeting each other. For example, lovers think that they will seduce their girlfriends by singing songs at festivals, and they create the words and phrases of the songs,” he says, analyzing Tamang folk music, who has written books on Tamang songs such as ‘Celo Raag’ and ‘Tamang Hwaikai’. He believes that Tamang folk music has been transmitted because the Akhes (musicians) used music as a means of meeting at festivals in this way. 

Cultural researcher Tirtha Mukarung Rai says that the folk music of Rai/Limbu has also been brought here through traditional festivals and festivals. The Limbu sing Palam, the Rai dance Sakela. On Mansire Purne and Baisakhe Purne, they dance Sakela. People of all age groups sit together and dance and play instruments while participating in the Sakhewa festival. Other communities are also invited to Sakela. That is why non-Rai people are also participating in the Sakela dance in Tundikhel.

Young and old people come to dance Sakela to match the rhythm of their feet. It seems that festivals related to nature and livelihood have preserved these traditional songs, rhythms and rhythms. The Undhauli festival is celebrated during the time of joyous harvest. And the time of planting is celebrated as Ubhauli.

‘Our livelihood is related to nature. We cultivate crops to survive. That is why songs and music related to it have been growing and being handed down,’ Tirtha says. Tirtha also argues that the Rai and Limbu communities have been preserving traditional music by integrating with other communities and uniting with each other.

Researcher Krishna Gurung believes that the traditional songs of the Gurung community have been lost in Nepali language and folk songs. The Sherka song sung in ‘Arghaun’ is an original song of the Gurung caste. He says that it takes 2 days to sing this song of 45/46 pages. Songs like Sorathi, Krishnacharitra, Ghatu are still in use. Even though these songs are in Nepali, the Gurung community has been preserving their language. Krishnacharitra is a dance that is danced collectively. 

It describes Lord Krishna. Krishnacharitra is danced while being a Maruni. Words like ‘Yes, sixteen hundred gopinis are famous. Jam to bathe in the Jamuna’ are used in Krishnacharitra. Sorathi, Krishnacharitra are danced in autumn. Ghatu is danced on the full moon day of Vaishakh. It includes the story of King Parashurama and Queen Ambavati. Sati Ghatu should be danced after completing the ritual. It should be started on Sri Panchami and completed on the full moon day of Vaishakh. This dance is danced for five months 

. Then there is another Ghatu, which is danced for twelve months. ‘We also had songs in our own language before. With the advent of easy songs, our Gurung songs have been disappearing,’ said Krishna. 

In 2037, Yukt Gurung recorded a song in the Gurung language for Radio Nepal for the first time. When Radio Nepal’s ‘Phulbari’ program started recording songs in various languages, the history of recording songs in the Gurung language for the first time is found. Krishna himself started singing Gurung songs in 2038. He is also the one who released the first album in the Gurung language in 2045.