UNESCO Collection of Traditional Music: Viet Nam and Korea at Moments of Transition (original) (raw)
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Introduction to special issue on postwar music in Vietnam and the diaspora
Rising Asia Journal, 2024
FIFTY YEARS SINCE NATIONAL REUNIFICATION And the End of the Vietnam War wenty-seven years after the end of the Vietnam War, Trần Quang Hải (1944-2021), an ethnomusicologist and active performer of traditional music in the postwar diaspora, published an article in an Australian-Vietnamese publication about modern Vietnamese popular music. Focusing on Western-style popular music rather than traditional Vietnamese music that he was known for, the author divided the history of modern Vietnamese music into the following eras.
The article studies the reality of practicing and transmitting traditional music within the Southern Khmer community in Vietnamreview from globalization context. This study was conducted in 2018 and 2019, at 10 southern provinces/cities of Vietnam (surveying, interviewing 222 people, artisans and artists) to learn and evaluate the activities of practicing and transmitting traditional music of Southern Khmer of Vietnam. The method of Ethnographic field-visit was mainly used. Research results showed that traditional music genres are still practiced and transmitted in cultural activities of Khmer people in the South of Vietnam, including 3/7 genres of folk songs: ritual music, Chom-Rieng-Cha-Pay, lullaby and 3/12 traditional orchestras: Five-tone orchestra (Pin Peat), Kh'se orchestra and Chhay-Yam orchestra. Traditional music is mainly transmitted by "word of mouth" form which is attached with artisans and artists; the transmission forms of collecting, researching, and introducing have been implemented but are still limited. Based on the results, recommendations are proposed for preserving and promoting traditional musical heritage of the Southern Khmer people of Vietnam in the current context of globalization.
Performing the'Traditional'in the South Korean Musical World
2008
This article examines contemporary, traditional music culture in South Korea through a close look at one South Korean musician, a kayag m (12string zither) performer known for her work with composers of experimental music, has become, for many, a muse through which the emerging genre of new 'traditional' or 'national' music is finding its voice. Through interviews and a brief examination of her musical lineage, this article highlights the complexities of transforming a musical tradition. The artist's activities are entwined with discourse regarding tradition in South Korea. While the discourse regarding 'tradition' provides an interpretive lens through which music performance can be viewed, the construction of a new traditional music incorporates an artist's personal experiences, notions of aesthetic validity, and competence. A focus on factors such as these makes possible a more nuanced analysis of the musician's role in, as well as an appreciation of the contingent nature of, the construction of a contemporary Korean music.
Taking Culture Seriously: Democratic Music and Its Transformative Potential in South Korea
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