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Introduction
Vietnamese music has had a rather long history. Since ancient
times, the Vietnamese have had a strong inclination for music.
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Introduction |
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Vietnamese music has had a rather long
history. Since ancient times, the Vietnamese
have had a strong inclination for music.
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For the Vietnamese, music is considered to
be an essential need; therefore, numerous
musical instruments and genres intended for
various purposes have been developed.
Vietnamese people use music to express their
innermost feelings, to encourage themselves
while working and fighting, to educate their
children in good traditions and national
sentiment, to communicate with the
invisible, and to sublimate their
aspirations for a happy life.
The simple and primitive instruments, as
well as the more sophisticated ones, have
been preserved to form a rich musical
treasure. Numerous forms of songs and music
have also been created and retained. They
include lullabies, children’s songs, ritual
songs, festivity songs, various work songs,
courtship songs, riddle songs, melodies, and
poem narration. There are also songs and
music for groups, as well as for traditional
theatre.
Vietnamese traditional music is diverse due
to the various genres that took shape during
different periods of history. Songs of the
same genre often differ very much in melody
and expression from ethnicity to ethnicity.
As a result, lullabies, for example, of the
Kinh differ from those of the Muong.
Traditional music has played an important
role in the lives of the Vietnamese.
Currently, music still occupies a
considerable position in the spiritual lives
of the Vietnamese. Some genres of music
still exist in rural areas, while others
were brought to the stage to meet the
demands of the population.
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Religious Dance
Religious dance may sound similar to the
also-mentioned religious belief category of dance, but
is more structured to the three main organized religions
of Buddhism, Catholicism and Brahmanism.
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Religious Dance |
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Religious dance may sound similar to the
also-mentioned religious belief category of
dance, but is more structured to the three
main organized religions of Buddhism,
Catholicism and Brahmanism.
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Religious Belief Dance
Religious belief dance is closely connected to ceremonies,
beliefs and customs of Vietnamese nationalities.
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Religious Belief Dance |
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Religious belief dance is closely connected
to ceremonies, beliefs and customs of
Vietnamese nationalities.
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Modern Dancing
Vietnamese modern dance started developing around
1945. It consists of a combination of materials; some
from the folk dance period and others from the new era.
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Modern Dancing |
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Vietnamese
modern dance started developing around 1945.
It consists of a combination of materials;
some from the folk dance period and others
from the new era. |
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Some of the dance styles which were derived
from the folk dance period include the
umbrella dance, khen dancing, the
Cham dance, and the peacock dance.
In recent
years, the Vietnamese modern dance has
absorbed international and European
classical influences, especially in dances
to accompany popular music.
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Nha nhac, Vietnamese Court
Music - An Intangible Cultural Heritage
On November 7, 2003, UNESCO bestowed world heritage
status on 28 relics of nations as masterpieces of oral
and intangible heritage of humanity. Among the 11
masterpieces of Asia, nha nhac (royal music) represents
the first intangible legacy of Vietnam to have been put
on this list.
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Nha nhac, Vietnamese Court Music - An
Intangible Cultural Heritage |
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On November 7, 2003, UNESCO bestowed world
heritage status on 28 relics of nations as
masterpieces of oral and intangible heritage
of humanity. Among the 11 masterpieces of
Asia, nha nhac (royal music) represents the
first intangible legacy of Vietnam to have
been put on this list. |
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The UNESCO Council appraised Vietnamese
royal music in the following terms: “Vietnamese
royal music represents an elegant and
refined music. It deals with the music
performed in the imperial courts and on
different anniversaries, religious
festivals, and on such particular occasions.
Of the different categories developed in
Vietnam,
only the royal music was national.”
Nha nhac (Vietnamese royal music)
and its principles came to
Vietnam
under the Ho Dynasty (1400-1407). The Ho
Dynasty, however, only existed for a short
time, so nha nhac rapidly fell into
oblivion. In 1427, Le Loi defeated the
Chinese Ming invaders and liberated the
country. However, nha nhac only began
to develop in the reign of King Le Thanh
Tong (1460-1497) and reached its peak under
the Nguyen Dynasty (1802-1945).
Nha nhac
is genre of scholarly music. It attracted
the participation of many talented
songwriters and musicians, with numerous
traditional musical instruments.
From now on, nha nhac will have
opportunities to preserve, develop and
popularize to the public, inside and outside
the country. |
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Ca Tru
Young people now enjoy new music that comes to them
from the radio, television, audio and video tapes, as
well as compact discs. So, do they still show any
attachment to the old folk tunes so loved by their
elders, such as the melodies of ca tru? Ca tru is a
musical genre that calls for expertise as well as
sensibility on the part of the listeners. In return, it
provides the most refined enjoyment.
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Ca Tru |
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Young people now enjoy new music that comes
to them from the radio, television, audio
and video tapes, as well as compact discs.
So, do they still show any attachment to the
old folk tunes so loved by their elders,
such as the melodies of ca tru? Ca tru
is a musical genre that calls for expertise
as well as sensibility on the part of the
listeners. In return, it provides the most
refined enjoyment. |
Fortunately, ca tru is now being
restored and is more liked by the younger
generation. Research scholars have traced
the origins of ca tru to areas of high
culture, such as the ancient imperial
capital of Thang Long (present-day Hanoi),
Ha Tay, etc. Artists of great talent have
practiced the art, including Quach Thi Ho,
Thuong Huyen, Kim Dzung, etc. Some of them
are now in their seventies, but a successor
generation has blossomed and holds great
promise.
Ca tru is where poetry and music
meet. People familiar with such ancient
verse as luc bat (the six
eight-syllable distich) and hat doi
(singing tossed back and forth between
groups of young men and women), and who are
capable of sympathizing with the sentiments
expressed in the sound of a small drum or a
two-string viol, are more likely to fully
enjoy a recital of ca tru.
