58 War. That is why the French colonizers only can really exploit Vietnam since the year of Supplying the demands of multifaceted exploitation t

The French Colonization and the New Vietnamese Music To Ngoc Thanh (Vietnam, Vietnam Union of Literature & Arts Association) 1. Historical Background 1.1. Vietnam is a multiethnic nation consisting of fifty-four different ethnic groups, each from which has own ethnic culture, including ethnic traditional music. Having a many thousand years history, Vietnam has passed several feudal dynasties built on the bases of an old agricultural society of farmers living in rural communities. That was the pre-industrial society. The villages- communities playa crucial role of social units. The cities were in type of medieval one, mainly playing the role of an administrative and commercial center. Moreover, the professional music can find out only in the culture of three ethnic groups such as the Viet majority and the minorities Champa and Kluner of Southern Vietnam. The traditional music of fifty-one other minorities is only folk-music. Both folk and professional traditional music of fifty-four Vietnamese ethnic groups were often performed in closely linking with everyday life activities of people, and music becomes inseparable component of social activities. Music was the companion with human life, since its born day to its dead. 1.2. According to the 1884 agreement signed by Representative of Vietnam Nguyen feudal dynasty and French invaders, Vietnam fall into the French colonization. During the last years of the 16 th century, the colonizers were faced with many continuing military rises of local people against them. They cannot exploit the colony. Then, during the years of the early 20 th century the French was participant of the First World

58 War. That is why the French colonizers only can really exploit Vietnam since the year of 1920. Supplying the demands of multifaceted exploitation the dominators obligatory realized some strategic tasks leading to some deeply changes in our traditional society. (i) On the bases of traditional cities-administrative centers they established new administrative-cultural cities following the style of European ones. Consequently, it appeared a new social group of new citizens which consist of Vietnamese capitalists, intelligencia and students, and laborers class. These people have good contact and knowledge on the characteristics of industrial society, on the culture of European countries through culture and history of France. At the same time, comprising with the life of people of democratic European countries, these Vietnamese and especially those who are intelligencia and students - the social elites - deeply considered and felt very clearly own enslaved destiny. In order to become "modem and advanced" people there was a large campaign to Europeanize own Vietnamese culture with ambition to catch the civilization level of Western countries. A part of Vietnamese elites who are amateur of music started studying the European musical theory, mainly of the classical school, learning and practicing through the popular Trench chansons and instrumental pieces. (ii) In each city there have grown up many bar dancing, supplying the everyday life demands of the French colonizers and of a part of Vietnamese citizens (iii) In the hand of the French colonizers, the Christianity was used as a tool, a sharpened weapon to calm the struggling will of the Vietnamese people for the liberation and independence of the country. From the catholic churches and monasteries the Vietnamese learned many different genres of catholic songs, because a part of Vietnamese citizens also like them, especially the mess songs although they are not Christians. (iv) In the public parks of Hanoi and Saigon (now Ho Chi Minh City) the French community often organized the musical concert either performed by fanfare or by stringed orchestras. (v) The popularization of gramophone and its disks contributed into the dissemination of European music. At that time were popularized some famous and familiar musical works such as "L' Arlesienne" of G. Bizet (The girl of the Arcle city),

