1. Little Song of
River Lam, Longing for the Past, Song of the Magpie.
The
Skilled Chamber Music genre of Vietnamese traditional music (Nh¬c
Tøi T¯) is the most
highly improvisatory instrumental music in Vietnam. It is commonly heard
accompanying Renovated Theater (C¿i LıÍng), in which actors sing their lines, adapting the
play's particular lyrics to a standard repertory of instrumental pieces
belonging to eight musical modes that reflect certain emotions or moods.
Chamber
pieces in this style include a short, unmeasured, improvised introduction (rao) followed by the rhythmical melody and regularly
spaced meeting points where all the players must join together on the same
note. Between these fixed points they are free to improvise within the mode and
its associated decorative figures. Due to the tremendous room for improvisation
players are valued for their skill at independent invention, often including
wild rhythmic syncopation and pitch sliding, while still being able to keep
their place in the rhythmic cycle and melodic skeleton.
The
most complex and widely performed melody in the repertory is Longing for the
Past, composed around 1917-20 by
Cao V√n L…u of B¬c Li‘u in Southern Vietnam. Since then
the melody has evolved into a much longer form so that now, as here, only two
phrases are generally performed at one sitting. Little Song of River Lam (a composition by V…n V› of Saigon
who died in 1988) often serves as a lead-in to Longing, which is followed by a short southern folk song
with a similar modal character. This recording was made during 1994 T’t
Lunar New Year festivities in Hø NÈi and incorporates the sound
of distant firecrackers, used as a lark on the pretext of scaring away evil
spirits.
2. Welcome Music (í [‘ tribe).
Although
village life was effectively decimated in the Central Highlands, thousands of
dislocated inhabitants are now trying to re-establish their former
communities. For the í
[‘ people, a matriarchal culture, this includes digging up their sets of
tuned bronze gongs, buried and hidden before the war, and hanging them in their
wooden long-houses where they can be played for ceremonies. Visitors are welcomed to the household
by an assembly of male gong players gathered on the long wooden bench that runs
down the inside wall of each house, playing a kaleidoscope of shifting rhythmic
patterns. As the music rings, the head woman of the house downs a cup of rice
wine then offers it to visitors, always beginning with the women. Most
wealthier families have a set of gongs; their degree of wealth is proportional
to the length of the bench and number of gongs.
The
gong ensembles of houses in this area consist of six small flat gongs
(sometimes hanging, sometimes held), a large hand-held bossed gong played with
a cloth-covered beater, a large hanging bossed gong (with a raised bump in the
middle), a large hanging flat gong, and one large bass drum covered with water
buffalo hide. The beginnings and endings of the music are signaled by cues from
the drum while the bossed gongs keeps the steady pulse throughout. Of the six
players beating the suspended gongs, two are expert leaders — they establish interlocking patterns which are
picked up by the players on either side of them, before departing on more
freely improvised rhythmic excursions.
The
languages of hill tribes in Vietnam fall into three families, each of which are
represented in this recording: Malayo-Polynesian, spoken by the í
[‘; Sino-Tibetan, spoken by the H'M‰ng; and Austro-Asian, spoken by
the Tøy. The tribal languages are declining in use because of the
dominant Vietnamese culture's intention to acculturate the more than fifty-five
minorities.
3. Hø
L÷u (NÒng
tribe).
Along
the ruggedly mountainous northern border with China many different ethnic
tribes live in co-existence, interrupted only by sporadic incursions and
massacres by the Chinese. Tøy, NÒng, Dao, Sænh Chfi,
H'M‰ng and people of other tribes may be seen throughout the region in
their distinct costumes planting rice in the rocky terrain or coaxing their
horses and carts to market. To pass the time when things get slow, the
NÒng have developed a dialogue game (sli) as a form of public entertainment. One or two
couples sing and engage in coy flirting back and forth all afternoon while a
crowd gathers to admire the double entendres and potential for embarrassment.
Hø
L÷u is one of a repertory
of five two-voiced melodies to which new lyrics are improvised on the spot.
Since the new texts are sung simultaneously there is a gap between verses while
the singers whisper to each other, conferring to decide the next lyric. Skilled singers are quicker at
inventing new words and more devastating when their wits are sharpened. Here a
female couple sings for their own amusement along the road; at other times they
may sit on a porch with a couple of men, an opium gleam in their eye, and lull
the time away.
