Based on the literatures from the Qing Dynasty and Japanese colonial period, the musical bow and Jew's harp were once widespread in many different ethnic groups of Taiwan aborigines. Today, however, the tradition of musical bow manufacturing and playing is found only within a small number from the Bunun tribe; while the Jew's harps, before prevailing in Taiwanese aboriginal tribes of the past, living tradition could only be found preserved in some of the Pan Atayal ethnic groups, including Atayal, Seediq and Truku, and in the Bunun ethnic group. For the latter, the single reed Jew's harp shows relatively more intact heritage in terms of manufacturing and playing. As for the four-stringed zither/five-stringed zither, according to the survey recorded during the Japanese occupation, it had been a popular musical instrument among the Bunun tribes, but now has almost vanished from its history. Having undertaking field-investigation constantly on these three kinds of Bunun traditional instruments from 2010 to 2014, the author noticed these musical traditions have been disappearing among the tribes at a breakneck pace and felt lucky to record and preserve some of the manufacturing and performance techniques at a time, which proved itself precious, since the elders passed away one by one within a short period of time. Rooted in the fieldwork records gathered in these years and historical literature since the Qing Dynasty hitherto, this thesis has analyzed the comprehensive knowledge of these three kinds of musical instruments, from the aspects of historical background, the structure of musical instruments, manufacturing techniques and performance practices. Besides, parallelism in terms of scale and melodic expression among Bunun musical instruments-including musical bow, Jew's harp, four-stringed zither/five-stringed zither, and pestles ensemble-will be explored, and then a further step is made and extends this research to the comparison between the vocal polyphony and the instrumental music of the Bunun tradition.