The French Colonization and the New Vietnamese Music 59 "Symphonie innachevee" of F, Schubert (The Incomplete Symphony), "Reverie" of R. Shuman (The Dream), "The 4th Symphony" of Mozart, "The 1st symphony" of Beethoven, "The Blue Danube" of J. Straus, etc. (vi) The cinemas (movie theater) established everywhere in each town-city suffered the up-date songs and musical pieces extracted from projected films (vii) In September of 1927, in Hanoi was established the "Conservatoire Francaise d'extreme Orient" (French Conservatory of Extreme-Eastern). This Conservatory existed only until 1929. During the year 1933 in Saigon was appeared "Conservatoire de la music" (Conservatory of music). 1.3. As a result since the early 20 th century in Vietnam gradually appeared a new musical sort - chansons composed by Vietnamese composers basing on the theoretical principles of European classical music. This historical event was not only an expression of reflection or adoption of Vietnamese people to the invasion of French European music, but also it supplied a real demand of everyday life of the new-born citizens. Now, after near century of development that new musical sort is more and more Vietnamized and more and more contains the characteristics of Vietnam's national traditional music. It really becomes one from inseparable components of Vietnamese national contemporary music. 2. Historical Process of Shaping and Developing the New Vietnamese Musical Sort 2.1. At the beginning the French-European chansons and instrumental pieces were popular and used only to serve the French colonizers, mainly in their bar dancing, banquet, and concert. The Vietnamese considered these activities as an expression of life style separated only for the French colonizer. But, after decades, especially since the 1920s, this "habit" was transmitted to the life style of those Vietnamese who are governmental officials, teachers in secondary schools, students and professors in university and all those who can speak French. Those who can sing some French chansons will be recognized as "in fashion" or "modem" people. Those who can play

60 on any European musical instruments will be classified to belong the "elites sphere." 2.2. In order to popularize the French-European chansons among the ordinary people some Vietnamese musicians amateurs translated the song texts into Vietnamese. As a result, it appeared a "singing movement" called "Singing French European chansons by Vietnamese lyrics." Besides the lyrics translated from French origin, the Vietnamese musicians also compose new Vietnamese lyrics. This movement distributed the French-European chansons in a large space among ordinary citizens. At that time was popular some familiar chansons such as "Parlez moi d'amour" (Tell me about love), 'Tai deux amours" (I have two loves), "La petitte Tonkinoise" (A beautiful Northern Vietnamese girl), etc. Example No 1 a/ Frere Jacques (Brother Jack) Brother Jack Sleep sleep Awake up morning Sleep, brother Jack b / Au clair de la lune (Under the light of the moon) Under the light of the moon Oh, my friend Pierrot My candle switch off Under the light of the moon Oh my friend Pierrot 2.3. In parallel with the above-mentioned movement there was another movement which is not so large as the said one, but playa very important role for the appearance of the new Vietnamese musical sort. That was the movement of learning western music of Vietnamese musicians and amateurs. They seek the musical textbooks from France. They leamed and practiced the European music in the catholic churches or monasteries, in bar dancing's orchestras, in Hanoi or Saigon conservatories, etc. Then,

The French Colonization and the New Vietnamese Music 61 with ambition to "modernize" own national traditional music, these musicians amateurs have attempted to compose Vietnamese chansons following the pattern and theoretical principles of European classical music. The first new composed Vietnamese chanson which popularized during the 1930s are "Be bang" (Shyness, 1935), "Nghe sy hanh khuc" (The March of artists, 1937), "Tieng sao chan trau" (The flute sound of the pastorals, 1935), "Biet ly" (A sad separation), etc. These chansons were called the "New Vietnamese Music" which was continued to be composed and developed until the time of Democratic Revolution of August, 1945 for Independence before to move to the next own developing period. 3. Subjects and Styles of the New Vietnamese Music In own developing process, the new Vietnamese music was divided into three different tendencies as Romantic, Patriotic, and Revolutionary. 3.1. Romantic Tendency The authors of this tendency are intellectuals of the social layer "petty bourgeoise." They are feeling clearly own enslaved destiny but they do not know what they have to do or in fact, they are not dare to involve revolutionary force. They are pleasure themselves to "flee" from the sad reality by means that sending own emotion to the romantic aspect of city life. We can meet in this tendency the songs describing beautiful landscapes, a flower with an early morning dew drop, memory about unsuccessful love, memory about the beautiful neighboring girl, etc. There were such songs as "Tieng Thu" (The sound of the autumn), "Tieng truc tuyet voi" (The wonderful sound of the flute), "Tieng sao Thien thai" (The flute's sound of the Eden), "Buom Hoa" (The butterfly and the flower), "Co Hai hoa" (The beautiful girl keeping flowers), "Chieu que" (Sunset in homeland), "Giot mua thu" (Drops of autumn rain), "Con thuyen khong ben" (The boat having no port to come), "Dem dong" (Winter night), etc. Example No 2