Let
the river carry me along and may I have reached the age of marriage by the time
I arrive. My beloved is like a
rose, but I don't know if he has any thorns to prick me.
May our love be as
unattainable and pure as a reflection in the water.
4. Hø
L÷u
(NÒng).
Traditional
culture is now the focus of Vietnamese government programs to "promote
preservation" and "develop inheritance." Often the music is
fundamentally altered when it is co-opted for the advancement of socialist
ideals, but here these seven year old girls have learned Hø
L÷u in the traditional
way: from their parents who teach them standard phrases before learning to
invent new texts. The new
generation however is being encouraged to develop a more conscious stage
presentation; by using facial expression and elegant hand gestures these girls
interpret the meaning of the lyrics (here the natural beauty of the region) for
the Vietnamese audience, as well as by a macaronic alternation of Vietnamese
and NÒng languages.
5. H‘u
Phım
(NÒng).
These
sixteen year olds, in two couples, sing another melody of the sli genre (see Tracks 3 and 4). The men and women
here use a different tonal area for their verses and have regular solo
passages. When singing back and forth the couple that is not singing must
listen carefully and come up with a quick response; whispering can be heard as
they confer.
6. Elope in Spring (based on the music of H'M‰ng people).
These
musicians, a family of seven brothers which plays under the name PhÒ
[Áng, have been
performing together for fourteen years. They have become well known for their
blend of traditional tribal musics and new compositions, a style of folk
revival or renovated tradition known as Nh¬c d…n tÈc
c¿i bi‘n. With its
format of musical arrangement derived from the teachings of the conservatory
system of eastern Europe, the forms of these pieces are simple: Introduction,
Theme, Development (with a little cadenza on the featured instrument),
Restatement, Coda. Stage presentation (designed for TV screens and hotel
lobbies) can be showy with elaborate "native" costumes and
exaggerated body movements while the re-orchestrations and harmonizations
elaborate the original tune as a vehicle for virtuoso display.
In
their compositions PhÒ [Áng manages to maintain a feeling for the origins of their works, here
a H'M‰ng folk tune. This is played on a bamboo reed pipe, an instrument
like a flute with a free bamboo reed in the mouthpiece which gives a
characteristic buzz. The use of circular breathing, in which the player inhales
through the nose while expelling air from his mouth, makes the tone of the
instrument and the technique of the player all the more remarkable. The group
takes its name from a Vietnamese legendary character, a weakling mute baby who
grew to hulking proportions on hearing that his country was being invaded by
the Chinese, and promptly sent them packing.
7. Spring Love Song (H'M‰ng tribe).
The
term H'M‰ng has come in recent years to represent several distinct yet
related tribes to be found in areas across Vietnam, Laos, Cambodia, and North
East Thailand. From the "same" tribe as in Track 6, only 1,000
kilometers to the north, comes a spring folk song with a similar character of modal intervals, sung here
by a rice farmer.
8. Offering Incense (Mediums' Trance Singing).
At
the Jade Bowl Temple in Hu’, named after the azure-colored pool set in a
hill overlooking the Perfume River, ChÀu V√n or trance singing is traditionally performed on
the 10th day of the 3rd month and the 15th day of the 7th month of the Lunar
calendar. Goddess worship predates the arrival of Buddhism in Vietnam although
the known goddesses of the ChÀu V√n tradition pertain to much later times. Statues of a pantheon of goddesses are
placed in Mother Houses found at Buddhist temple complexes and village shrines.
Through the performance of hypnotically rhythmic music (the performers may be
one or many, male or female) a medium enters a trance state and is possessed by
a chosen deity. Because of the anti-religious stance of the Vietnamese
government until 1986, the style was practiced in secret and also was adapted
for inclusion in state-sponsored Hæt Ch–o theater presentations and is currently being
revived by older practitioners in its original religious setting. ChÀu
V√n is also being openly
revived because the growing economy has created a class of nouveau riche who would like the goddesses to intercede and
protect their businesses.
Many
of the textual references here are obscure to the younger generation of Vietnamese
because of the Hu’ regional dialect, the antiquated nature of the
Chinese-influenced lyrics, and the fact that the vowels of the sacred names
have been altered to preserve their magical quality (it would be an affront to
pronounce the name of a goddess too precisely). The jumbled poetic form
suggests this poem is from the 16th century, before poems became regularized as
7, 7, 6, 8 syllable lines with perfect rhymes; and the singer adds transitional
vocalizations and word repetitions as she gets carried away.
