Ballad of the Kaleidoscope Dance

"Music is intrinsic to Gorean life, from the music of the feasts and festivals, to the music accompaning the dancing of the kajirae, to the ring of the slave bells. Music even compliments and aids in the process of adding a kol'lar to a girls neck. In the following quote, notice how the music, and the rests in the music, compliment the kol'laring and even the sound of the kol'lar becomes part of the musical performance. Music is part of the ceremony, an influence on the girl and an entertainment to the company. In a way, the music not only accompanies but controls the scene."

Can you even imagine a world without music? Everybody loves to whistle their favorite tunes and enjoy that special song with that special person so why would Goreans be different in that?

There is a small list of ballads and songs written in the gorean saga but the information about the instruments used is more detailed. Let me share with you some of the info i found:

Czehar: A flat, oblong box with strings played with a horn pick or plucked with the fingers; similar to a Japanese koto.

Kaska: A small hand drum.

Flute: A wind instrument with a high range, consisting of a tube with a series of finger holes or keys. Goreans keep them well polished.

Kalika: A stringed instrument; it, like the czehar, is flat-bridged and its strings are tuned with small wooden cranks; it resembles a banjo, though the sound box is hemispheric and the neck rather long. Like the czehar, it is plucked.

Notcked Stick: Played by sliding a polished tem-wood stick across its surface.

Tabor: A small drum.

Tamborine: Bits of metal on wires; gourds filled with pebbles and slave bells mounted on hand rings.

Zills: Finger cymbals. 

Oh..the sound of music!

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"The street was lined by throngs of Tuchuks and slaves. Among them, too, were soothsayers and haruspexes, and singers and musicians, and, here and there, small peddlers and merchants, of various cities, for such are occasionally permitted by the Tuchuks, who crave their wares, to approach the wagons. Each of these, I was later to learn, wore on his forearm a tiny brand, in the form of spreading bosk horns, which guaranteed his passage, at certain seasons, across the plains of the Wagon Peoples. The difficulty, of course is in first obtaining the brand. If, in the case of a singer, the song is rejected, or in the case of a merchant, his merchandise is rejected, he is slain out of hand. This acceptance brand, of course, carries with it a certain stain of ignominy, suggesting that those who approach the wagons do so as slaves."
Nomads of Gor, Pg 34 - 35