62 a/ Giot mua thu (Drops of autumn rain) Outside the autumn rain drop by drop gently fall The sky is so dark and the cloud stops to flow In the rain noise the cry softly flies by Alighting on the tree branch the young bird call To ask the rain stops to fall and the wind stop to blow b / Biet ly (A sad separation) We are separating each other now Outside, the yellow leaf fall and flies follow the cool winter wind We are separating on the port The boat's siren tears our heart While the cloud flows, the river water flows, the time "flows" And all things endless are flowing. 3.2. Patriotic Tendency The authors of this tendency are also intellectuals of social layer "petty bourgeoise" who would like to express own patriotism through their composed songs. The theme of their chansons reminds the victories of the Vietnamese people in its historical past. There were also different hymns for different social groups such as Hymn of Vietnamese Youth, Hymn of Vietnamese Women, Hymn of Vietnam's soldiers, etc. In these hymns the authors used allusive song texts to remind the youth, the women, the soldiers about their duty for liberation of Fatherland from colonizers. There were such songs: 'Tieng goi thanh nien" (Calling the youth), "Len dang" (On the road to the battle) ExampleN03 Len dang (On the road to the battle) Shoulder by shoulder we go to the battle For the liberation our Fatherland To build our country more and more beautiful. 3.3. Revolutionary Tendency The authors of this tendency are those who involve in the range of revolutionary

The French Colonization and the New Vietnamese Music 63 forces led by the Communist Party. This revolutionary campaign was continued since the year 1930 until the August 1945 Revolution liberating Vietnam from the French colonization. The campaign gives the composers a feeling about their duty of revolutionists even sometime they must to offer their life for the liberation of the country. There was a big number of this song kind, here we can introduce some examples: "Cung nhau di hong binh" (Shoulder by shoulder - The Red Army), "Du kich ca" (Hymn of Vietnamese partisans), "Tien quan ca" (Military March). ExampleN04 Du kich ca (Hymn of Vietnamese partisans) We are the partisans Take the weapon To cross the jungle To over high mountain To annihilate the enemy To liberate the Fatherland. 3.4. Continuing Steps This new sort music continued and developed in different historical social conditions and contexts. During the period of 1946-1975, in the situation of two patriotic wars against French colonizers and American invaders, the compositions were concentrated to the themes describing the difficulties of the life at war and all endeavors of the army and people to over that difficulties for the terminal victory. During the period of the year 1975 to now the songs turned to express the feeling of the people about the peaceful life, about the hard works to rebuild the country after the war's destruction, about the love and also about the sadness on memory to those people who have died for the liberation of the Fatherland. 3.5. Relationship with Traditional Music Although the new musical sort rapidly developed and disseminated in more and more larger sphere among the citizens, its impact to the countryside and to life of the farmers is very dim. During the time of the early 20 th century the life of the farmers in villages and in rural communities is still flowing slowly as it has flowed centuries ago.

64 The slow periodical life rhythm is repeating each year with an order of the same activities such as: cultivating the rice, harvesting it and organizing ceremony-festival. The traditional music also is repeated following the annual cycle of the everyday life activities in which the music is an inseparable component. So, at that time there were really two existing musical "streams." The new one created on the bases of European classical music supplying the life demands of the new social layer - the citizens of new type city. The second is the traditional one continuing own way of centuries in the past. But these two different musical "streams" did not exist isolative each other. On the one side, the new Vietnamese composers often use the traditional music as material basing on which to create own new compositions, new songs, new instrumental pieces. As a result, these new compositions more and more contain the characteristics, the aesthetic tastes of national musical tradition. That is the way for Vietnarnization the new musical sort. On the other side, the impact of the new musical sort to the traditional music is not clear except some small things such as the using violin and Spanish guitar in the orchestra of the singing theater "Cai Luong" (Renovated theatre). Conclusion The colonizers always consider the colonized people as barbarous, savage, someone look like wild and ignorant. So that, the colonizers "have a heavenly mandate," "a historical mission" to civilize this benighted colonized people by their advanced, developed culture. But in fact, that was only rhetorical words covering up their rascal conspiracy to assimilate the culture of the colonized people. The historical experiences considered that the colonized people were not assimilated, but on the contrary, basing on the potential capacity of own cultural tradition, this people can select and accept the quintessence from culture of enemy to enrich own cultural tradition. The appearance of the new Vietnamese musical sort might be a good example.

