Traditional Music
Traditional Music
TRADITIONAL MUSIC
Since ancient times, the Vietnamese have had a strong inclination for music. It is always present and tends 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. 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.
Some Musical Genres
Hat Quan Ho
Hat quan ho (also called Quan ho Bac Ninh) is a typical folk song of the Kinh in Bac Ninh Province originating from the ancient alternating of songs between young men and women.
Hat quan ho performances are chiefly held in villages during annual festivals. This music is closely linked to the traditional meeting of young men and women, as well as to the establishment of a relationship between two villages. Apart from some songs intended for praying or praising, most hat quan ho songs are romantic. Ironically, quan ho performers of the same group are traditionally not allowed to get married to each other.
Hat quan ho performances are held either indoors or outdoors. They are sung in pairs, one pair of men and one pair of women, and the performance follows a specific order for the melody and the lyrics. Hat quan ho folk songs have become highly significant in Kinh folk songs. The number of quan ho songs preserved exceeds 180, not including variations of the same songs. The charm of hat quan ho is the result of a number of elements, including beautiful thoughts, popular but refined and emotional words abundant in imagery, rich melodies, quality of voice and a special technique of vibrato called nay hat.
Sli Boc
The s// hoc is a male-female alternating song that originated from the Nung ethnic group from the mountainous regions of North Viet Nam.
Sli hoc is sung outdoors when meeting acquaintances on the way to the market. Sli boc songs are improvised on the spot, and they do not obey any conventions. Their content is diverse, although love is always the central subject.
Like other genres of alternating songs, sli boc is sung in pairs, a pair of young men exchange songs with a pair of young women. However, pairs do not sing in unison. They perform a kind of polyphony where one singer maintains the main part while the other sings the complementary part; thus, producing a harmonious combination of voices.
Hat Van
Hat van is part of a complex combination of cults of the Viet (Kinh). With time, hat van has evolved into several percussion beats and a wide array of tunes and songs used in different situations to honour different saints and sacred areas. Apart from its system of tunes (con, doc, xa), hat van was influenced by other genres of Vietnamese traditional folk songs.
Percussion instruments are particularly important in this ritual activity. The percussion instruments accompany the hau bong ceremony in which the leader incarnates the saints and sacred personages.
Hat Then
Hat then, originating from the Tay and Nung minorities, is a religious performance of long poems depicting a journey to Heaven to talk to the Jade Emperor. Such poems usually consist of many parts and vary in length and content. The longest poem ever discovered contained approximately 5,000 verses grouped into 35 sections. Hat then is a performing art featuring music, dance, and acting. During the ceremony, Then or Giang (respective names of female and male performers) carry out the rites. Performers sing, play a musical instrument, and dance. Music is played throughout the entire ceremony.
The Tay and the Nung people of all ages are fond of hat then. Other ethnic groups, such as the H'Mong and the Viet (Kinh), have also added this form of singing to their spiritual lives.
Hat Xam
Xam songs were created by Vietnamese many years ago, and were usually performed by the blind, who walked in groups of two to five persons in residential areas, parking lots, ferry-landings, or market gates. People are fond of hat xam because it has an emotional tune that is in harmony with the joyful rhythm of the percussion instruments, and because of the sweet sounds of the string instruments.
Hat xam performers sing about their own lives. They also sing about the sad conditions of the poor, the misfortune of others, and sometimes, they sing about delightful stories. Through their songs, they criticise bad customs and practices, condemn oppressors and traitors, as well as praise national heroes. The main tunes of hat xam include hue tinh, ba bac, thap an, ha lieu, etc. Currently, hat xam strolling artists no longer exist. However, their art is being preserved
and appreciated.
Hat A Dao
This genre of song took shape in the 15th century and was performed at communal houses. Haf a dao gradually became a genre of chamber music much admired and appreciated by the Viet (Kinh) in North Viet Nam. From its popular origin, hat a dao was praised by numerous Confucian scholars and mandarins. Eventually,-it became court music, and it acquired its noble character. The singing technique is rather refined and meticulous. Listening to a hat a dao performance, one feels that the female singer is polishing each lyric.
Hat a dao may be regarded as the art of singing poems. There is a wide repertoire specifically designed for different occasions (ritual ceremonies, entertainment, or contests). Without a good understanding of the literary value of the songs and of the harmony between the singer and the accompanying instruments, it may be difficult to fully appreciate this art.