Many famous poets of past centuries were
great amateurs of ca tru who wrote
beautiful lines to go with its melodies. One
well known instance is the poem singing the
enchantment of a pilgrimage to Chua Huong
(Perfume Pagoda) by Chu Manh Trinh. Coming
from the lips of a ca tru singer, it
has bewitched successive generations of
pilgrims visiting the hills and streams of
the famous pagoda complex in Ha Tay
Province.
Ca tru music is most enjoyable when
there is complete harmony between the words
being sung, the rhythm marked by a pair of
small bamboo sticks held by the singer who
strikes a small block of wood or bamboo
called phach, and, last but not
least, the appreciation shown by a man among
the audience beating a small drum at the
appropriate moments.
In short, ca tru is a refined form of
art which is paradoxically appreciated and
loved by audiences of all compositions.
There are those who sit in small numbers in
an urban auditorium to enjoy a recital. A
Ca Tru Club has been founded in
Hanoi
where amateurs of this musical genre, young
and old, local and foreign, regularly meet
to enjoy its charming melodies. |
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Quan Ho
The birth place of quan ho folk songs is Bac Ninh
Province. During village festivals, which are held every
year, particularly in spring, young men and women gather
in the yard of a communal house or pagoda, on a hill or
in a rowing boat, and sing quan ho. This is a style of
singing where songs alternate from group to group.
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Quan Ho |
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The birth place of quan ho folk songs
is Bac Ninh Province. During village
festivals, which are held every year,
particularly in spring, young men and women
gather in the yard of a communal house or
pagoda, on a hill or in a rowing boat, and
sing quan ho. This is a style of
singing where songs alternate from group to
group. |
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Water Puppets
Vietnamese water puppetry has a long history. An
inscription on a stone stele in Doi Pagoda, Duy Tien
District, Nam Ha Province, relates a water puppet show
staged in the year 1121 to mark a birthday of King Ly
Nhan Tong in 4036 words.
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Water Puppets |
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Vietnamese water puppetry has a long
history. An inscription on a stone stele in
Doi Pagoda, Duy Tien District, Nam Ha
Province, relates a water puppet show staged
in the year 1121 to mark a birthday of King
Ly Nhan Tong in 4036 words.
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Puppets are made of wood and coated with
waterproof paint. Each puppet is handmade,
has its own posture and expresses a certain
character. The most outstanding puppet is
known as chu teu which has a round
face and a humorous and optimistic smile.
The show starts with chu teu, dressed
in an odd costume, offering joyful laughter.
The pond and lakes of the northern plains,
where crowds gathered during festival and
galas, become the lively stages for the
water puppet shows. At a water puppet show,
the audience watches boat races, buffalo
fights, fox hunts and other rustic scenes
amidst the beating of drums and gongs. The
characters plough, plant rice seedlings,
fish in a pond with a rod and line, scoop
water with a bamboo basket hung from a
tripod, etc. The show is interspersed with
such items as a Dance by the Four Mythical
Animals: Dragon, Unicorn, Tortoise, and
Phoenix and Dance by the Eight Fairies, in
which supernatural beings enjoy festivities
alongside people of this world.
In water puppet shows there is a very
effective combination of visual effects
provided by fire, water, and the movements
of the marionettes. The whole control system
of the show is under the surface of the
water, concealed from the audience. When
fairy figures appear to sing and dance, it
is calm and serene; then the water is
agitated by stormy waves in scenes of
battle, with the participation of
fire-spitting dragons.
There are many contributing factors to the
art of water puppetry, including such
handicrafts as wood sculpture and lacquer
work. The factors all work together to bring
out charming glimpses of the Vietnamese
psyche, as well as typical landscapes of
Vietnam. |
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Cheo or Vietnamese Popular
Theatre
Cheo is a form of stage performance that originated
in the northern countryside. The word cheo means “lyrics
of folk ballads, proverbs”.
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Cheo or Vietnamese Popular Theatre |
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Cheo is a form of stage performance
that originated in the northern countryside.
The word cheo means “lyrics of folk
ballads, proverbs”. |
Traditionally, cheo was composed
orally by anonymous authors. Today's
playwrights compose cheo along
traditional lines. The characters in the
plays sing time-tested popular melodies with
words suited to modern circumstances. Human
rights and the battle of good against evil
are common themes. The joyfulness and
optimism of cheo is expressed through
humour and wit.
In cheo performances, there is always
an exchange between the audience and the
performers. The performers, dao
(actress), kep (actor), lao
(old man), mu (female character) and
he (buffoon).
At present cheo is an integral part
of Vietnamese theatre and is well liked by
people in both the country and in towns, and
by foreign spectators as well.
The buffoon in Cheo
The buffoon is a familiar character in
cheo, in which there is often a blend of
the tragic and the comic. He speaks the
language of the people and shoots shafts of
satire at evil-doers, such as ignorant
witchdoctors, greedy landlords, or arrogant
mandarins. He may wear a short coat, the
garment of the commoner or a long robe, an
article of clothing favoured by members of
the upper classes in the old society. A
couple of buffoons may appear on stage,
including the master in a flowing gown and
his servant in a short coat and carrying a
stick, each speaking the language and
behaving the ways of his class. The buffoon
may make his entry right at the beginning of
a play, carrying a torch or a megaphone and
provoking wild laughter from the audience.
Cheo is now undergoing a strong
revival. It is particularly relished by
foreigners by overseas Vietnamese visiting
the country. |
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Cai Luong
Cai luong is a kind of folk music that developed in
the early 20th century. It was first played by amateurs
in the south. Thanks to their soft voices, southerners
sing cai luong very romantically.
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Cai Luong |
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Cai luong is a kind of folk music
that developed in the early 20th century. It
was first played by amateurs in the south.
Thanks to their soft voices, southerners
sing cai luong very romantically.
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The performance includes dances, songs, and
music; the music originally drew its
influences from southern folk music. Since
then, the music of cai luong has been
enriched with hundreds of new tunes. A
cai luong orchestra consists mainly of
guitars with concave frets and danakim.