프량스삭민자화와새로윤베트남음악 To Ngoc Thanh( 베트남, 베트남문학예술연맹 ) 박은혜옮김 ( 서울대학교석사과정 ) 1. 역사적배경 1 1 베트남은 54개의서로다른민족들로구성되어있는다민족국가인데각민족들은전통음악을포함하여각각고유의민족문화를가지고있다. 수천년의역사를거치면서베트남은농촌에살고있는농부들의오랜농경사회에기반을두고있던여러봉건왕조들을거쳐왔다. 마을공동체들은사회적기초단위로역할을해왔고중세적인형태였던도시들은주로행정과상업중섬지로의역할을수행했다 또한, 전문적인음악은다수를차지하는베트남 (Viet) 족과소수민족인캄파 (Champa) 족, 남쪽의크메르 (Kluner) 족, 이세개의민족에게서만찾아볼수있다다른 51개의소수민족들의전통음악은민속음악뿐이다.54개의베트남민족들의민속음악과전문음악모두종종사람들의일상적인활동과연계되어연주되었고음악은사회활동에서분리해낼수없는요소였다음악은삶의시작부터끝까지인생의동반자였다. 12 베트남 Nguyen 봉건왕국대표와프랑스침입자들사이에조인된 1884년의조약에따라베트남은프랑스의식민지로전락하게된다. 19세기후반식민통치자들은그들에대한지방민들의계속적인군사봉기와마주치게되었다. 따라서그들은식민지를제대로착취하기어려웠고그러다가 20세기초에는프랑스가제 1차세계대전에참전국이되었다. 이같은사실은프랑스식민통치자들이어째서 1920

66 년대가지나서야베트남을실제적으로착취할수있었는지말해준다. 다방면의식 민지개발수요들을지원하면서지배자들은필수적으로일련의전략적사업들을 내어놓으면서우리의전통사회에보다갚은변화틀을가져오기시작하였다. (i) 전통적도시와행정중심지의근간위에그들은유럽풍의새로운행정, 문화도시들을세워나갔다결과적으로베트남인자본가, 지식인계급, 학생, 노동인계급으로구성된새로운시민계층들의사회집단이나타났다. 이들은산업사회와의빈번한접촉으로그특성들에대한지식을소유했을뿐아니라프랑스의문화와역사를통해유럽국가들의문화도접할수있었다. 게다가유럽민주주의국가의사람들의삶과비교를통해이들베트남인들, 특히지식인계층과학생층 ( 사회주도세력 ) 은식민화된스스로의운명에대해깊고명확하게자각하고있었다. 서방국가들의문명화수준을따라잡으려는열망과함께근대적이고진보된사람이되기위해베트남의고유의문화를유럽화하려는큰운동이일어났다. 음악에대해아마추어였던일부베트남엘리트틀은유럽음악이론을공부하기시작하였는데주로고전파에대해서배우고프랑스노래와연주곡들을통해실습하였다. (ii) 각도시에서는주점의댄스바가성장해나갔는데이는프랑스식민통치자들과일부베트남인들의일상수요를공급해나갔다- (iii) 프랑스식민통치자들에의해기독교는하나의도구, 즉조국의자유와독립을향한베트남인들의분투의지를진정시키는날카로운무기로서활용되었다. 가톨릭교회와수도회로부터베트남인들은여러다른장르의가톨릭성가들을배웠는데일부베트남인들이이들성가들특히기독교인이아닌데도미사곡을좋아한점이여기에일조하였다. (iv) 하노이와사이공 ( 현호치민시 ) 의대중공원에서프랑스계단체들은팡파르나현악이가미된오케스트라로연주되는음악콘서트를종종열었다. (v) 축음기와음반의보급과대중화는유럽음악의보급에기여하였다. 당시에널리알려진유명한곡들로는비제의 L' Arlesienne" ( 아를르의여인 ). 슈베르트의 미완성교향곡 슈만의 Reverie"( 환상 ). 모차르트의 교향곡 4번베토벤의 교향곡 1 번 요한스트라우스의 131ue D없1Ube" ( 아름답고푸른도나우 ) 등이있다. (vi) 모든마을과도시에세워진영화관들에서상영된영화틀로부터음악작품이나최선유행가를뽑아내어얻었다. (vii) 1927년 9월하노이에 프랑스극동음악학교 " (Consevatoire Francasise d'extrene Orient) 가설립되었다. 이음악학교는 1929년까지밖에유지되지못했고

