Traditional Music Instruments from Around the World

Much like how different dialects in different languages have different sounds, music instruments from around the world carry distinct traces of unique cultures. In a way, listening to different music styles and instruments becomes a form of cultural immersion.  

Which is simply beautiful—and different, of course. 

Map of the collective origins of music instruments covered in this post.

Because there’s so much to cover, below is a list of just some traditional music instruments from around the world—along with where they're from, how they work, what they sound like, and other fascinating facts. And brace yourselves because I'll admit... it’s a pretty long post.

Frederic - A Unique Japanese Sound

Frederic (フレデリック) makes the type of music I would recommend to people who are genuine music lovers. They're so interesting and unique that it's hard for me to label them with a single genre--though Japanese Rock seems to be the general umbrella.

Personally, I'd go with "Indie (pop-ish?) with funk-like rock"--or simply: just good music.

Originally from Kobe, Frederic is a three-member band that has been creating music since 2009. And as a developing band, you can definitely hear their progression--which I'm personally looking forward to tracking. With two members being brothers--Kenji Mihara (Vocals, Guitar) and Koji Mihara (Bass, Vocals)--and the third, Ryuji Akagashira, playing the guitar, the band gives off a close-knit vibe.

Their hit single, "Only Wonder" is such a cheerful tune that it instantly uplifts the mood. And its music video, featuring a choreographed cheer by a class of schoolgirls, is equally adorable--if not motivating.

More than that, they're simply a clever band. Their most recent album, Ototune, is a clever play on words, with the character 「音」 ("Oto") meaning "sound," and the word "tune"-- vaguely sounding like "autotune." Each track has its own catchy tune--set apart by distinct vocals and different themes. And this happens across all their other albums--including "Oddloop" and "Owarase Night." Like the title tracks of each album--which are equally great--the songs "Ai no Meiwaku" ("Nuisance of Love" from "Owarase Night") & "Jyarimichi" ("Gravel Road" from "Oddloop") have a unique style that just make them classic "Frederic songs." Lyrics either carry weight instead of the usual fluff or create strong images. For a better taste of their Indie-style songs, their album "Uchuu ni Muchuu" ("Fog in the Universe") does not disappoint.

Even without understanding all the words, it's very easy to get lost in their songs. Which is a good thing... usually.

Rise of the Faceless and Famous

Many of us have heard her voice. Many of us have listened to her songs. But not many of us have seen her because she is faceless. And in my opinion: fearless.

Cover page of Billboard Back Issue Volume 125, Issue 42

Sia Furler is a singer songwriter, who wrote with and for Beyonce ("Pretty Hurts"), Ne-Yo ("Let Me Love You"), Rihanna ("Diamonds"), Katy Parry ("Double Rainbow"), David Guetta ("Titanium"), Britney Spears ("Perfume"), Christina Aguilera ("You Lost Me"), Jesse J ("Breathe"), Celine Dion ("Loved Me Back to Life"), and many others. You may not like her songs, but you can't deny there's talent in them. Not just anyone can write hit records in less than an hour (literally)... but Sia certainly can.

I never really expected to be blown away by her songs, and I wasn't--at first. Then, the more I listened, the more connected I felt to the music. There was something sad about her tone, something real, that I couldn't quite shake. So I looked into more of her work and discovered a well of underrated talent. And inspiration.

With the release of her newest album, 1000 Forms of Fear, Sia decided to present herself as faceless to the media. She didn't want to show her face because she didn't want to be judged (like she had been before). She doesn't want to be famous, and her decision over her appearance (or lack thereof) is a way to control the situation--a decision I view as difficult and gutsy.

Fearless, even.

In her Anti-Fame Manifesto, she writes, "Imagine the stereotypical highly opinionated, completely uninformed mother-in-law character and apply it to every teenager with a computer in the entire world. Then add in all bored people, as well as people whose job it is to report on celebrities. Then, picture that creature, that force, criticising you for an hour straight once a day, every day, day after day... So me and fame will never be married."

People focused more on what she looked like than how she sounded--which is pretty sad because a face doesn't sing. A person does. And I often feel that famous figures are considered different from the rest of society. But they're not. They're people (just like anyone else) with feelings, pasts, and futures. And when these famous figures happen to be singers, their music should matter more than their appearance. So Sia can present herself in whichever way she likes (or not at all) because it's the music that counts. It's why we're listening in the first place--the rest is just noise.

Although she's somewhat mysterious, Sia opened up about her past with drugs and depression. Things were rough, and the fact that she spiralled down and bounced back up again is inspiring. The fact that she gave what she loves and what she's good at another chance despite everything is inspiring. The fact that she had the strength to admit it is inspiring fearless. To me, 1000 Forms of Fear is a testament to her determination and courage. Her story made me feel a kind of stirring that, though hard to describe, is what all content creators should seek to generate. And she did it just by being herself.

That and, really, her songs speak volumes.