Over time, cai luong has experienced
a number of changes to become a highly
appreciated type of stage performance. |
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Classical Opera or Tuong
Tuong, also called hat boi in the south, is a stage
performance that came about during the Ly-Tran dynasties
and that became very popular nationwide during the
following centuries.
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Classical Opera or Tuong |
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Tuong, also called hat boi
in the south, is a stage performance that
came about during the Ly-Tran dynasties and
that became very popular nationwide during
the following centuries. |
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During the Nguyen dynasty, 19th century,
tuong occupied a good position in the
cultural lives of the royals. In tuong,
space and time are captured by songs,
dancing, and simple music. In the past,
tuong did not require any elaborate
stage accessories; now, however backdrops
and make-up are more elaborate and
sophisticated. |
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Hat Van
Hat van or hat chau van, a traditional folk art
which combines singing and dancing, is a religious form
of art used for extolling the merits of beneficent
deities or deified national heroes. Its music and poetry
are mingled with a variety of rhythms, pauses, tempos,
stresses and pitches.
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Hat Van |
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Hat van or hat chau van, a
traditional folk art which combines singing
and dancing, is a religious form of art used
for extolling the merits of beneficent
deities or deified national heroes. Its
music and poetry are mingled with a variety
of rhythms, pauses, tempos, stresses and
pitches. |
Hat van, in essence, is a
cantillation where the tunes and rhythm
depend on the contents of the sung text. The
tunes and rhythms may be linked together
into a suite, used in relation to a mythical
occurrence with hints of features from
modern life.
The breathing of a hat van singer
comes from his or her midriff to nasal
cavity, which works as a resonance box and
creates an effect appropriate for religious
subjects, particularly when heard in an
atmosphere of incense and candles.
The words of the chanting must be clear
enough so that all those attending the
ceremony are able to understand. There are
two kinds of hat van: hat tho
and hat len dong.
Hat tho is the chanting accompanying
an act of worship. Hat tho is slow,
serious, and dignified. Variations in the
music are few and contain little contrasting
pitch and stress.
Hat len dong accompanies psychic
dancing claiming to respond to occult powers
and expressing the will and orders of some
supernatural being. It may contain many
variations depending on the number of verses
sung, often coming to a climax or slowing
down to the tempo of a meditation.
The music instrument accompanying hat van
plays a very important role, in
emphasizing important passages or creating
contrasting effects; in any event, the music
enriches the content of the chant.
The main instrument used is the dan
nguyet or moon-shaped lute, accompanied
by the striking of the phach (a piece
of wood or bamboo), xeng (clappers),
trong chau (drum) and
chieng (gong) marking the rhythm. Use
may also be made of the 16-stringed zither
thap luc and flute sao
in the recitation of certain poetry, and of
the eight-sound band dan bat am in
certain ceremonies.
The dress worn by hat van
singers, based on the cult of the "four
palaces", includes a red robe for the cult
of the "heavenly palace", a yellow robe for
the "underground palace", a green robe for
the "musical palace" and a white robe for
the “aquatic palace". The style of the robe
and the headgear is related to the rank of
the supernatural being honoured in the act
of worship. Over time, the style of the
costume may vary but the rules about
the colours have remained unchanged.
The art of hat van originated in the
Red River Delta and dates back to the 16th
century, later spreading to the whole
country. It has also adopted the essential
beauty of folk songs from the uplands and
highlands of the North, Center and South.
Hat van requires both a learned and a
folksy character, and it has attracted
musicologists at home and abroad.
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Then Song
The then song is the religious music of the Tay,
Nung minorities. This type of song can be considered a
religious performance of Long Poems which depict a
journey to the heavens to ask the Jade Emperor to settle
trouble for the head of the household.
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Then Song |
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The then song is the religious music
of the Tay, Nung minorities. This type of
song can be considered a religious
performance of Long Poems which depict a
journey to the heavens to ask the Jade
Emperor to settle trouble for the head of
the household. |
Long Poems consist of several chapters with
different contents and lengths. The longest
poem ever collected was 4,949 sentences with
35 chapters. The then song is a
general performance of music, singing,
dancing, and making gestures in different
circumstances. In the ceremony procession,
not only must the artist carry out religious
activities, but the actor must also sing,
play music, dance, and show gestures to
demonstrate the meaning of the sentence he
is singing. Sometimes the artist also
performs other activities.
Music is the main element that completely
penetrates the performance. Sometimes the
music is accompanied with song, and at other
moments the music serves as a background for
dance or connecting parts of a song. The
main musical instruments in a then
performance are the tinh tau
(a traditional stringed musical instrument
resembling a guitar) and a chain of shaking
instruments. Sometimes the band also has a
bell.
All people in the Tay, Nung community,
regardless of their age, sex, and religion,
are fond of the then song. Some
groups such as the Kinh living in the same
region have also incorporated this kind of
art form into their spiritual lives. |
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Hue music and song
Chamber music originated from royal music at the
beginning of the 19th century in the Nguyen Dynasty. It
was well developed by the time of King Tu Duc.
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Hue music and song |
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Chamber music originated from royal music at
the beginning of the 19th century in the
Nguyen Dynasty. It was well developed by the
time of King Tu Duc. |
By the end of the 19th century, it was
popularized and ditties were added along
with other folk songs of the Binh Tri Thien
people. With this foundation, the music and
songs of Hue are a combination of folk and
royal music.
The musical characteristics of Hue music and
song have developed considerably, and
musicians can play all the styles common to
musical instruments, including solos, duets,
trios, etc. Apart from that, there is also a
pair of "Senh" and sometimes there is flute
accompaniment. In the latter half of the
20th century, Hue music was professionally
performed in public spaces to make a
landmark out of a new traditional style of
Vietnamese performance art.
Hue music and songs bear a unique feature of
characterizing the lives of people living in
the central regions of Vietnam. In fact, Hue
music is a combination of musical factors
from various groups such as the Viet, Cham,
Chinese, and others.
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Ly Folk Song or Ly Nam Bo
The ly song is one of the special folk songs of the
Vietnamese people. It is sung in the northern, central
and southern regions of Vietnam.
