The Spirit of Vietnam
  • In 2015, ICHCAP and the Vietnam Institute of Musicology (VIM) jointly produced Cultural Sounds: The Spirit of Vietnam , a nine-CD set to promote public awareness about the Vietnamese ICH. In 2013, the VIM had conducted a year-long joint project with ICHCAP to restore and digitize its analogue audio documentation of ICH. The project resulted in the successful digitization of some three hundred magnetic tapes in the VIM’s collection. This CD collection was produced to distribute the outcomes of the project while raising the visibility of the audio resources. Local researchers thematically selected the eighty-seven tracks in the collection. Information on each track is presented in Vietnamese, English and Korean. This project is significant as it resulted in restoring analogue recordings at risk of permanent damage and digitizing them to enhance their academic value and public visibility.
Folk Music of Ethnic Minorities in Northern Mountain Regions of vietnam FOLK MUSIC OF SOME ETHNIC MINORITIES IN THE CENTRAL HIGHLANDS, VIETNAM HÁT XOAN IN PHÚ THỌ, VIETNAM QUAN HỌ BẮC NINH IN THE NORTH VIETNAM HÁT VĂN CA TRÙ SINGING CA HUẾ (THE HUẾ SINGING) IN CENTRAL VIETNAM ĐỜN CA TÀI TỬ, A CHAMBER MUSIC OF SOUTHERN VIETNAM Music of Traditional Theatre in vietnam 
  • The northern mountainous regions are the residential land of the Kinh people and twenty-eight out of fifty-four ethnic minorities in Vietnam. This land has diverse forms of folk culture in general and folk music in particular. The CD, Folk Music of Some Ethnic Minorities in the Northern Mountainous Regions of Vietnam introduces some repertoires of folk music that were recorded in 1959 (tracks 1, 2, 5, and 7), in 1964 (tracks 10 and 15) and in 1970 (tracks 3, 4, 6, 8, 9, 11, 12, 13, 14, and 16) and performed by folk artists from minority ethnic groups, such as Thái, Tày, Nùng, Cao lan, Phù lá, Hmông, of the northern mountainous regions. Although the sound quality of the recordings isn’t that good, the materials will be valuable to history and art researchers and those who love folk music. The recordings allow listeners to compare folk art of a time that was almost isolated with the outside world with folk art of our time—the time of Internet.

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