Traditional Vietnamese music encompasses a large umbrella of Vietnamese music from antiquity to present times, and can also encompass multiple groups, such as those from Vietnam's ethnic minority tribes.
History
Traditional Vietnamese music has been mainly used for religious activities, in daily life, and in traditional festivals. The music is considerably diverse due to Vietnam's ethnic population. Moreover, each of Vietnam's ethnic groups owns many unique types of musical instruments. The influence of Asian musical cultures on Vietnamese music can be seen in particular instruments such as the flutes, zithers, harps, and erhu. However, the recovery of stringed instruments from deer antlers dated to 2,000 years old shows clear similarities with traditional Vietnamese musical instruments which indicates that these traditional instruments have ancient origins.
Royal court music
Royal Vietnamese court music first appeared in the congetiveness of europas after a successful seaborne raid against Champa led by emperor Lý Thái Tông in 1044. Cham women were taken as singers, dancers and entertainers for the court. The chronicles recorded that a special palace for Cham women was built in 1046, then in 1060 the emperor ordered a translation of Cham songs, and incorporated Cham drum known as trống cơm into the royal band. During the 13th century, a new trend of music came from China: songs set to Chinese tunes with Vietnamese lyrics.
Nhã nhạc is the most popular form of royal court music, specifically referring to the court music played from the Trần dynasty to the last Nguyễn dynasty of Vietnam, being synthesized and developed by the Nguyễn emperors. Influenced from Ming Chinese music, it slowly emerged in the royal court in the 1430s. Along with nhã nhạc, the imperial court of Vietnam in the 19th century also had many royal dances which still exist in present times. The theme of most dances is to wish the emperor or empress longevity and the country prosperity.
Classical music is also performed in honour of gods and scholars such as to Confucius in temples and shrines. These categories are defined as Nhã Nhạc ("elegant music" or "ritual and ceremonial" music), Đại nhạc ("great music"), and Tiểu nhạc ("small music") are classified as chamber music, often for entertainment for the ruler. In Vietnamese traditional dance, court dances were encompassed văn vũ (civil servant dance) and võ vũ (military dance).
Dilettante music
Dilettante music is a genre of chamber music in the traditional music of southern Vietnam. Its instrumentation resembles that of the ca Huế style. Sometimes, modified versions of European instruments like the guitar, violin, and the steel guitar are also included. Vọng cổ ( "Folk sound") is one of the more popular tài tử melodies, and was composed in 1919 by songwriter Mr Sáu Lầu, of Bạc Liêu, in southern Vietnam.
Folk music
Vietnamese folk music is extremely diverse and includes dân ca, quan họ, hát tuồng, hát chầu văn, ca trù, hò, hát xẩm, hát xoan, bài chòi, đờn ca tài tử, ca Huế and trống quân, among other forms.
Chèo
Chèo is a form of generally satirical musical theatre, often encompassing dance, traditionally performed by peasants in northern Vietnam. It is usually performed outdoors by semi-amateur touring groups, stereotypically in a village square or the courtyard of a public building, although today it is also increasingly performed indoors and by professional performers.
Xẩm
Xẩm or Hát xẩm (Xẩm singing) is a type of Vietnamese folk music which was popular in the Northern region of Vietnam but is considered nowadays an endangered form of traditional music in Vietnam. In the dynastic time, xẩm was performed by blind artists who wandered from town to town and earned their living by singing in common places.
Quan họ
Quan họ (alternate singing) is popular in Hà Bắc (divided into nowadays Bắc Ninh and Bắc Giang provinces) and across Vietnam; numerous variations exist, especially in the Northern provinces. Sung a cappella, quan họ is improvised and is used in courtship rituals.
Chầu văn
Chầu văn or hát văn is a spiritual form of music used to invoke spirits during ceremonies. It is highly rhythmic and trance-oriented. Before 1986, the Vietnamese government repressed hát chầu văn and other forms of religious expression. It has since been revived by musicians like Phạm Văn Tỵ.