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Ly Folk Song or Ly Nam Bo |
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The ly song is one of the special
folk songs of the Vietnamese people. It is
sung in the northern, central and southern
regions of Vietnam. |
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These folk songs, however, are much more
developed in the South. The various ly
songs of the South contain different subject
matters, as well as unique musical
characteristics. The ly songs of the
South depict the activities of production,
emotions, and the thoughts of the people in
their daily lives. Animals, plants, flowers,
love, and marriage are also described in the
ly folk songs. Some folk songs
describe the common aspirations of the
people or criticize disgraceful practices.
The ly songs of the people in South
Vietnam reflect the daily lives of the local
residents. Although the songs have various
styles, sorrow is the prominent
characteristic described in the words of the
songs. The songs are considered rather
modest, simple, and mischievous.
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Gongs or Cong-Chieng
Gongs are musical instruments made of alloy bronze,
sometimes with gold, silver, or black bronze added to
their composition. In the Kinh language, the word cong
identifies convex gongs and the word chieng refers to
the flat ones. Gongs vary in size from 20 to 120cm in
diameter.
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Gongs or Cong-Chieng |
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Gongs are musical instruments made of alloy
bronze, sometimes with gold, silver, or
black bronze added to their composition. In
the Kinh language, the word cong
identifies convex gongs and the word
chieng refers to the flat ones. Gongs
vary in size from 20 to 120cm in diameter.
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Gongs may be played one at a time or in
groups of 2 to 20 units. The Muong, as well
as other ethnic groups in the Truong Son-Tay
Nguyen regions, use gongs not only to beat
the rhythm but also to play polyphonic
music. Ensembles of gongs usually include
several sets that vary in number and
function during the performance.
Gongs can be struck with wooden sticks,
mallets, or even bare hands. There are
techniques that can be used to shut off
sounds and to produce melodies.
In some ethnic groups, gongs are only
intended for men to play. However, the
sac bua gongs of the Muong are played by
women. In other ethnic groups, both men and
women may play. In general, taboos regarding
cong-chieng customs differ from
ethnicity to ethnicity.
Gongs hold great significance and value for
many ethnic groups in Tay Nguyen. The gongs
play an important role in the lives of the
inhabitants of Tay Nguyen; from birth until
death, the gongs are present at all the
important events, joyful as well as
unfortunate, in their lives. Almost every
family has at least one set of gongs.
In general, gongs are considered to be
sacred instruments. They are mainly used in
offerings, rituals, funerals, wedding
ceremonies, New Year’s festivities,
agricultural rites, victory celebrations,
etc.
In the Truong Son -Tay Nguyen region,
playing the gongs electrifies the people
participating in dances and other forms of
entertainment. Gongs have been an integral
part of the spiritual life of many ethnic
groups in Vietnam. |
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Lithophone or Dan Da
The lithophone is a set of stone slabs of different
sizes and shapes fabricated through an elementary
technique. These stones are available in the mountainous
areas south of Central Vietnam and east of South
Vietnam.
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Lithophone or Dan Da |
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The lithophone is a set of stone slabs of
different sizes and shapes fabricated
through an elementary technique. These
stones are available in the mountainous
areas south of Central Vietnam and east of
South Vietnam. |
Examination of the stone slabs found at Binh
Da archaeological site in Dong Nai Province
has revealed that this instrument may have
existed for over 3,000 years.
At the end of the 1980s, 200 lithophone
stone slabs had been discovered in Dak Lak,
Khanh Hoa, Dong Nai, Ninh Thuan, Binh Phuoc,
Lam Dong, and Phu Yen Provinces. Each set is
comprised of between three and 15 bars. The
first set, discovered at Ndut Lieng Krak in
Dak Lak Province in 1949, is now kept in a
French museum. Most of the other sets are
exhibited throughout Vietnam.
For some ethnic groups in Tay Nguyen, the
stone slabs are sacred and preserved as
family treasures played during grand
ceremonies for the gods. For others, the
stone slabs are used for setting up
crop-protection devices. |
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T’rung
T'rung is one of the popular musical instruments
closely associated with the spiritual life of the Ba Na,
Xo Dang, Gia Rai, E De and other ethnic minority people
in the Central Highlands of Vietnam.
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T’rung |
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T'rung is one of the popular
musical instruments closely associated with
the spiritual life of the Ba Na, Xo Dang,
Gia Rai, E De and other ethnic minority
people in the Central Highlands of Vietnam.
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It is made of very short bamboo tubes
differing in size, with a notch at one end
and a beveled edge at the other. The long
big tubes give off low-pitched tones while
the short small ones produce high-pitched
tones. The tubes are arranged lengthwise
horizontally and attached together by two
strings.
There are three types of T'rung:
high, medium and low tones. The simplest
type is composed of five tubes corresponding
to La, Do 1, Re 1, Fa 1, Sol 1 and producing
deep and resounding tones. In the majestic
Central Highlands, T'rung is often
played after back-breaking farm work and
during evening get get-togethers in the
communal house around a bonfire with young
boys and girls singing and dancing merrily.
The sounds of the gong and T'rung
also mingle together at wedding parties
and village festivals.
The T'rung instrument has been
largely improved. More tubes have been
added, and at times as many as 48 tubes are
arranged in three arrays capable of
performing intricate piece of modern music
while preserving the traditional sound scale
Some players have even invented a stick
notched at both ends for a single hand to
produce two sounds at the same time,
heightening the artistry of the instrument.
Vietnam's national music bands have never
neglected the role of T'rung, an
instrument which is original and made of
simple materials, but highly appreciated at
performances in the famous musical halls of
many foreign countries.. |
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36 string zither
The 36-string zither is a percussion instrument. It
has the shape of an isosceles trapezoid, with a slightly
convex sound board made of light, porous, unvarnished
wood.
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36 string zither |
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The 36-string zither is a percussion
instrument. It has the shape of an isosceles
trapezoid, with a slightly convex sound
board made of light, porous, unvarnished
wood. |
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The bridges and sides are made of hardwood.