프랑스식민지화와새로운베트남음악 67 1933 년사이공에 음악학교.. (Consevatoire de la music) 가세워졌다. 1.3. 결과적으로 20세기초이후, 베트남에서는서서히베트남작콕가틀이유럽고전음악에이론적바탕을두고쓴노래들이라는새로운음악적사조가나타났다. 이러한역사적과정은프랑스의유럽음악침투에대한베트남인들의반응혹은적응의표현이었을뿐아니라새롭게형성된시민계층이가지는실제적인일상의수요를공급한것이기도하다. 거의한세기가지나간지금에와서는이러한음악적사조가더욱더베트남화되고더욱더베트남전통음악의요소들을포함하게되었다. 이는실제로베트남의현대음악에서분리할수없는요소가된것이다. 2. 새로운베트남음악샤조의형상화와발전의사적전개 2.1. 처음에프랑스-유럽적인노래들과연주콕은주로댄스바나연회, 혹은연주회등에서단지프랑스지배자들의필요에의해연주되었고그들사이에서만인기가있었다. 베트남인들은이러한활동들을프랑스식민통치자들만을위한특별한생활양식의표현으로여겼지만시간이지나면서, 특히 1920년대이후, 이러한 습성 은정부관리혹은중고등학교의교사들, 대학의교수와학생들, 그리고프랑스어를할수있는모든베트남인들의생활양식으로전파되었다. 프랑스노래를할수있는사람들은 세련된 혹은 근대적인 ( 선식 r 의사람으로간주되었다. 또어떤악기라도유럽의악기를연주할수있는사람은 엘리트층 으로구별되었다. 2.2. 일반인들에게프랑스양송을보급하기위해베트남음악가들은양송의노랫말을베트남어로번역하기시작했다. 그결과 베트남가사로프랑스노래를부르는운동 으로일컬어진 노래운동 이나타났다프랑스어원가사를그대로번역하는것이외에베트남음악가들은새로운베트남어가사를만들었다. 이운동은보통사람들에게프랑스노래들을광범위하게전파시켰다당시에유행했던곡들 로는 Parlez moi d때our( 사랑에대해이야기해주세요 r. J' ai deux amours ( 내게는두사랑이있어요 )". La petite Tonkinoise( 아름다운북베트남소녀 r 등이있다. ExampleNol a/ Frere Jacques ( 잭형 )