Ca Nhac Hue
Stemming from court music, ca nhac Hue took shape as a genre of chamber music during the Nguyen Dynasty in the early 19* century, and reached its peak under the reign of Emperor Tu Due. During the second half of the 19th century, it was popularised and enriched with the ho and ly tunes of Binh Tri Thien folk songs.
In ca nhac Hue, instrumental music plays such an important role that purely instrumental music pieces can be performed independently (solos, duets, trios, etc.). In the first half of the 20th century, a theatre form of ca nhac Hue was introduced, and a new genre of Viet (Kinh) traditional theatre called ca kich Hue
(sung drama) developed.
Ca nhac Hue has the typical features of Central Viet Nam Kinh folk songs, blended with elements from the Cham and Hoa music. It is also the consolidation of Kinh folk songs and court music, the preserver of Kinh musical traditions.
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.).
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.
Bai Choi
Originally, bai choi served to announce the cards during the card games organised by the Viet (Kinh) in Central Viet Nam on the occasion of spring festivities. Gradually, bai choi was transformed into melodies to later become a genre of folk song that can be performed anywhere, anytime.
Popular bai choi artists who usually gave their performances of bai choi drama outdoors added acting elements in the 1930s.
Tay Son Music
Tay Son music is closely linked to the famous Binh Dinh Martial Art School. Legend has it that this kind of music was invented by Nguyen Hue (a national hero of peasant descent of the 18* century) and his brothers. One single musician played seventeen drums. Twelve of the drums were beat with the hands, one with the head, two with the heels, and two with the elbows. Those who could accomplish such a task were considered to possess the Saints' martial art. After the Nguyen Hue brothers died, this martial art music was transformed into a genre of ritual music that was played during celebrations for heroes who struggled against foreign invaders. Tay son martial art music includes four beats called Xuat Quan (start marching), Hanh Quan (marching), Ham Quan (stop marching), and Khai Hoan (triumph).
Traditional Khmer Wedding Music
Like many ethnic groups in Viet Nam, the Khmer in the South made music an integral part of their traditional wedding ceremony. Despite the numerous changes that occurred in the Khmer wedding ceremony, the traditional nuptial songs have been preserved. Researchers have collected dozens of ritual songs specifically intended for weddings and other popular folk songs for animation. Such a collection helped to recreate the musical sequence that took place during the traditional Khmer wedding. These rituals included escorting the groom to the bride's house, requesting the bride's family to open the door to their house, and officially starting the wedding ceremony. Other rituals related to the traditional wedding include hair cutting, taking the sword out of the sheath, tying thread to one's wrists, bowing to the sun, entering the bride's room, welcoming the parents and relatives, and seeing off the guests.
South Vietnamese Ly
Ly is a genre of folk song of the Viet (Kinh) that was mainly developed in South Viet Nam. It includes large varieties of songs, as well as varieties of contents, themes, and musical characteristics. Ly reflects the life activities and work of the local population, in addition to their feelings about the love of young people and conjugal attachment. There are also songs about animals, plants, fruits, and flowers. Generally speaking, South Vietnamese ly is a genre of song reflecting the aspirations, modes of thinking, and personalities of the South Vietnamese Despite the various nuances, the melancholic tone is penetrating, simple, naive, humorous, and witty. In the past, ly songs were performed in many places and on different occasions. The ly songs were incorporated into other traditional ritual and non-ritual genres of music. In the present day, many ly songs have been arranged and adapted for contemporary musical shows that have captured many audiences.
MUSICAL INSTRUMENTS
Lithophone (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 Viet Nam and east of South Viet Nam.
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 Duong, Lam Dong, and Phu Yen provinces. Each set is comprised of between 3 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 Viet Nam. For some ethnic groups in the Central Highlands, 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.
T'rung
The frung is a musical instrument, similar to a xylophone, very popular among the ethnic groups living in Tay Nguyen. It consists of parallel bamboo tubes. Each tube is sealed at one end and beveled at the other. Previously, a t'rung had only two, three, five, or six tubes, but now it often has more.
The t'rung is normally struck with two wooden or bamboo sticks. However, it can be played as a duo with four sticks and players from the E De ethnic group use three sticks, therein creating a different melody. Men exclusively play the t'rung. They play it to entertain themselves while working in the fields or when herding.
Traditionally, the t'rung is not allowed to be played indoors or in villages. However, some ethnic groups play the t'rung inside villages to accompany singers and dancers or with other instruments during festivals. At present, the t'rung has become a professional instrument played in diverse types of shows.