The bottom is flat. There are two staggered
lines of 18 bridges on the sound board. The
bridges on the left have hooks to which the
strings are attached; those on the right
have pegs for tuning. The strings are of
metal.
Those on the left, numbering 18, are tuned
as follows: C, D, E, F-sharp, G-sharp,
A-sharp, C1, D1, El, F-sharp 1, G-sharp 1,
A-sharp I, C2, D2, E2, F-sharp 2, G-sharp 2,
A sharp 2.
The 18 strings on the right are tuned as
follows: C-sharp, D-sharp, F, G, A, B,
C-sharp 1, D-sharp 1, FI, GI, Al, B1,
C-sharp 3, D-sharp 2, F2, G2, A2, B1.
The range of the instrument covers three
octaves from C to B2. The strings are struck
with two thin flexible bamboo sticks tipped
with felt.
The playing technique includes a quick run,
vibrato, stopping, and pressing. The tones
are bright and merry and the notes of an
arpeggio can be played in swift succession
or simultaneously.
The instrument plays an important role in
the band accompanying cheo and cai
luong operas. The 36-string zither can
be played to accompany instrument solos,
singing, or as part of an orchestra.
Recently, more strings have been added so
that all semi-tones can be played.
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Tranh zither
The tranh zither is also called the thap luc cam or
sixteen-stringed zither. The tranh zither appeared in
Vietnam in the time of the Tran dynasty (12th-13th
centuries).
(Detail)
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Tranh zither |
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The tranh zither is also called the
thap luc cam or sixteen-stringed
zither. The tranh zither appeared in
Vietnam in the time of the Tran dynasty
(12th-13th centuries). |
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It has a rectangular sounding box, about
110cm long that tapers about 13cm toward an
end, with a warped sound board made of
unvarnished light wood. The sides are made
of hard wood decorated with various designs,
either lacquered or inlaid with
mother-of-pearl. The bottom is made of light
wood with sound holes. The broader end of
the sound box is pierced with 16 holes and
reinforced with a metal band.
Toward the middle of the sound board there
are 16 bridges made of wood or bone tipped
with copper that can be moved to vary the
tension of the strings, thus creating
various notes. At the narrower end of the
box are sixteen pegs for tuning. The strings
are metal and tuned to the pentatonic scale.
The range of the tranh zither is
about three octaves, from the notes C to
C3. The player uses a plectrum and can play
chords, trills, tremolos... His left hand,
which manipulates the strings, can use such
techniques such as pressing, vibrato,
glissando, etc.
The music of the tranh zither is
usually light and full of cheerfulness. The
instrument bears some likeness to the
Japanese Koto, the Korean Ka Yagum, the
Mongolian Jatac, the Chinese Zeng, and the
Indonesian Kachap, which have 13, 12, 12,
13-16, 7-24 strings, respectively. It is
nonetheless an original Vietnamese
instrument with specific musical
characteristics. It is used to accompany
poetry recitals and is quite often part of
an orchestra or a band playing chamber
music, religious music, or accompanying
cheo or cai luong drama.. |
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Moon-Shaped Lute or Dan Nguyet
According to ancient carvings, the moon-shaped lute
appeared in Vietnam in the 11th century. Intended to be
played by men, the lute has maintained a very important
position in the musical traditions of the Kinh.
Therefore, this instrument is widely used in their folk,
court, and academic music.
(Detail)
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Moon-Shaped Lute or Dan Nguyet |
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According to ancient carvings, the
moon-shaped lute appeared in Vietnam in the
11th century. Intended to be played by men,
the lute has maintained a very important
position in the musical traditions of the
Kinh. Therefore, this instrument is widely
used in their folk, court, and academic
music. |
The dan nguyet is distinguished by
its pure and loud sound, as well as by its
great capacity to express different
emotions. Thus, it is heard at solemn and
animated ritual concerts, funerals, or
refined chamber music recitals. It can be
played in solo, as part of an orchestra, or
to accompany other instruments.
Due to its long neck and high frets, the
dan nguyet is also used as an ornament.
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Dan Nhi
Dan nhi is a simple instrument that can achieve
miracles. A folksong of the north, a lullaby of the
centre, or a cai luong aria of the south will lose much
of its charm if not accompanied by the dan nhi, a
traditional instrument capable of a great variety of
expression.
(Detail)
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Dan Nhi |
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Dan nhi is a simple instrument that
can achieve miracles. A folksong of the
north, a lullaby of the centre, or a cai
luong aria of the south will lose
much of its charm if not accompanied by the
dan nhi, a traditional
instrument capable of a great variety of
expression. |
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The dan nhi is a bow
instrument with two strings, commonly used
among the Viet ethnic group and several
national minorities: Muong, Tay, Thai, Gie
Trieng, Khmer. The dan nhi
comprises a tubular body made of hard wood
with snake or python skin stretched over one
end and a bridge. The neck of the dan
nhi has no frets. Made of hard wood,
one end of the neck goes through the body;
the other end slants slightly backward.
There are two pegs for tuning. The two
strings, which used to be made of silk, are
now of metal and are tuned in fifths: C-1
D-2; F-1 C-2; or C-1 G-1.
The bow is made of bamboo or wood and fitted
with horsehair. The hair goes through the
space between the strings. The tones of the
dan nhi range over two
octaves, from C-1 to C-3. In drawing the
bow, the player uses various techniques,
including legato, vibrato, staccato;
combined with his fingering of the strings
he can produce trills, glissando, rapid
runs, etc.
The dan nhi is a highly
expressive instrument which plays an
important solo and orchestral-role.
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K’ni
This term, popular among the Ba Na and the E De, is
used to name the single-stringed fiddle played by some
ethnic groups in the Truong Son-Tay Nguyen region (Ba
Na, Gia Rai, E De, Xo Dang, Pako, and Hre, etc.).
