The Àwórì, a Yorùbá sub-ethnic group, utilises a variety of traditional musical instruments in their music making. These instruments, which varied, ancient, and highly symbolic with rich sound qualities, serve various musical and cultural functions within the Àwórì communities and its environs as they are also given nomenclatures analogous to the parents-children (òbí-ọmọ) and masculine-feminine (akọ-abo or takọ-tabo) designations, according to their musical functions. This nomenclature equivalent is prevalent in Àwórì traditional instrumental music, where each ensemble is led by the feminine ‘Ìyá-Ìlù’ instrument. Despite the importance of traditional musical instruments in Àwórì land, its musical classifications and functions remains under-documented in Yorùbá music scholarship. This study examined the gender issue of masculinity and femininity symbolisms of traditional musical instruments in Àwórì land, with a view to analysing their musical/extra-musical and cultural roles. Using quantitative research approach, the study employed participant observation, semi-structured interviews with 27 purposively selected traditional musicians/performers, and instrumentalists in Àwórì communities and a targeted literature review. Hinged on Relativism and Pluralism theory, the study revealed the coterminous nature of gender (masculine-feminine) designations in Àwórì traditional instruments. Furthermore, it discovered the symbolism in Àwórì traditional instruments, their masculine and feminine roles, musical functionalities and ensemble forms. The study concluded that Àwórì musical instruments are bound in their cultural and traditional roles. It underscores the need for more ethnomusicological research of the various Yorùbá traditional musical instruments in particular, and those of Nigeria in general, giving preference to their gender nomenclatures, towards preservations for future consultations and references.