Traditional Istrian music, kanat, tarankanje, bugarenje and two-voice descant – all having in common narrow intervals, is a part of living music practice and many citizens consider it a valuable cultural expression and an important part of the identity. Performances during various private occasions and informal gatherings, weddings, ceremonies and different festivals are clear examples of cultural differences. The explanation of music practice in Istria as a specific way of musical communication that include ways of performance and studying, performing groups, context of music-making and reception – evaluation, it was explained based on past researches and understanding of this field as well as on the contemporary anthropological and musical methods. The resistance of this music system is explained considering broader cultural, social and historical context where changes could be observed since the mid-20th century because the material is well documented from that time. This work is focused on giving answers the following questions: What motivates people to perform old melodies and what they mean by the two-voice narrow intervals singing? How do other ways of music affect this system? Is there bi-musicality, which of the performance styles divides and which of them connects? Why are some musical phenomena retained while others disappeared or were reduced just to indicating the former practice? The research points to the relevance of intangible culture as a “living tradition”. It also shows how the form and meaning of the musical phenomenon has adapted and succeeded in adapting to new social realities, thus contributing to the realization of the function of recontextualized customary practices in the everyday culture of today. Music of the Istrian area is a specific world of styles different from the prevailing practice, also a symbol of regional identity. The traditional music of Istria has been studied in all its forms, adjustments of functions, understanding of aesthetics, evaluation of the bearer, position and status of musicians, and how emic understandings are expressed, conscious and systematic, and how much in the area of internal feeling and partial hunches.