The history of Vietnamese music can be divided into four periods:
The first period (10th-15th centuries), characterized by the conjugated influence of Chinese and
Indian music
The second period (15th-18th centuries), characterized by the predominance of Chinese influence
The third period (19th century to the eve of World War II), characterized by the originality and
identity of Vietnamese traditional music and by the introduction of superficial influence of
Western music.
The four period (from 1945 onward), characterized by the decline of new attempt to restore
traditional music and by the development of new European style music.
The development of music in Hue city follows these periods, since there is no document or
source of information described exactly the historically-contextualized repertoire, in the essay,
the author will talk about 3 kinds of music and its repertoire which are in different time periods
associated the Hue citys history.
Nha Nhac-Hue Court Music
The initial foundation of Nha Nhac the Vietnamese Court Music began conceiving since the
17th century but it only reached the peak at the Hue Court under the Nguyen Dynasty (18021945). The Court Music was officially formed along with the rise of Nguyen Dynasty in the early
19th century.
The different genres of the Hue Court Music include worshiping ritual music, court ritual music,
court dances, chamber music and opera (royal classical opera tuong).
In the former times, Hue Court Music consisted of various genres: Giao Nhac used in the
sacrifice ceremony to the Heaven and the Earth. Mieu Nhac used in worshipping ceremonies at
the temples of meritorious ancestors of the Nguyen clan, Confucius, Nguyen Dynastys literature
doctors, national heroes; Ngu Tu Nhac used in Than Nong, Thanh Hoang, Xa Tac worshiping
ceremonies; Dai Trieu Nhac used in great ceremonies or receptions of foreign ambassadors;
Thuong Trieu Nhac used in ordinary court ceremonies; Yen Nhac used in great royal banquets;
Cung Nhac (or Cung Trung Nhac) used inside the royal palaces.
Former Hue court dances were rich and performed on many occasions. The 11 court dances
remained until now are composed of Bat Dat (used in Giao, Mieu, Xa Tac, historical kings and
Confucius worshipping ceremonies); Luc Cung, Tam Tinh, Bat Tien, Dau Chien Thang Phat, Tu
Linh, Tam Quoc Tay Du (used in van tho Kings birthday, thanh tho birthday of Kings
mother, tien tho birthday of Hoang Thai Phi (the imperial concubine of Kings late father) and
the Mu (a Fairy or Guardian angel) worshipping ceremonies); and thien xuan (birthday of the
prince the successor to the throne); Trinh Tuong Tap Khanh (used in tu, ngu tuan dai khanh
ceremonies for wealthy people and powerful country; Nu tuong xuat quan (used on the Days of
Victory, Nguyen Dynasty Enthroning Day, lunar calendar May 2nd, at great night banquets and
receptions of foreign ambassadors); Vu phien (devoted to the Kings Mother, wife, ladies-inwaiting, princesses at weddings); Luc triet hoa ma dang (on Nguyen Dynasty Enthroning Day for
the watching of the people masses in the front of Phu Van Lau).
The repertoire for court music genres mentioned above consisted of a variety musical pieces. Yet,
in the declining stages, many of them were lost; only the words have been remained.
Ca Hue-Hue folk and traditional music
Ca Hue, a distinct form of classical chamber music, is found only in Hue. It possesses a set of
melodic principles and thus only comes into full blossom when sung with the distinguished,
amiable accent of Hue locals, sweet with its own timbre.
The four musical instruments used for accompaniment can include a 36-chord zither, a Chinese
four-chord lute, a two-chord fiddle and a two-chord guitar (tranh, ti,
nhi and nguyet respectively).
Ca Hues origins date to the 18th century when it became regarded as a "learned" music
performed at the imperial court for the entertainment of the mandarin elite.
In the concept of kings, mandarins and Confucians of the time, music was not simply an
entertainment but an education, a patterning of morality and a doorway to the spirits. Among
their four prime interests, music was listed first, followed by chess, poetry and painting.
Ca Hue saw its renaissance in the twentieth century when it again became one of the most
refined and courteous arts. Imbued with a vague melancholy and humanity it is talked of as a
reflection of the human soul. It is, many say, an expression of innermost feelings through
melodies. Its rhymes and melodies are very heart-touching, slow, deep and intimate.
When its music and singing voices are raised, there appears to be a concerto of emotion, a
harmony of feelings among musical players, singers and listeners. All witnesses sharing the
experience may for fleeting or friends.
Those yearning to bring about a reciprocation of feelings, understanding, sympathy and love may
turn to Ca Hue. Historical stories recount how some Ca Hue songstresses even became royal
concubines of kings or mandarins.
Naturally this revered musical expression was performed at the imperial court. But its most
redolent appearances in history perhaps stem from times when kings were swept along the
Perfume River, borne in royal boats with a musical ensemble.
Western music influence period
In the late nineteenth century, Western music increasingly spread into Vietnam. Especially in
Hue, where the Toa Kham Su French contained with majority French officials and soldiers, the
system of Catholic churches, congregations, seminaries. Besides the traditional music of Hue,
there were another kinds of western music including the brass and horn orchestra, orginated from
the army of the French embassy in Hue (1918), little horns under King Khai Dinh dynasty (1919)
and the staging of military brass Hue green Records (1920).
References:
https://vietnamclassical.files.wordpress.com/2012/09/nha-nhac.pdf
http://www.vietnamroyaltourism.com/Nha-Nhac-Vietnamese-Court-Music.html
http://chimvie3.free.fr/60/vinphuc_TongQuanPTAmNhacHue_060.htm
The Cultural Role of Capital Cities: Hanoi and Hue, Vietnam (Author(s): William S. Logan)
Music of Viet Nam, Tribal music of the Highland People, Traditional Music Folksongs Selected
by Pham Duy with the collaboration of Stephen Addiss and Bill Crofut