(Detail)
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K’ni |
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This term, popular among the Ba Na and the E
De, is used to name the single-stringed
fiddle played by some ethnic groups in the
Truong Son-Tay Nguyen region (Ba Na, Gia Rai,
E De, Xo Dang, Pako, and Hre, etc.).
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The main part of the instrument consists of
a 50 to 70cm long bamboo tube or round
wooden section. Frets are fixed on the main
part and the string is hung along its
length. The bow is made of a small thin
bamboo bar; the player rubs the outside of
the bow on the string to produce sounds.
Though its structure is quite simple, the
distinctiveness of this instrument resides
in the way it is played. The player holds a
thread that is linked to the string in his
mouth to amplify and transform the sounds.
While bowing the string and touching the
frets to produce pitches, the player changes
the aperture of his mouth according to the
tune. Thus, the sounds are altered, almost
evoking human pronunciation. Those who are
familiar with the sounds of the
k’ni and who understand the vernacular
may catch the message of the tune; this is
why people say that the k’ni sings.
The E De has added cho nac narration
(type of song) to k’ni to replace
human voice.
Due to this characteristic, the k’ni
has become an instrument used mainly by
young men to express their feelings to their
girlfriends. Sometimes, the k’ni is
also played to accompany lament songs at
funerals. |
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Dan Day
In the past, the dan day was an accompanying
instrument used only for one genre of songs, which later
divided in two variants known today as hat cua dinh and
hat a dao.
(Detail)
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Dan Day |
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In the past, the dan day was an
accompanying instrument used only for one
genre of songs, which later divided in two
variants known today as hat cua dinh
and hat a dao. |
The dan day, exclusively played by
men, most probably came into being in the
15th century when musical genres were
forming.
This bass instrument has high frets and a
very long neck. Thanks to the unusual
technique called ngon chun (slacking
the string with the fingers), players may
lower the tones. The low register and the
dull, warm but short sounds of the dan
day always distinguish it from other
instruments in a concert.
Apart from accompanying hat cua dinh
and hat a dao songs, the dan day
is now used to accompany poems as well. Due
to its refined and modest sounds, the dan
day is sometimes compared to a secluded
philosopher. |
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Dan Bau
Dan bau is a musical instrument that touches the
heart. The music of dan bau (one-stringed zither) should
be solely for the pleasure of its player. Don't listen
to it if you are a young woman.
(Detail)
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Dan Bau |
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Dan bau
is a musical instrument that touches the
heart. The music of dan bau
(one-stringed zither) should be solely for
the pleasure of its player. Don't listen to
it if you are a young woman.
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This warning, probably coming from vigilant
parents wishing to protect their daughters
from the emotional appeal of love songs
played on this instrument; this gives an
idea of the power and charm of its music.
According to the "Dai Nam thuc luc
tien bien" the first dan bau was
made in 1770. At its first appearance it was
a very simple instrument comprised of a
bamboo section, a flexible rod, a calabash
or half a coconut. After a process of
evolution and improvement, the present form
of the dan bau is a bit more
sophisticated, yet still quite simple. It
consists of an oblong box-shaped sound
board, slightly narrower toward one end,
with a slightly warped top made of
unvarnished soft light wood, sides made of
hard wood, and a bottom of light wood
pierced with holes for better sound. At one
end of the sound board is a flexible bamboo
rod that goes through a dried calabash whose
bottom end has been cut out before being
fixed on the sounding board. At the other
end of the sounding board is a peg made of
wood or metal used for tuning. The metal
string is attached to the rod and to the
peg. The pluck is a pointed stick of bamboo
or rattan.
The dan bau is usually tuned to the
note C. It uses harmonies (or overtones).
When playing the musician plucks the string
while touching it lightly with the side of
his hand at a point producing a harmony. But
because the flexible rod causes the tension
of the string to vary, the pitch may be made
to rise or fall, the note may be lengthened
or shortened, and trills may be played. The
technique involving the fingers of the left
hand includes vibrating, pressing, alternate
pressing and releasing. The dan bau
may be played on a scale consisting of
third-tones or even quarter-tones.
The notes played by the dan bau are
smooth, sweet, and captivating. In recent
years success has been achieved in
amplifying the sound, causing an increase in
volume and distance that the sound carries,
while still preserving the quality of the
sound.
The instrument is played solo or to
accompany a poetry recital. During recent
years, it has taken a role in orchestral
accompaniment to cheo and cai
luong opera. The dan bau has been
performed on major stages in foreign
countries. |
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Xam Song
The xam song is one kind of song that was created
by the Vietnamese a long time ago, and which is
considered a very special performance. People used to
walk in a group of two to three or four to five and
sing, mainly in residential areas such as a parking lot,
a ferry-landing, or a market gate.
(Detail)
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Xam Song |
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The xam song is one kind of song
that was created by the Vietnamese a long
time ago, and which is considered a very
special performance. People used to walk in
a group of two to three or four to five and
sing, mainly in residential areas such as a
parking lot, a ferry-landing, or a market
gate. |
The beauty of the xam song is
expressed in the rhythms and tones of the
music. Its attractive and lively drum
rhythms and numerous rules of song
application make it an interesting
spectacle. The xam song tells of the
fate or unhappiness of the poor. Besides
theses common themes, there are funny songs
with satirical implications about wrong
doings, the condemnation of outdated
customs, the crimes of rulers, and the deeds
of heroes. These stories are well loved by
many people.
The instruments traditionally used for the
xam song are a two-stringed violin,
bamboo castanets, and two xam drums.
Today, xam singers no longer exist,
but their ancient art is still kept alive
and respected.
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Dan Tam
This three-stringed lute is used by several
ethnic groups in Vietnam. The Viet call it dan tam,
whereas the Ha Nhi calls it ta in. This instrument
exists in three sizes: large, medium, and small. The
small is the most popular.
(Detail)
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Dan Tam |
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This three-stringed lute is used by several
ethnic groups in Vietnam. The Viet call it
dan tam, whereas the Ha Nhi calls it
ta in. This instrument exists in
three sizes: large, medium, and small. The
small is the most popular.