To start, I now
pray to the deities, Who are sitting there as if they are still alive, That
these incantations of the Law become efficacious, And that they would deign
to respond to these incense sticks. That I, their
disciple, with a sincere heart, offer them; The incense's voluminous smoke
reaches the Nine Heavens; Offering this fragrant opportunity in front of the
Sanctuary, I pray that you would agree to come down in front of this
audience. Three pourings of
rice wine, one offering at each bell sound; We offer you also a smoke and
betel and areca nut, Inviting all four mansions to come down: Heaven above,
the Middle World, the Highlands, and the Sea Palace. Please help so that
I, the medium, can do as I wish; Please help so that my name will spread far
and wide; Give me your protection, your power, your essence; Your spreading
protection, please come inside me. Did you know, an
immortal can come among us profane people; When it feels sympathy with what
we communicate? Little did you know
that vanity, everything is vanity; As human beings we tend to be blind to
these truths; Even though the evidence is there for us to see night and day,
Causing us even uncounted calamities. In olden times, so
the books still record the fact, There was born a lotus [the 16th century Lady Lÿu H¬nh,
contemporary of PhÒng Khƒc Khoan] at Ph Cæt near the Ngang Pass. When her power
manifested itself kings and lords were full of praise, Her appearance
glorified Vietnam and left a mark for all eternity. Open the Golden
Book and look up the legend: Clearly the way of the gods existed, no doubt,
For they could mark a white paper dipped in pure water, Showing the descent
of the Immortal Lady, which was how we learned. Another common
indication of Her descent Would also be the shaking of the blinds as if there
were a breeze. I, your disciple,
will keep the lamp and incense burning, My conviction strong because of an
unshaken faith As I seek protection under the gods' shadow, the Lady's power,
Your spiritual power reinforcing your widespread fame. A complete offering
of incense: please see through to my devotion; Down here, I have practised
the faith without letup. |
ThÀn kim
ngıÓng khÌi, T`u chı t‰n T„a vfi
dıÍng dı, kiŸm nhıÔc tÊn NguyŸn
th‹nh Phæp …m, ti diŸu l˙c TÒy cÍ ph�
c¿m, n¬p trÀn hıÍng. Nay {Ÿ t¯,
t…m thønh d…ng lø ti’n Khfli ng¬t
ngøo, th`u tÎi C¯u trÒng thi‘n [iŸn ti÷n
phÙng hi’n hıÍng duy‘n NguyŸn xin
chı vfi, t„a ti÷n giæng l…m. RıÔu tam
tuÀn, nh`t ch…m nh`t ti’n Hi’n {i’u
hıÍng, cung ti’n phÒ lang. Th‹nh mÏi tˆ
phÚ vøng ban, ThıÔng
thi‘n Trung giÎi, ThıÔng ngøn ThÚy cung [È cho
{Êng, t‡ng t…m sÌ nguyŸn [È cho
{Êng, nˆc ti’ng thÍm danh Giæng
phÒ, giæng phœp, giæng linh, PhÒ linh
t·a bflng, {È sanh cho {Êng. Hay {…u,
ti‘n cÛng giæng phøm BÌi l‡ng
c¿m ˆng l`y løm thÀn th‰ng. Ch∆ng ngÓ
r≈ng: kh‰ng
kh‰ng, sƒc sƒc NgıÏi
trÀn gian, tÂi mƒt kh‰ng hay DÀu ai ban
b {‘m ngøy Løm cho
h„a gifl tai bay tÎi ngıÏi ThuÌ xıa
sæch c‡n ghi chuyŸn trıÎc D`u [–o Ngang,
Ph Cæt m`y phen Oai ra vua ch�a
{÷u khen ThÍm danh
c‚i ViŸt, d`u truy÷n ngøn n√m. GiÌ quy◊n
vøng, mø xem t⁄ch cÛ [¬o thænh
thÀn, cÛng cfl ch∆ng kh‰ng Tøn nhang gi`y
trƒng nıÎc trong Thænh Ti‘n
cfl {È, thønh {Êng mÎi hay Thæc r–m
nh…n l�c gifl lay CÛng lø
Thænh tÎi xıa nay viŸc thıÏng [Ÿ t¯ con,
{–n hıÍng khuya sÎm D¬ {inh ninh
mÈt t`m l‡ng tin NıÍng
nhÏ bflng Thænh, hÊn Ti‘n NÁi danh
Thænh {¬o cfl quy÷n anh linh HıÍng
mÈt tuÀn, TÁ Ti‘n soi th`u DıÎi con
{ø, {Âc {¬o, trung lıÍng. |
9. Hail Mary.
The
Catholic pre-Mass citation, Hail Mary, is usually repeated silently to oneself as a form of prayer.
