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 *Hob-Bes '''Kod''' - Shumian ''vi-na'' player of Ko descent
 *Ttiid-Bes '''Kod''' - Shumian composer of Ko descent, Hob-Bes's brother
-==Windermere music==
-The theoretical basis for Bjeheondian [[Windermere]] music is very similar to that of Hlou Romantic music, except that the terms used are different. The ''Rag'' and ''Ta'' are known as ''tsăren'' and ''hüed''. But Windermere rhythms (''imhüed'') are much more complex than Hlou ''Ta''s. ''Imhüed'' are sort of a cross between rhythmic cycles and ground bass lines (as in Baroque era passacaglias).
-Singing, both choral and solo, is as much a part of Windermere music as instruments since Windermere isn't a tonal language like Hlou.
-Both polyphonic and solo music follow the notes of the ''tsăren''. Solo music was very often unwritten and much of it was purely improvised, unlike polyphonic music. Solo pieces lacked a ground bass which allowed improvisers the freedom to make highly microtonally inflected melodies, often using a few dozen tones per octave.
-In the Romantic era, formerly improvised pieces were written down, forming a new canon, and simultaneous improvisation was introduced. ''Tsăren''s no longer had to consist of overtone series scales; people were experimenting with much weirder combinations of notes.
-Instruments typically used for harmony and polyphony, in addition to the voice, are mountain dulcimers, tubulongs, marimbas of various kinds, guitars, reed organs of various kinds, pipe organs, zithers, and steelpans. These are typically tuned to either a 26 tone 7 limit scale, or a 34 tone 11 limit scale. Flexible pitch instruments are also used, such as the violin family (borrowed from Hlou music), the musical saw, and the Crychord.
-===''Tsoaf-tălea''===
-Hlou influence on Windermere music in the Wieb region of Bjeheond led to the development of a uniquely Bjeheondian tradition of purely rhythmic music, called ''tsoaf-tălea'' (from Windermere ''tsoaf'' 'game, play' + ''tălea'', a translation for the Hlou ''Lei''), played almost exclusively on percussion instruments. But violin family instruments were adapted to this style; performers would strike different parts of their instruments with their fingers, and tune the strings so low that they hit against the fingerboard producing a loud percussive effect. The rhythms used were often extremely fast and complicated and polyrhythms were common.
-''Tsoaf-tălea'' in the Romantic era was thought of primarily as a sport rather than a musical style, and many ''Tsoaf-tălea'' artists became cultural icons.
-===Famous musicians===
-Măbăsroy '''rith Săf'ey''' - improviser and composer; introduced the steelpan
-Stearas '''Măftoch-Ho''' - introduced the mountain dulcimer to Wiobian music
-Niwmăr '''Hăthres''' - improviser
-Yachef '''rith-Fosean''' - improviser and composer
-Uascadăr '''Drach''' (Shumian name ''Sah-Nlaab Dah'') - composer and instrument designer; invented many new ''tsăren''s
-Dăraf '''Peł-Wănoad''' - pioneered new ideas like writing a piece in more than one ''tsăren'' at the same time
-Tneal '''Wos''' - ''tsoafley'' artist
-Awtan '''Harahefethșelimăleabetslofăyim''' - choral conductor
-Tselthüer '''Cuad''' - singer
-Yachef '''Fey''' - composer
-===Folk music===
-Much Windermere folk music uses instruments imported from Talma and Nūrei, such as the ''aggiakkātą'' (pasta guitar), and sometimes even uses the original tunings.
-===The Experimental Music Society (''Prăctheng Sngoal Yătălisrił'')===
-The ''Prăctheng Sngoal Yătălisrił'' is the Bjeheondian chapter of the ''Prycþéŋ lly Frindu Jytylisríx'' ([[Eevo]]: Society for Experimental Music).
-The Bjeheondian Xenharmonic Alliance; Prăfin fab-Bălang is a member
 ==Pieces==