Music

in Viet Nam

Group 1Group 1 Class: 10a01Class: 10a01

North

Quan ho in the North

Introduction

Quan ho singing is a Vietnamese folk music style characterized both by its antiphonal nature, with alternating groups of female and male singers issuing musical challenges and responses, and by the fact that most of the songs in the repertoire deal with topics of love and sentimentality as experienced by young adults.

Value

Quan ho is recognised as the Intangible Cultural Heritage by the UNESCO in 2009.

History

The quan ho style originated in what is now Bac Ninh Province and was first recorded in the 13th century, and has traditionally been associated with the spring festivals that follow the celebration of Tet Historically, the singing began on the evening before the festival, but today it is much more common for the singing to occur on the main day of the festival.

While in the past the singing was unaccompanied, it is common today for the singers to be accompanied by instruments, whether traditional Vietnamese instruments or modern ones such as electric keyboards.

In general, an initial challenge phrase from the known body of songs is sung by a pair of female singers, following which a pair of male singers will respond by selecting and singing a matching phrase, which must repeat the melody of the challenge phrase. Once they are finished, the order is reversed, and the men will issue their own challenge phrase with a different melody.

Nowadays There are a huge number of q ua n ho melodies, with thousands of different songs having been recorded and written down in score form. A simpler variant of response song, allowing spoken responses and sung by boys and girls at village festivals is trong quan singing.

Chú thích hình Chú thích hình

North

Hue

Nha nhac at Hue

History

Nha nhac is a form of Vietnamese court Music. Vietnamese court music is very diverse, but the term nha nha c (Han Tu: 雅樂, meaning “elegant music” or “ceremonial music”) refers specifically to the Vietnamese court music performed from the Tran Dynasty of the 13th century to the Nguyen Dynasty, which ended in the early 20th century.

Nha nha c (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 nha c rapidly fell into oblivion. In 1427, Le Loi defeated the Chinese Ming invaders and liberated the country.

However, nha nha c only began to develop in the reign of King Le Thanh Tong (1460-1497) and reached its peak under the Nguyen Dynasty (1802-1945). It is believed that nha nha c did not truly reach the pinnacle of its development until the Nguyen Dynasty, when it was synthesized.

Nha nha c is genre of scholarly music. It attracted the participation of many talented songwriters and musicians, with numerous traditional musical instruments.From now on, nha nha c will have opportunities to preserve, develop and popularize to the public, inside and outside the country.

The Nguyen emperors declared it as the official court music, and it became an essential part of the extensive rituals of the royal palace.

The UNESCO Council appraised Vietnamese royal music in the following terms: “Vie tna m e s e ro ya l m us ic re p re s e nts a n e le g a nt a nd re fine d m us ic . It d e a ls with the m us ic p e rfo rm e d in the im p e ria l c o urts a nd o n d iffe re nt a nnive rs a rie s , re lig io us fe s tiva ls , a nd o n s uch p a rtic ula r o c c a s io ns . O f the d iffe re nt c a te g o rie s d e ve lo p e d in Vie tna m , o nly the ro ya l m us ic wa s na tio na l.”

Value

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.

Performance:Vietnamese court music was performed at annual ceremonies, including anniversaries and religious holidays, as well as special events such as coronations, funerals or official receptions, by highly trained and skilled court musicians. Along with the musicians, a number of intricate court dances also exist.Both musicians and dancers wore elaborately designed costumes during their performances.

While the largest foreign influence on nha nhac came from the Ming dynasty court of China later on there were also adapted a few elements from the music of Champa, which the Vietnamese court found intriguing.

Dàn đ i nh c nh ng ạ ạ ữnăm 60 chuy n sang ể

ti ng anh nhar h ngế ươ

Dàn nhạc cổ điển Huế đầu thế kỉ 20

Instruments commonly used for nha nha c include “ ”ke n ba u” (conical oboe), “d a n ty ba ” (pear-shaped lute with four strings), “d a n ng uy e t” (moon-shaped two-string lute), “d a n ta m ” (fretless lute with snakeskin-covered body and three strings), “d a n nhi” (two-stringed vertical fiddle), “s a o “ (also called s á o trúc ; a bamboo transverse flute), “ tro ng ” (drum played with sticks), and other percussion instruments.

Kèn bầu

Đàn Tỳ Bà

Đàn Nguyệt

Đàn TamĐàn Nhị

Sáo Trống

Hue

South

History Ma River Shanty in the

NorthThe Ma River (Ho Song Ma) has witnessed many severe battles of Vietnamese people against the invaders and the toughness of the labor men – the patriotic, the labor lover and traditional art lover. Ma River shanty was originated from the boats which were used to transfer the guest to do business.

Sp iritua l va lue s

The boat paddler created the shanty in the rhythm of paddling to get rid of tired, and encourage the spirit of both paddlers and guests. Therefore, the shanty is strong and lively, and it is deeply carried the daily respiration of the Thanh Hoa labor men.

Not as vast as the rivers in South Vietnam, the river in

Thanh Hoa has many waves and the salty of the sea

mouth, which contains the braveness of the Central

people who often face up with the calamity and war.

However, they would not stop the creative mind of the folk artisan. Therefore, Ma River shanty has still available and

been developed.

In two defense wars against the French and American, this shanty was used by the frontier conscripted laborer, soldiers and volunteer youngster in encouraging the pulling the cannon, digging the tunnel, operating, in the singing activities. In the rear, this shanty is also used to encourage people to cultivate and supply for the frontier.

Chúng ta hãy cùng nghe 1 đoạn hò giữa một chàng trai và một cô gái,

QUAN HONHA

NHAC

MA RIVER

SHANTY

melody To polish, fastidious lyrics

Solemn, elevated

Simple, plain

costume Ao tu than Ao dai Ao ba ba

performance In temples, in yards

In palaceOn the river (Ma River)

Ao tu than, la chiec ao dac trung cua nguoi phu nu o mien bac, thân ao gom bon m nh nên dc ả

g i là t (four) thân ọ ứ(thân áo ti ng anh)ế

Ao dai la trang phuc dac trung cho nguoi phu nu Viet Nam,

dac biet ao dai cua phu nu o

Hue la mau tim

Ao ba ba la trang phuc dac trung cua phu nu mien Nam

Dù có nh ng khác bi t nh ng nh ng ữ ệ ư ữfolk music đ u mang m t đi m chung ề ộ ểđó là th hi n tính cách, suy nghĩ, và ể ệph n ánh con ng i c a t ng vùng ả ườ ủ ừ

mi n, Âm nh c là cách đ con ng i ề ạ ể ườthoát kh i nh ng m t m c c a lao ỏ ữ ệ ọ ủ

đ ng, là c u n i cho nh ng m i duyên ộ ầ ố ữ ốtình trai gái.

Ngày nay, nó tr thành m t món ăn ở ộtinh th n c a con ng i Vi t Nam, ẩ ủ ườ ệ

m t nét đ p đ gi gìn, phát huy,… de ộ ẹ ể ữnhung folk music mãi tr ng t n theo ườ ồ

năm tháng.

THE END

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