But, it does not mean they have the final say on the instrument, music, or style... but to many it is.
Leila, visited her country and chanced upon a Nayanban musician in Isfahan, Iran. Being Iranian she could converse with the player and learn a little bit about him. This is her story really, I am just including it as i think it is a wonderful story and a chance to Ethnomusicology working both ways.
The Nayanban is a bagpipe from southern Iran, near to the Persian Gulf. The "red arrows" on the map indicate the areas where the instrument is popular: Bandar Bushehr to Abadan, along the coastal area. These are port towns and possibly this instrument was imported from across the seas or it was exported from these ports to other countries?
The area is also near to Iraq and Kuwait, big oil producing areas, and there is also a lot of oil on the Iran side of the border too. During the War between Iraq and Iran (1980-87) this area received a lot of bombing and invasion. A lot of local people (Bandari) moved north to escape the bombing and they took their culture and instruments with them. A lot of the migrants settled in an areas close to Isfahan, especially in a town called Shahrekord (South West of Isfahan).
This nayanban player Leila met was called Behnam Rahimi, from Baghbahadoran, which is close to Shahrekord, he came to Isfahan to play on the streets to earn some money; but unlike buskers in Europe who would play on the busy streets, shopping areas, city centers, and commercial and touristic areas, Behnam plays in residential areas far from the "madding crowd", his streets were quiet, walled enclosed, no passers-by or shop-keepers to move you on! His audience were behind their walls, inside their homes or peering from their windows.
The instrument consists of a bag, 2 chanters in a single stock, no drone. The 2 chanters have the same tuning, the player's fingers cover both chanter at the same time and play the same notes. The music is highly rhythmic, more for dancing I imagine than for singing. Behnam, told Leila that he was later to play at a wedding where there is generally dancing; but before the wedding he was "busking"... not 'on' the main street of the city, but 'behind' the main street, in quiet roads, lanes, drive ways. People would hear his music, and like his music and come out and pay him.
you can hear him playing the Nayanban here
