This study addressed the persistent problem that musical artefacts are often defined narrowly as physical objects - a limitation that requires urgent attention as musical heritage increasingly expands across digital, embodied, and transnational contexts. It examined this gap by analysing a curated corpus of 120 musical materials using a conceptual–analytical design informed by material culture theory, intangible heritage studies, and ethnomusicology. The analysis identified three interconnected categories of musical artefacts and found that 42 percent of the corpus functioned as tangible forms, 33 percent as intangible, and 25 percent as hybrid materials. These findings indicated that musical artefactuality operates along a continuum shaped by materiality, performance, and mediation. The study developed a typology that clarified definitional ambiguity,integrated material and immaterial perspectives, and provided a structured basis for analysing diverse musical materials. The typology advances current debates on musical materiality by offering a coherent analytical structure for interpreting diverse forms of musical heritage and supports more inclusive archival and heritage practices that better reflect the realities of contemporary cultural production.