ID :
43231
Fri, 01/30/2009 - 06:01
Auther :
Shortlink :
http://m.oananews.org//node/43231
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Sacred music strikes right note in rituals
Hanoi (VNA) - Music plays an essential role in a broad range of traditional ceremonies, particularly religious rituals in Vietnam , where the rich heritage of the nation's culture is inexorably linked with faith to lend a lively air to this form of ritual music.
This form of music, no matter where it is performed, or which ritual it is
dedicated to, illustrates a fascinating way to link religious and non-religious
people and to promote interaction between the living and the spirits.
"It is not surprising that religions possess many art masterpieces, particularly
music," said music researcher Bui Trong Hien, "scientifically, music acts as a tool
to fascinate a large number of people psychologically".
In Buddhist rituals, the music is provided by the chiming of bells and tocsin. The
beating of drums, cymbals or gongs, which are used depending on the event's
importance, lend the ritual an air of significance and holiness.
Those instruments, although percussive, rather than melodic, are regarded as an
essential accompaniment to the Buddhist monks that support them in tunefully
conveying their prayers to the Buddha throughout the length of the ritual.
The music expert pointed to "Hat chau van", or rhythmic and trance-inducing
singing, as a genre of music characterised by highly elaborate songs and exclusive
instrumental accompaniment, performed mostly in mother worship (tho mau)
ceremonies, which are widely practised in Vietnam's northern regions.
Originating in the Red River delta in the 16 th century, the art of "Hat chau
van" has taken in the essential beauty of folk songs from the northern, central and
southern regions during the course of its development.
Classified as ritual music, "Hat chau van" combines trance singing and dancing with
music and poetry, set to a variety of rhythms, pauses, tempos, stresses and pitches
to extol the merits of beneficent deities or deified national heroes.
The main instrument used in "Hat van" performances is the "dan nguyet"
(moon-shaped lute). To create a rhythm, it is accompanied by the striking of the
"phach" (a piece of wood or bamboo), "xeng" (clappers), "trong chau" (drum), and
"chieng" (gong).
Another type of music that is considered to be ritual music is "Nha Nhac", which,
according to Pham Quynh Tram, a lecture from Hanoi Culture and Arts College ,
acts as a bridge between the royal court and the spiritual world inhabited by genies
and ancestors.
Lavish performances of Nha Nhac would involve numerous singers, dancers, and
musicians, and include a prominent drum section, along an array of other types of
percussive instruments, as well as a variety of wind and string instruments, playing
melodies that are closely associated with the ritual.
Cultural researcher Pham Cao Quy spoke of the interaction between ritual music and
cultures that help to promote links between religious and non-religious people.
For musical researcher Bui Trong Hien, "the transformative power of music has been
maximized to convey religious principles and teachings and embed them in the memory
of the people."-Enditem
This form of music, no matter where it is performed, or which ritual it is
dedicated to, illustrates a fascinating way to link religious and non-religious
people and to promote interaction between the living and the spirits.
"It is not surprising that religions possess many art masterpieces, particularly
music," said music researcher Bui Trong Hien, "scientifically, music acts as a tool
to fascinate a large number of people psychologically".
In Buddhist rituals, the music is provided by the chiming of bells and tocsin. The
beating of drums, cymbals or gongs, which are used depending on the event's
importance, lend the ritual an air of significance and holiness.
Those instruments, although percussive, rather than melodic, are regarded as an
essential accompaniment to the Buddhist monks that support them in tunefully
conveying their prayers to the Buddha throughout the length of the ritual.
The music expert pointed to "Hat chau van", or rhythmic and trance-inducing
singing, as a genre of music characterised by highly elaborate songs and exclusive
instrumental accompaniment, performed mostly in mother worship (tho mau)
ceremonies, which are widely practised in Vietnam's northern regions.
Originating in the Red River delta in the 16 th century, the art of "Hat chau
van" has taken in the essential beauty of folk songs from the northern, central and
southern regions during the course of its development.
Classified as ritual music, "Hat chau van" combines trance singing and dancing with
music and poetry, set to a variety of rhythms, pauses, tempos, stresses and pitches
to extol the merits of beneficent deities or deified national heroes.
The main instrument used in "Hat van" performances is the "dan nguyet"
(moon-shaped lute). To create a rhythm, it is accompanied by the striking of the
"phach" (a piece of wood or bamboo), "xeng" (clappers), "trong chau" (drum), and
"chieng" (gong).
Another type of music that is considered to be ritual music is "Nha Nhac", which,
according to Pham Quynh Tram, a lecture from Hanoi Culture and Arts College ,
acts as a bridge between the royal court and the spiritual world inhabited by genies
and ancestors.
Lavish performances of Nha Nhac would involve numerous singers, dancers, and
musicians, and include a prominent drum section, along an array of other types of
percussive instruments, as well as a variety of wind and string instruments, playing
melodies that are closely associated with the ritual.
Cultural researcher Pham Cao Quy spoke of the interaction between ritual music and
cultures that help to promote links between religious and non-religious people.
For musical researcher Bui Trong Hien, "the transformative power of music has been
maximized to convey religious principles and teachings and embed them in the memory
of the people."-Enditem