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The sound box is oval-shaped, and the
soundboard is pierced with sound holes. A
bridge is fixed on the soundboard. The neck
made of hard wood is fairly long and bears
no frets, only three wooden pegs for tuning.
The three strings are traditionally made of
twisted silk, but are now more commonly made
of plastic. They are tuned to the notes G,
D1, and G1.
The range is fairly wide, nearly three
octaves, from G to F3. The player uses a
plastic plectrum, which he uses for plucking
downward or upward in quick intervals. The
tones of the dan tam are bright and
cheerful and they carry far.
The techniques for the left hand include
tremolos, trills, picking, stopping and
especially sliding, which are played in
combination with the quick plucking of the
right hand. Full tones, three-quarter tones
and quarter-tones can be played.
The dan tam is often part of an eight
instrument band or an orchestra accompanying
cheo drama. At present, a fourth
string may be added. The strings are then
tuned to the notes C, G, D1, and Al.
The Japanese samisen, the Chinese sangen,
the Chinese sanxian, the Mongolian dandze,
and the Persian setar fall into the same
category as the
dan tam. |
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Dan Ty Ba
The Ty Ba is a string instrument which is frequently
present in a traditional orchestra.
(Detail)
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Dan Ty Ba |
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The Ty Ba is a string instrument
which is frequently present in a traditional
orchestra. |
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Its sound box is shaped like a pear cut in
half lengthwise and made of unvarnished
light wood, and its back is made of hard
wood with a slightly convex surface. The
neck is short and tightly fixed to the sound
box. Originally the neck bore no frets; now,
however, it has four frets in addition to
eight others on the soundboard and two under
the strings with the highest pitch.
The frets stand low and close to each other
following the heptatonic scale. The
instrument has four pegs for tuning. The
strings, formerly of twisted silk, are now
made of plastic. They are tuned to the notes
C, F, G, and Cl, or to the notes A, D, E,
Al. The range of the Ty Ba is three
octaves, from C to C3.
The player uses a plectrum which she holds
in her right hand and plucks either upward
or downward in a quick run. The
technique used by her left hand, which
presses the strings, includes glissando,
staccato, arpeggio and tremolo. The Ty Ba
music is light and cheerful. The instrument
is played solo or as part of an orchestra or
a band accompanying the singing of melodies
or cai luong operas.
The Ty Ba recitals are well liked by
music lovers at home and abroad. Though
related to the Japanese biwa and the Chinese
pipa, the Ty Ba has a personality of
its own. |
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Tinh Tau musical lute
The tinh tau is an original musical instrument very
popular among the Tay, Thai and Nung minorities of the
northern highlands.
(Detail)
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Tinh Tau musical lute |
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The tinh tau is an original musical
instrument very popular among the Tay, Thai
and Nung minorities of the northern
highlands. |
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It is also called the then lute
because it is played in rituals performed on
the occasion of then ceremonies.
Its name describes how it is made: tinh
means musical instrument, tau
means gourd. Tinh tau means "lute
made with a gourd".
A tinh tau comprises a sound box
made of the dried half of a gourd shell
pierced with sound holes. The sound board is
made of light unvarnished wood and is about
25cm across. The neck is a tapered rod about
80cm in length, with no frets. The bigger
end of the rod goes through the shell of the
gourd; the other end is curved backward. It
has small bells attached to it and two or
three pegs for turning. The strings, two or
five in number depending on the ethnic
minority using the instrument, are made of
silk.
The player rests the neck of the tinh tau
on her thumb and middle finger, and
plucks it with her index, either downward or
upward, at times in a quick run. The lute
can sound a semi-tone, four quarter-tone and
a three quarter tone because it has no
frets. The playing technique includes
vibrato, trills and harmonics.
The tinh tau has a sweet and warm
tone. It plays a major role in then
ceremonies and traditional dances. Bass and
soprano instruments are often played
together with good effects. Recitals of
tinh tau are well liked at home and
abroad. |
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Traditional Wedding Music of
the Khmer
It is impossible to be without this kind of
traditional music at a Khmer wedding reception in the
South of Vietnam.
(Detail)
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Traditional Wedding Music of the Khmer |
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It is impossible to be without this kind of
traditional music at a Khmer wedding
reception in the South of Vietnam.
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Though there has been much change in the
wedding customs of the Khmer, traditional
wedding music has been well preserved by its
people. Researchers have collected some ten
ceremonial songs and folk songs which used
to be sung at wedding receptions. The
traditional songs sang at the wedding are
expressions of the feelings and
characteristics of the people's lives in the
Khmer community.
Each song is equivalent to a specific rite
in the wedding, such as leading the
bridegroom to the bride's house, asking for
the breaking of the fence to get into the
house, and the beginning of the ceremony.
The ceremony incorporates the rituals of the
hair cut, the pounding solution for dying
teeth, the cutting of betel flowers into
pieces in order to scatter them on heads of
the young couple, the drawing of a sword out
of its sheath, the binding of thread around
the wrist, the kowtowing of the sun god, the
act of entering into the wedding room, the
sweeping of the wedding mat, and the
greeting of parents and relatives. The
reception lasts until the young couple see
off their wedding guests. |
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Khen Mong
The khen is a musical instrument used by the Mong
ethnic minority, who call it the kenh, while the Viet
gave it the name Mong Khen (previously Meo Khen). The E
De ethnic minority in the Central Highlands use a
similar instrument called Ding Nam.
(Detail)
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Khen Mong |
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The khen is a musical instrument used
by the Mong ethnic minority, who call it the
kenh, while the Viet gave it the name
Mong Khen (previously Meo Khen).
The E De ethnic minority in the
Central Highlands use a similar instrument
called Ding
Nam.
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The kenh is a wind instrument with an
ancient history (about 2,500-3,000 years).
The present-day kenh is a
polyphonic instrument in the shape of a set
of bamboo pipes of varying sizes that are
arranged in two rows.
