Appendix 6 - International Music Council

the festival
organizers endeavour to present as great a variety as possible in
their production. For example: Entering a VCD, DVD shop in cities we can find
all kinds of music: classical European, rock-pop-rap, Vietnamese indigenous
composed, folk music of ethnic groups both of majority and of minorities. Of
course, the biggest desk is always given to rock-pop-rap music including the
popular music of XX century such as music of ABBA, Rolling Stone bands and
so on
• Cite examples where they are averse to musical diversity.
RESPONSE: The expression of aversion is not policy of State. It could be an
individual problem.
• Cite examples where they support, or weaken, the practice
of local
traditional or indigenous music
RESPONSE: As I have said above, all kinds of music, not differentiating
between
indigenous, ethnic, traditional or imported are “equal” in interest of
people. The role and the proportion which each musical kind occupies in
commercial activities depends only on the choice
of the people
• Cite examples where they are interested in developing hybrid musical
forms - e.g. music that combines
two or more ethnic musical genres or
combines an ethnic music with say, western popular music or combines
various forms of non-ethnic music
RESPONSE: Yes, we can find out some different kinds
as follow:
i. A number of new songs, both popular or romantic, were composed by
our composers on the themes of ethnic music. In the same way the
contemporary composers compose new symphonies, all kinds of European
style chamber music (duo, trio, quartet, quintet, etc)
ii. But there is not any combination of music from different ethnic
groups.
iii. We have
some cases that the contemporary composers used the
materials of ethnic music to create new Rock style songs which are considered
as “Ethnic Rock” such as the Rhade Rock, the Southern Rock etc.
• Cite examples
of the expression of personal or community identity
through music, and especially through
musical diversity
RESPONSE:
For people, both as individuals or communities, ethnic music
always is recognised as their “logo”. But they are proud in their knowledge of
the musical diversity of Vietnam’s ethnic groups, especially in the Karaoke or
festivals in which they are participants.
7. The obstacles or challenges to be overcome in order
to ensure
better protection and promotion of musical diversity.
i. We have not had the challenges caused by international trade
agreements. But now we must pay attention to this problem which we could
face in near future when we affiliate in WTO.
ii. For us, on the first importance is the danger of disappearance of
traditional ethnic
music by the rapid changes in society and of a vast musical
sp here already opening for free choice of people.
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