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Sounding Out HeritageCultural Politics and the Social Practice of Quan ho Folk Song in Northern Vietnam$
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Lauren Meeker

Print publication date: 2013

Print ISBN-13: 9780824835682

Published to Hawaii Scholarship Online: November 2016

DOI: 10.21313/hawaii/9780824835682.001.0001

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PRINTED FROM HAWAII SCHOLARSHIP ONLINE (www.hawaii.universitypressscholarship.com). (c) Copyright Hawaii University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in HSO for personal use (for details see http://www.universitypressscholarship.com/page/privacy-policy).date: 23 January 2018

Music after the Revolution

Music after the Revolution

A “Unified Contradiction”

Chapter:
(p.21) 1 Music after the Revolution
Source:
Sounding Out Heritage
Author(s):

Lauren Meeker

Publisher:
University of Hawai'i Press
DOI:10.21313/hawaii/9780824835682.003.0002

This chapter considers some of the ways that folk music in Vietnam was re-valorized and “disciplined” as a part of the new northern nation's emphasis on unity and building a new socialist society. “Disciplined” here refers to both the set of musical practices that train the body (the hands, the ear, the voice) and the broader sense of discipline as musical canon, which relies upon those disciplinary practices to reproduce and legitimize itself. The disciplinary practices explored in this chapter include the collection and revision (chình lý) of folk music; the composition of a repertoire of new national music based on a standardized “Vietnamese” national style; and the dissemination and teaching of this new style through printed materials.

Keywords:   Vietnamese folk music, Vietnam, socialist society, national music, socialism, discipline, musical canon

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