Music

"The music of Gor, or much of it, is very melodious and sensuous. Much of it seems made for the display of slaves before free men, but then, I suppose, that is exactly what it is made for."
Dancer of Gor, page 180

"I have never seen a bowed instrument on Gor; also, I might mention, I have never on Gor seen any written music; I do not know if a notation exists; melodies are passed on from father to son, from master to apprentice."
Nomads of Gor, page 153

"The Musicians had now begun to play. I have always enjoyed the melodies of Gor, though they tend on the whole to a certain wild, barbaric quality."
Assassin of Gor, page 89

"The musicians then again began to play, the sensous, melodious, exciting, wild music of Gor."
Rogue of Gor, page 190

Among Gorean musicians, incidentally, czehar players have the most prestige; there was only one in this group, I noted, and he was their leader; next follow the flutists and then the players of the kalika; the players of the drums come next; and the farthest fellow down the list is the man who keeps the bag of miscellaneous instruments, playing them and parceling them out to others as needed. Lastly it might be mentioned, thinking it is of some interest, musicians on Gor are never enslaved; they may, of course, be exiled, tortured, slain and such; it is said, perhaps truly, that he who makes music must, like the tarn and the Vosk gull, be free.
Nomads of Gor, page 154

Musicians

"I found Turia to match my expectations. She was luxurious. Her shops were filled with rare, intriguing paraphernalia. I smelled perfumes that I had never smelled before. More than once we encountered a line of musicians dancing single file down the center of the street, playing on their flutes and drums, perhaps on their way to a feast."
Nomads of Gor, page 87

"To one side, across a clearing from the fire, a bit in the background, was a group of nine musicians. They were not as yet playing, though one of them was absently tapping a rhythm on a small hand drum, the kaska; two others, with stringed instruments, were tuning them, putting their ears to the instruments. One of the instruments was an eight-stringed czehar, rather like a large flat oblong box; it is held across the lap when sitting cross-legged and is played with a horn pick; the other was the kalika, a six-stringed instrument; it, like the czehar, is flat-bridged and its strings are adjusted by means of small wooden cranks; on the other hand, it less resembles a low, flat box and suggests affinities to the banjo or guitar, though the sound box is hemispheric and the neck rather long; it, too, of course, like the czehar, is plucked; I have never seen a bowed instrument on Gor; also, I might mention, I have never on Gor seen any written music; I do not know if a notation exists; melodies are passed on from father to son, from master to apprentice. There was another kalika player, as well, but he was sitting there holding his instrument, watching the slave girls in the audience. The three flutists were polishing their instruments and talking together; it was shop talk I gathered, because one or the other would stop to illustrate some remark by a passage on his flute, and then one of the others would attempt to correct or improve on what he had done; occasionally their discussion grew heated. There was also a second drummer, also with a kaska, and another fellow, a younger one, who sat very seriously before what appeared to me to be a pile of objects; among them was a notched stick, played by sliding a polished tem-wood stick across its surface; cymbals of various sorts; what was obviously a tambourine; and several other instruments of a percussion variety, bits of metal on wires, gourds filled with pebbles, slave bells mounted on hand rings, and such. These various things, from time to time, would be used not only by himself but by others in the group, probably the second kaska player and the third flutist. Among Gorean musicians, incidentally, czehar players have the most prestige; there was only one in this group, I noted, and he was their leader; next follow the flutists and then the players of the kalika; the players of the drums come next; and the farthest fellow down the list is the man who keeps the bag of miscellaneous instruments, playing them and parceling them out to others as needed. Lastly it might be mentioned, thinking it is of some interest, musicians on Gor are never enslaved; they may, of course, be exiled, tortured, slain and such; it is said, perhaps truly, that he who makes music must, like the tarn and the Vosk gull, be free."
Nomads of Gor, page 153

"As at many of the larger markets, there are Musicians near the block, and a girl is given enough time to present herself well."
Assassin of Gor, page 112

"The music of the musicians was quite good. I reached to my pouch, to take from it a golden tarn and throw it to them."
Hunters of Gor, page 46

"We heard music in the distance, trumpets, drums, and cymbals."
Captive of Gor, page 209