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. They 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 Mountains and Central Highlands, 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. The gongs play an important role in the lives of the inhabitants of Tay Nguyen from birth until death. They 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. It is an integral part of the spiritual life of many ethnic groups in Viet Nam. In 2005, The Space of Gong Culture in the Central Highlands was recognized by UNESCO as Masterpiece of the Oral and Intangible Heritage of Humanity.
Mouth Organ or Khen
In the Viet (Kinh) language, the name khen may be used to describe all kinds of mouth organs found in the country. This ancient indigenous musical instrument dates back to times before our era. Illustrations of khen performers in different positions can be seen in vestiges of the Dong Son culture. The khen has been preserved as a very popular instrument among numerous ethnic groups in Viet Nam.
There are several kinds of khen that vary in shape, size, and number of tubes. Khen tubes are made of small bamboo, each having a pierced bamboo or brass reed to produce tones. The number of tubes is always even (6, 12, 14), except for the Xa Pho ethnic group whose version of the khen is called ma nhi and consists of 5 tubes. All the tubes are fixed into a resonator made of softwood or emptied gourds. The Khen may be considered a polyphonic instrument. It is either played solo or in concert with other instruments. The khen customs differ from ethnicity to ethnicity. For instance, the E De of Tay Nguyen is only allowed to play the khen indoors during funeral ceremonies. On such occasions, only melancholic melodies are played, and the khen may accompany array tunes. On the other hand, minorities in the northern mountainous regions play the khen more freely. As a matter of fact, the khen is inseparable from the H'Mong men. They bring it everywhere, to the fields and to the market, and it is played on festive and on sorrowful occasions. For them, the khen is used to show their talent to young girls in crowded places. According the H'Mong philosophy, the khen possesses a grand ability of expression. It has been said that "listening to the khen sound, one may recognise if the player is crying or laughing."
H'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 the 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 colourful 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 courtship. For them, the flute is an effective way to reach a girl's heart.
Klong Put
This musical instrument was intended for women. The name Wong put of Xo Dang origin has become the common name of this woodwind musical instruments. It is played by ethnic groups in the Central Highlands, such as the Xo Dang, Ba Na, Gia Rai, Hre, etc. The Wong 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 Wong 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 Wong put melodies is somewhat limited. This instrument has been brought to stage by professional artists who perform various pieces.
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 th Truong Son-Tay Nguyen region (Ba Na, Gia Rai, E De, Xo Dang, Pa Ko, and Hre, etc.). 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 have integrated the k'ni in cho nac narration (type of song) to replace human voice.
Due to its expressiveness, the k'ni has become an instrument used mainly by young men to express their feelings to their girlfriends. Sometimes, the k'ni\s also played to accompany lament songs at funerals.
Moon-Shaped Lute or Dan Nguyet
According to ancient carvings, the moon-shaped lute appeared in Viet Nam in the 11* century. Intended to be played by men, the lute has maintained a very important position in the musical traditions of the Viet (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.
Dan Day
Initially, the dan day was an accompanying instrument used only for one genre of song, which later divided in two variations known today as hat cua dinh and hat a dao. The dan day, which is exclusively played by men, most probably originated in the 15'h century when musical genres were first forming. This bass instrument has high frets and a very long neck. As a result of the unusual technique of ngon cnun (slacking the string with the fingers), players may lower the tones.
The dan day can always be distinguished from other instruments in a concert by its low register and its warm, dull, short sounds. Apart from accompanying hat cua dinh and hat a dao songs, the dan day is now also used to accompany poems. Due to its refined and modest sounds, the dan day is sometimes compared to a secluded philosopher.
Monochord or Dan Bau
This single-stringed harp of the Kinh has a sound box made of bamboo (in the past) or hard wood. One end of the string is tied to a wooden roller inside the sound box. The other end is fixed to a flexible bamboo rod to which a dried gourd (or wooden box) is attached. It is interesting to note that in the Viet (Kinh) language bau means "gourd". The rod, which is made of bamboo or buffalo horn, is installed at one end of the sound box and is the important device for producing pitch. Its flexibility allows the player to regulate the tension of the string, thus creating charming sounds while striking only one single string.
Another feature of the mono-chord is that all the sounds it produces are harmonic. Thus, the timbres of the dan bau are particularly pure and gentle. Together with its capability of producing altered tones, it sounds similar to the human voice. The dan bau is used to accompany songs or declamations. It may be played either solo or together with traditional or modern instruments
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