During recitation of the rosary one repeats to oneself, mantra-wise, one Our
Father and ten Hail Marys and another Our Father. Here, however, it is chanted out loud,
alternatim, by children of the Hø NÈi Cathedral school and the
assembled congregation of elder worshippers.
Hail Mary, full of
grace, the Lord is with thee. Blessed art thou among women and blessed is the
fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners now
and at the hour of our death. Amen. |
K⁄nh m˜ng
Ma-ri-a {Ày Ín phıÎc, [ˆc Ch�a TrÏi
Ì cÒng Bø, Bø cfl phıÎc l¬
hÍn m„i ngıÏi n˘ vø Gi‘-su con l‡ng
Bø gÊm phıÎc l¬. Thænh Ma-ri-a [ˆc
M” Ch�a TrÏi cÀu cho ch�ng con lø
k— cfl tÈi khi nay vø trong giÏ l…m
t¯. A-men. |
10. Here V›
D¬ Village (Poet: Høn
M¬c T¯, 1912-1940) (Declaimed Poetry).
Since
Vietnamese is a tonal language, where the pitch of a syllable is significant,
it is important when singing to retain the contour of the spoken word in order
to retain text meaning. There is thus a natural melodic correspondence between
the sung and spoken language. Somewhere between speaking and singing comes
Declaimed Poetry, where the expression inherent in heightened speech is
formulated over a musical mode. Along with the voice, another instrument may
improvise a simultaneous response to the text, sometimes acting as a drone,
sometimes as an independent line. Usually it is the flute that accompanies, but
here a Vietnamese monochord; a single string stretched over a long box
(electrically amplified nowadays), with a buffalo horn "whammy bar"
lever at one end. By flexing the lever and plucking the string at harmonic
nodes to activate the natural overtones, a wide and subtly-nuanced range can be
achieved by varying the tautness of the string after plucking.
The
poet Høn M»c T¯ came from a poor family in Central
Vietnam. He started writing poetry
in his teens but developed leprosy, converted to Catholicism, and died in a
leper colony at the age of 28. His
works, mostly poems, reveal him to be the first Vietnamese surrealist poet. The
singer, L‘ thfi Nh…n, manages a small villa and is one of
many amateur singers who declaim poetry at social occasions.
Why don't you
return to V› D¬ village for a visit, To look at the lighted betel
palms? Somebody's garden
looks so fresh! Green as an emerald. Through the criss-crossing bamboo leaves
appears a face of sincerity. The wind goes its
way, the clouds theirs, The stream of water looks so melancholy, the corn
flowers are swaying...Whose boat is moored there at the Moon riverside? Could
it carry the moon back in time for tonight? Dreaming of the
faraway visitor, the faraway visitor...My flowing tunic is so white it might
not be recognized...Here the fog and the smoke blur human figures, Who knows
whose love is more enduring? |
Sao
anh kh‰ng v÷ th√m th‰n V›? Nh€n
nƒng høng cau, nƒng mÎi l‘n V˜Ín
ai mıÎt quæ! Xanh nhı ng„c. Læ
tr�c che ngang m»t ch˘ {i÷n. Gifl
theo lÂi gifl, m…y {ıÏng m…y, D‡ng
nıÎc buÊn thiu, hoa bƒp lay... Thuy÷n
ai {Œu b’n s‰ng Tr√ng {fl. Cfl
chÌ tr√ng v÷ kfip tÂi nay? MÍ
khæch {ıÏng xa, khæch {ıÏng xa... |o
em trƒng quæ nh€n kh‰ng ra... ´
{…y sıÍng
khfli mÏ nh…n ¿nh, Ai
bi’t t€nh ai cfl {Œm {ø? |
11. Poem of Farewell. (Poet: Th…m T…m, 1917-1950)
(Declaimed Poetry).
Another
well-known poem declaimed by the same singer and player.