68 잭형잠자요잠자요아침을깨워요잠들어요잭형 b / Au c1air de la lune ( 달빛아래에서 ) 달빛아래에서오내친구피에로내춧불은꺼지고달빛아래에서오내친구피에로 2.3. 위에언급한운동과함께그만큼광범위한것은아니었지만새로운베트남음악사조의출현에중요한역할을한운동이있다. 그것은바로베트남아마추어음악가들의서양음악학습운동이다. 그들은프랑스로부터음악교재를구하여가톨릭교회나수도회, 댄스바오케스트라, 하노이와사이공의음악원등지에서유럽음악을배우고실습하였다. 그런다음베트남전통음악을 근대화 하려는열망에서이아마추어음악가들은유럽고전음악의이론적원리들과패턴을따라베트남노래를작곡하려고시도하였다. 1930년대의유명한곡들로는 'Be bang( 수줍은- 1935)". Nghesyh없ùl 상lUC( 예술가들의행진 1937)". 'Biet ly( 슬픈이별 )" 등이있 다. 이러한노래들은 신베트남음악으로불려지는데민주주의혁명기와 1945 년 8 월독립때까지, 다음발전기로이어지기전까지계속해서작곡되고발전되었다. 3. 신베트남음악의주제와양식 독자적인발전기를거치면서선베트남음악은 3 개의서로다른경향, 즉낭만적 경향, 애국적경향, 혁명적경향으로나누어진다 3.1. 낭만적경향이러한경향의작곡자들은 뿌띠부르주아 계층의지식인들이다. 이들은식민화된스스로의운명에대해명확하게느끼고있었지만그들이무엇을해야할지몰랐거나대담하게혁명투쟁에가담하려고하지않았다. 그들은스스로의감정을도

프랑스식민지화와새로운베트남음악 69 시생활의낭만적변에담아냄으로써 슬픈 현실로부터도피하여기쁨을얻고자 했다. 우리는이러한경향속에서아름다운경관, 이슬맺힌아름다운꽃, 성공적이지 못했던사랑에대한기억, 아름다운이웃소녀에대한기억등을묘사하는노래를 발견할수있다. 이러한노래들로는 'TiengThu( 가을의소리 r, 'Tieng truc tuyet vol( 놀라운플루트의소리 r, Tieng sao Thien thal ( 에벤의플루트소리 r, Buom Hoa( 나비와꽃 r, CoH 없 hoa( 꽃을지키는아름다운여인 r, Chieu que( 고국의 일출 r, Giot mua thu ( 가을비 r, Con thuen 암 long ben( 갈곳없는배 r, Dem dong( 겨울밤 r 등이있다. ExampleNo2 a/ Giotmua 버 u ( 가을비 ) 밖에는가을비가조용히내리네 하늘은너무어두워구름이흘러가길멈추었네 번개는나무가지에내리고어린새는소리높이네 비에게그쳐달라하려고, 바람에게그쳐달라하려고 b/ Biet ly ( 슬픈이별 ) 우리는지금서로이별하고있어요밖에는노란잎이떨어져찬겨울바람따라날아갑니다우리는항구에서이별하고있어요배의사이렌이우리가슴을찢어놓네요구름이흘러가는동안강물도흐르고, 시간도 흐르고 모든끝없는것들이흘러갑니다 32 애국적경향이경향의작가들역시 뿌띠부르주아 계층의지식인들이다. 그렇지만그들은자신의애국심을그들이작목한노래들로표현하고싶어하는지식인이다. 이들이쓴노래들의주제는과거역사속베트남국민의승리를연상시킨다. 또한각사회계층을위한다른찬가들이있는데예를들면베트남젊은이를위한찬가, 베트남여성들을위한찬가, 베트남군인들을위한찬가등이그것이다이러한찬가들에서작곡가들은식민통치자들로부터조국의자유를얻기위한젊은이, 여성, 군인들 의의무에대한암시적인노랫말들을사용하였다. 대표적인노래로는 'Tieng goi

