Xionglin has a long history and is spread in Tibetan towns, rural areas and pastoral areas. It is said that Xionglin was introduced to Lhasa from the Ladakh area of Tibet with the Galba singing and dancing troupe during the fifth Dalai Lama period (1642-1682 AD). It was used in the Garba Song and Dance Troupe of the old Tibetan local government singing and dancing group.

When playing Xionglin, the tube body is placed upright. Press the four holes with the left hand and the four holes with the right hand. The tube head is placed on the lower lip, and the mouth is aspirated to the blowing holes. Xionglin's drum sounds are mostly f1, a1 or b1, and the sound column is arranged in a heptatonic scale. The seventh hole emits a higher octave of the drum sound. Through overblowing, the vocal range has two octaves.

Xionglin has a louder volume and a richer tone. Garba Xionglin was used in court banquets or court song and dance performances in the old days, and it often accompanied Garba singing and dancing together with Dama drums.

Folk Xionglin is mostly played by herdsmen to entertain themselves while grazing in the mountains or grasslands, but not at home. According to Tibetan folklore, Xionglin can only play after the beginning of spring, and absolutely cannot play in winter. Otherwise, creatures mistakenly believe that spring is coming, and they will freeze to death when they wake up from hibernation. Therefore, Buddhism also has the commandment of forbidden flute in winter.