Bidding you adieu I
did not cross the river, Why was there the
sound of waves in my heart? The evening glow was neither red, nor yellowish,
Why was the full sunset cast in your limpid eyes? Bidding you adieu, and only
you, For once you leave the family, for once you seem so indifferent... Oh, you who are
leaving! walking down a small lane, If your goals are not realized and your
hands are empty, Then never speak of returning! And for three years, dear old
mother, please do not wait! I knew that you
were blue the evening before; And now in summer the last lotus flowers were
blossoming, One sister, two sisters, just like the lotus flowers, Gave final
counsel to their younger brother in grieving tears. I knew you were
blue this morning: It was not yet autumn, and white clouds were already
drifting, Your kid brother, eyes innocent and gleaming, Wrapped his love in
his handkerchief...You are leaving? Oh, yes, you are surely leaving! Dear old
mother, think of him as a wandering leaf, Sisters, think of
him as a stray piece of dust, Brother, think of him as an exhilerating
bouquet of wine. |
[ıa
ngıÏi, ta kh‰ng {ıa sang s‰ng, Sao cfl
ti’ng sflng Ì trong l‡ng? Bflng
chi÷u kh‰ng thƒm, kh‰ng vøng v„t, Sao {Ày
hoøng h‰n trong mƒt trong? [ıa
ngıÏi, ta ch‹ {ıa ngıÏi `y MÈt gi¡
gia {€nh, mÈt d¯ng dıng... - Ly khæch! Ly
khæch! con {ıÏng nh·, Ch⁄ lÎn
chıa v÷ bøn tay kh‰ng, Th€ kh‰ng
bao giÏ nfli trÌ l¬i! Ba n√m, m”
giø cÛng {˜ng mong. Ta bi’t
ngıÍi buÊn chi÷u h‰m trıÎc B…y giÏ
mÒa h¬ sen nÌ nÂt, MÈt chfi,
hai chfi cÒng nhı sen, Khuy‘n nÂt
em trai d‡ng lŸ sflt. Ta bi’t
ngıÍi buÊn sæng h‰m nay: TrÏi chıa
mÒa thu, m…y trƒng bay, Em nh·
ng…y thÍ {‰i mƒt bi’c Gfli tr‡n
thıÍng ti’c chi’c kh√n tay... NgıÏi
{i? µ nh‹,
ngıÏi {i th˙c! M” thø
coi nhı chi’c læ bay, Chfi thø
coi nhı lø h¬t bÙi, Em thø coi
nhı hıÍng [hÍi] rıÔı say. |
12. Phong Slı (Tøy tribe).
Part
of keeping folk songs alive and relevant to contemporary life is to invent new
lyrics for existing melodies, to honor a person or event, or to commemorate an
occasion. Here, a Tøy song has been newly kitted out with an additional
Vietnamese text in order to project post-revolutionary sentiments.
Oh homeland,
country of the revolution, Cao Bang— Same thoughts, same wishes, same songs, Oh
my vast, beautiful, prosperous country, Flowers are blooming everywhere, The
sweet scent of victorious "5-ton" flowers* Flowers of frontier
victories. Across five continents the world is praising us, The flowers are
blossoming more each day. * At one time the government urged farmers to produce five
tons of rice per hectare. |
Qu‘...Qu‘
cæch m¬ng...Cao B≈ng... Li÷n t…m
li÷n t⁄nh li÷n c…u ca ¢i qu‘
hıÍng giÀu {”p bao la Khƒp m„i
chÂn nÌ hoa tıÍi thƒm Hoa chi’n
c‰ng n√m t`n thÍm hıÍng Hoa chi’n
thƒng ti÷n phıÍng vang dÈi Khƒp n√m
ch…u th’ giÎi ngÔi ca MËi ngøy
cøng th‘m hoa th‘m sƒc. |
13. Then (Tøy).
The
then style consists of a
repertory of about five melodies with many text variations used as ritual songs
of defense against demons during a three-day Spring festival. By the third day
the shaman/singer has worked into enough of a frenzy to ensure that he or she
has enough magical powers for the coming year. It is thought the term then may derive from thÀn (deity) or thi‘n (heaven). This song from the eastern part of Cao
B≈ng province is
accompanied on a two-stringed lute played by the Tøy of this region.
14. LıÔn
Then (Tøy).
The
singer, an ex-shaman, now a local government official, describes this song,
which is sung in Tøy, a language of the Austro-Asian family:
"When
I was young the girls would flirt with me and I had to learn how to flirt back!
That's how courting and love go...if you are ashamed or embarrassed you have to
sing with a sweet voice.