Each pipe is fitted with a reed made of a
thin strip of copper. The section of the
pipes with the reed lies inside the wooden
air-chamber. The part of the pipe lying
outside it shows a finger-hole. The pipe
into which the player blows lies at right
angles with the pipes with finger holes. The
sound of the khen is not very
clear but quite strong, nonetheless; the
deepest notes are rather dull.
The Mong play the khen on various
occasions, including funerals where it is
accompanied by drums. When the khen
is played by one person the soloist
accompanies the music with dancing in which
much vigorous knee-bending, body-turning,
kicking, etc., is performed. |
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K'long Put
This musical instrument was intended for women. The
name klong put of Xo Dang origin has become the common
name of this woodwind musical instruments depicted to
the right. It is played by ethnic groups in Tay Nguyen,
such as the Xo Dang, Ba Na, Gia Rai, Hre, etc.
(Detail)
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K'long Put |
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This musical instrument was intended for
women. The name klong put of Xo Dang
origin has become the common name of this
woodwind musical instruments depicted to the
right. It is played by ethnic groups in Tay
Nguyen, such as the Xo Dang, Ba Na, Gia Rai,
Hre, etc. |
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The k'long put is made of a set of 2
to 12 bamboo tubes. Each tube has a length
ranging from 60 to 200cm and a diameter
ranging from 5 to 8cm. The tubes are either
opened at one end or at both ends. When
played, the tubes are laid horizontally and
the player must either stand with her back
bent or kneel while clapping her hands to
push air into the tubes to produce sounds.
Generally, each tube produces only one tone.
However, some ethnic groups use the hand to
block one end of the tube to produce some
different pitches. With this technique, a
two tube klong put can produce four
or five pitches.
According to a legend, this instrument is
the residence of Mother Rice (goddess).
Therefore, it is closely associated with
agricultural production, being played
exclusively by women on the field and at
specific festivities, such as eating new
rice, closing the rice storage house,
welcoming the New Year, etc. The number of
k'long put melodies is somewhat
limited. This instrument has been brought to
stage by professional artists who perform
various pieces. |
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Rija Festival Music
Rija is a term used by the Cham to designate
numerous festivals related to agriculture and clans (for
instance, Rija Prong, Rija Nagar or Rija Yaup, etc.).
(Detail)
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Rija Festival Music |
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Rija is a term used by the Cham to
designate numerous festivals related to
agriculture and clans (for instance, Rija
Prong, Rija Nagar or Rija Yaup,
etc.). |
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Rija festivals provide the perfect
opportunity to focus on the traditional
music of the Cham. Typical musical
instruments include the baranung (one
-sided drum), kinang (pair of drums),
saranai (Cham oboe), and kanhi
(two-stringed bow instrument with a tortoise
shell resonator). In addition to ritual
melodies, saranai tunes, and the over
50 kinang beats that accompany
dances, participants can enjoy vai chai
tunes characterised by a robust rhythm and
an attractive performance. It brings an
interesting contribution to the abundant
treasure of labour-related songs of the
Vietnamese. |
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Tay Son Military Music
This type of music is played in military dance
ceremonies. The Tay Son Military Music originated in
Binh Dinh Province, a place famous for its practice of
martial arts.
(Detail)
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Tay Son Military Music |
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This type of music is played in military
dance ceremonies. The Tay Son Military Music
originated in Binh Dinh Province, a place
famous for its practice of martial arts.
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According to legend, Tay Son military music
was composed by three heroes who were
farmers named Nguyen Hue. They aimed to use
martial arts as a force of revolt. With the
set of 17 drums, a player is supposed to use
both his palms to hit 12 drums and his head,
elbows, and heels to hit the other five.
Players who could play the 17 drums
effectively were deemed masters of this
musical form. Later generations have learned
to play this kind of music to worship the
three heroes and their followers who
sacrificed their lives to sweep out
invaders. Tay Son Military Music consists of
four items: Troop Dispatching, Military
Marching, Troop Stop, and Triumphant Hymn.
Tay Son Military Music has become a valued
art heritage of the Vietnamese.
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Trong Com
The trong com (rice drum) gets its name from the
practice of placing a pinch of hot steamed rice in the
middle of the drum skin to "tune" the instrument.
(Detail)
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Trong Com |
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The trong com (rice drum) gets its
name from the practice of placing a pinch of
hot steamed rice in the middle of the drum
skin to "tune" the instrument.
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The body of the drum is made of wood in a
tubular shape with the ends slightly
tapered. A string is passed through the
holes pierced on the edge of each of its
faces and strung across it in a zigzag
fashion to regulate its tension.
The sound obtained from one face is five
tones higher than the other. The sound of
the trong com is a little dull,
somewhat similar to the large-sized dan
ho, and it is used to express sadness.
The trong com is one of the
percussion instruments used to accompany
tuong or cheo drama. Its use has
also spread to cai luong (reformed
opera) and other orchestras. The player,
when standing, has the trong com
slung over his stomach. When sitting he
rests his instrument on his lap. He strikes
the faces of the drum with his fingers with
varied style.. |
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Mong flute or Sao
Sao is usually used to designate a vertical bamboo
flute pierced with finger holes. However, this term is
often used by ethnic minorities to describe several
woodwind instruments that are quite different in
structure (single or double flutes, with or without a
reed, with or without finger-holes, etc.) and in how to
hold them.
(Detail)
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Mong flute or Sao |
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Sao is usually used to designate a
vertical bamboo flute pierced with finger
holes. However, this term is often used by
ethnic minorities to describe several
woodwind instruments that are quite
different in structure (single or double
flutes, with or without a reed, with or
without finger-holes, etc.) and in how to
hold them. |
The H’mong sao is a single flute with
a reed and a colorful timbre. The H’mong
call it tra pun tu. The sounds
produced are harsh and sweet like whispers.
Since it has been played on stage, the
H’mong flute has captured the hearts of many
audiences. It is being constantly improved
to expand its sound capabilities.
The H’mong flute accompanies young H’mong
men at work and in love. For them, the flute
is an effective way to reach a girl’s heart.
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