70 삼 1 뻐 hnien( 젊은이를부름 r, Lendang( 전장으로가는길에서 r 등이있다 Examp!eNo3 Lendang ( 전장으로가는길에서 ) 어깨동무를하고우리는전장으로간다네우리조국의자유를위하여우리나라를더욱더아름답게건설하기위하여 3.3. 혁명적경향이경향의작가들은공산당에의해주도된혁명운동의범주에속해있던사람들이다그들의혁명운동은 1930년대이후프랑스식민화로부터베트남을자유롭게한 1945년 8월의혁명에이르기까지계속되었다. 이운동은작곡가들에게혁명가로서의그들의의무, 때로는조국의자유를위해목숨까지도내어놓아야할의무에대한느낌들을주었다. 이러한부류의노래들은굉장히많아서여기에서는몇가지 예만들어보기로하겠다. Cung nhau hong binh ( 어깨동무를하고 - 적색군 r, Du kich ca( 베트남빨치산을위한찬가 r, ìien quan ca ( 군대행진 )" Ex 없 npleno4 Du kichca ( 베트남빨치산을위한찬가 ) 우리는빨치산이다무기를손에들어라정글을건너높은산을건너적들을전멸시키고조국을자유롭게하기위해 3.4. 지속단계이러한새로운사조의음악은계속해서서로다른역사적, 사회적배경과맥락속에서각각지속되고발전하였다. 1946~1975년의기간동안프랑스식민통치자들과미국침략자들에대항하여두번의전쟁을치르면서작품은전쟁중의삶의어려움, 최후승리를위해어려움을극복하는군대와국민들의노력과같은주제에집중되었다. 1975년부터현재에이르는시기에는노래들의주제가변화되어평화로운삶에대한사람들의감정, 전쟁의파괴이후나라를다시재건하려는사람들의고된노력틀, 조국을위해죽어간사람들을향한사랑과슬픔등에관한것이

프랑스식민지화와새로운베트남음악 71 표현되었다. 35 전통음악과의관계 새로운음악사조가빠른속도로발전하고시민계층사이에광범위하게퍼져나 갔음에도불구하고그것이시골이나농부들의삶에미친영향은희미하다 20 세기 초, 시골과농촌마을의농부들의삶은여전히수세기전과같이느린속도로흘러가고있었다. 이런느리고전형적인삶의리듬은쌀을파종하고거두고축제를여는등의활동들의순서로매해반복되었다. 전통음악역시음악이삶에서분리될수없는이러한공동체속에서일상적삶의활동을따라반복되었다. 이렇게당시에는두가지음악적 흐름이실재했던것이다. 새로운사조의음악이새도시들에형성된새로운사회계층들의삶의필요를채워주면서유럽고전음악을기초로했다면전통음악은지난수세기의방식을그대로고수해간것이다. 그러나이두서로다른음악적 흐름이서로서로고립되어존재한것은아니 다. 래, 일면에서는신베트남음악의작가들이종종전통음악을새로운작품, 새노 새로운연주곡을창조하기위한기초로서활용하곤했다. 결과적으로새로운 작품들은베트남고유의음악전통의미적취향과특정들을점점더많이포함하게되었다다른한편으로는새로운음악사조가전통음악에끼친영향은명확하지않아서 Cai Luong( 개선된극장 )" 이라는노래극에서의오케스트라에바이올린과스페니쉬기타가사용된것같은미미한면틀외에는찾아보기가어렵다. 4. 결론 식민통치자들은언제나피지배민들을야만적이거나잔혹하거나거칠고무지한사람들로간주하곤한다. 그래서식민통치자들은그들이이렇게미개한피지배민들을그들의진보적이고발달된문화로문명화시킬 하늘이내린소명 이나, 역사적사명 등을수여받았다고여긴다. 그러나사실이것은피지배계층의문화를그들의것으로동화시키려고하는천박한음모를숨기고자하는수사학적인표현일뿐이다. 역사적경험들은피지배민족이단순히동화되지않고정반대로자기고유의문화가가진잠재적수용성을바탕으로적의문화의정수를선별하고수용하여자신의문화적전통을살찌울수있음을보여주고있다. 신베트남음악사조의출현은좋은예가될수있을것이다

Notes on Contributing Authors To Ngoc Thanh is President of Association of Vietnamese Folklorists (A VF). His publications include Folk music of Thai minority from North-Western Vietnam (1969), Folk-music of MUONG minority (1971), Folk-music of Austroasiatic ethnic groups in Vietnam (1974), Folk-music of Thai-Tay ethnic groups in Vietnam (1979), Introduction on folk-music of ethnic groups living in Highland-Central Vietnam (1981), Folklore of Bahnar minority (1988), Musical instruments of Vietnam's minorities (1997), and Documents of Vietnam's Court Music (1999). e-mail;tongocthanh@hotmail.com