This
is a courting song. When boys and girls go to the forest to gather firewood
they miss each other and cry because their legs are not walking side by side
together. They promise that when the fire burns all the way to the edge of the
forest, and when the water runs the opposite way in the stream, only then will
they forget each other. We know that when Spring comes, the flowers will bloom,
but we never know which one will bloom first, which one last. So keep your
confidence, don't dither about."
15. Two Trees on the
Hill (Red Yao tribe).
This
singer, in her eighties, is the last known member of the Red Yao tribe; her
customs, language, music, and culture will not survive her. Her appearance at
local festivals to sing is a curiosity since noone else speaks her native
tongue. Even the name of her tribe is usually misrepresented as Dao or Zao. All
the same, she makes up new texts in honor of special occasions or common
romantic scenarios and sings them to a standard melodic formula.
There are two
beautiful trees on a hill like two people who cannot be married, only give
shade to one another.
16. On the Hill (Red
Yao)
On the hill there are
two fine old teak trees where many young couples go to court and play.
17. Happy Gathering
at Harvest (Folk Revival style)
The
percussion group PhÒ [Áng plays an arrangement of a folk dance on an ensemble of xylophones
derived from models in the Central Highlands, accompanied by large held gongs.
18. The Beautiful
T…y Thi, Poetic Song, Evening Dew (Skilled Chamber Music).
The
seven modes of traditional Vietnamese music each correspond to a particular
emotion and fall into two main categories; the Southern (Nam) modes (as in Track 1) which represent
wistfulness, longing, despair, upset, regret and complaint, and the Northern (Bƒc) modes (heard here), which represent exuberance
and contentment. The Beautiful T…y Thi and Poetic Song are both in the happy mode named Bƒc, while Evening Dew is in the Cantonese (Qu¿ng) mode, which expresses fantasy and maybe sounds
a little Chinese. Because
of the current state of musical education in Vietnam, with its emphasis on
western classical and pop music and a unified Vietnamese traditional repertory,
few younger players have the opportunity to learn to play or appreciate this
style of music. The shift from family learning through oral tradition to
institutionalized learning via written notation is having unforseeable effects
on all aspects of Vietnamese music.
19. City Soundscape
A
collage featuring typical street sounds from Hø NÈi. In order of appearance:
• Fallen and flailing electric power line shoots sparks across a busy street;
• Blind street busker croons pop songs with battery-operated guitar
and bull-horn PA led by a boy (a sappy song about loss; Why ever did I let
you marry another man?);
• Metalsmiths pounding on Brass Street;
• Actors promoting a show by pedaling their mask-laden cart while
striking a drum and bell;
• Wood beetle devouring a wardrobe;
• Prayer bell at Kim Li‘n Pagoda; and
• Noon Mass bells at Hø NÈi Cathedral.
SPECIAL THANKS TO:
The performers and all
those who helped me with the trip; Translations and notes: Cung Th�c Ti’n,
Nguyÿn Ng„c B⁄ch, Nguyÿn Thuy’t Phong, Miranda
Arana, T‰n N˘ LŸ Ba, L˘ MÈng Chi and Nguyÿn
Thønh V…n. Sound
editing: Victor Zupanc and John Sailer. Funding for the trip: Asian Cultural Council and Northwest
Airlines. Arrangements: Vietnamese
Musicians' Association (Hø nÈi: HÊng [√ng, VÛ TÙ
L…n, N‰ng QuÂc B€nh, [øo Tr„ng T˜, Hu’: TrÀn H˘u Phæp, Nguyÿn
Duy Linh, V‚ [ˆc T…m, V‚ Qu’, Thønh
Ph HÊ Ch⁄ Minh:
Ph¬m Tr„ng CÀu, Xu…n HÊng, Ca L‘
ThuÀn, Thanh TÒng, DiŸp Minh Tuy÷n). Recording funded
by: The McKnight Foundation and Minnesota Composers Forum.
All
recordings by Philip Blackburn (except for Track 2, by Miranda Arana); concept,
production, editing, mixing and photos too. Adam Kapel: layout and digital graphics. Painting by Hu’ artist
Nguy“n Duy Linh, NgıÏi NgÊi Ru ThÏi Gian [One
Who Sits Lulling the Time. Oil on canvas,
32"x40", 1993]. Disc design from a Vietnamese Bronze Age drumhead, c.
500 B.C., c. 40" diameter. Cut-out figures are the singers on tracks 7, 3,
5, and 15 (from L to R).