Naisylvan music largely dates after the Great Wars, emerging in an explosion of folk songs and courtly music at the dawn of the Age of Strife. Oral histories indicate scattered music before that period, but the Great Wars seem to have sparked a renaissance for Naisylvan music. The noble sylphs have used a series of calligraphic curves to record musical composition since at least the late antebellum period, and oral histories indicate that it was developed long before the modern era.

Woodwinds have always been integral to Naisylvan composers, particularly the olohm, a five-foot long folded instrument with a low register, and the sechansohm, a narrow high-pitched flute. The gorevohm, an agile single-reed instrument with a wide playable range, has also grown common since the stabilization period following the Great Wars. The central woodwinds are traditionally accompanied by a limech, an oblong stringed instrument with a short neck. However, since the spread of modern Imperial culture, the human fiddle has begun to supplant it.

Noble sylphs are very artistically prolific in a wide range of fields. However, they have always greatly valued paintings. Naisylvan dwellings, courts, and even vehicles are decorated with complex frescoes and patterns. Most such paintings use a wide range of subtly different shades, relying on the strong Naisylvan color vision to pick out the differences. Because of this, much of the complexity of Naisylvan decoration is lost on other races.

Naisylvan performance art is dominated by intricate, ritualized dances called Sichansa Todash (Moon Dances). These often include complex costumes and orations over instrumental music. Some Sichansa Todash tell stories, while others are more abstract. Traditional Sichansa Todash are very similar to the brownies’ Tepita, and many scholars believe that one inspired the other, but the question of which came first remains controversial.