Bác Tran ơi, link tiếng Anh đây bác nhé:
Danh sách di sản văn hóa phi vật thể của UNESCO:http://www.unesco.org/culture/ich/in...lg=en&pg=00011
Miêu tả di sản văn hóa phi vật thể "Nhã nhạc" (được công nhận năm 2008):
http://www.unesco.org/culture/ich/in...00011&RL=00074
Nha Nhac, Vietnamese Court Music
Inscribed in 2008 on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2003)
Country(ies): Viet Nam
Identification
Description
An essential part of royal ceremonies, court music was a means of communicating with and paying tribute to the gods and kings as well as transmitting knowledge about nature and the universe. This musical tradition has been kept alive by the few surviving former court musicians.
©Hue Monument Conservation Centre
Nha Nhac, meaning “elegant music”, refers to a broad range of musical and dance styles performed at the Vietnamese royal court from the fifteenth to the mid-twentieth century. Nha Nhac was generally featured at the opening and closing of ceremonies associated with anniversaries, religious holidays, coronations, funerals and official receptions. Among the numerous musical genres that developed in Vietnam, only Nha Nhac can claim a nationwide scope and strong links with the traditions of other East Asian countries. Nha Nhac performances formerly featured numerous singers, dancers and musicians dressed in sumptuous costumes. Large-scale orchestras included a prominent drum section and many other types of percussion instruments as well as a variety of wind and string instruments. All performers had to maintain a high level of concentration since they were expected to follow each step of the ritual meticulously.
Nha Nhac developed during the Le dynasty (1427-1788) and became highly institutionalized and codified under the Nguyen monarchs (1802-1945). As a symbol of the dynasty’s power and longevity, Nha Nhac became an essential part of the court’s many ceremonies. However, the role of Nha Nhac was not limited to musical accompaniment for court rituals: it also provided a means of communicating with and paying tribute to the gods and kings as well as transmitting knowledge about nature and the universe.
The events that shook Vietnam in the twentieth century – especially the fall of the monarchy and the decades of war – seriously threatened the survival of Nha Nhac. Deprived of its court context, this musical tradition lost its original function. Nevertheless, the few surviving former court musicians continue to work to keep the tradition alive. Certain forms of Nha Nhac have been maintained in popular rituals and religious ceremonies and serve as a source of inspiration for contemporary Vietnamese music.
Năm 2008 còn có văn hóa cồng chiêng của Tây Nguyên được công nhận nữa:
http://www.unesco.org/culture/ich/in...00011&RL=00120
The Space of Gong Culture
Inscribed in 2008 on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2005)
The cultural space of the gongs in the central highlands of Vietnam covers several provinces and seventeen Austro-Asian and Austronesian ethno-linguistic communities. Closely linked to daily life and the cycle of the seasons, their belief systems form a mystical world where the gongs produce a privileged language between men, divinities and the supernatural world. Behind every gong hides a god or goddess who is all the more powerful when the gong is older. Every family possesses at least one gong, which indicates the family’s wealth, authority and prestige, and also ensures its protection. While a range of brass instruments is used in the various ceremonies, the gong alone is present in all the rituals of community life and is the main ceremonial instrument.
The manner in which the gongs of Vietnam are played varies according to the village. Each instrumentalist carries a different gong measuring between 25 and 80 cm in diameter. From three to twelve gongs are played by the village ensembles, which are made up of men or women. Different arrangements and rhythms are adapted to the context of the ceremony, for example, the ritual sacrifice of the bullocks, the blessing of the rice or mourning rites. The gongs of this region are bought in neighbouring countries, and then tuned to the desired tone for their own use.
Economic and social transformations have drastically affected the traditional way of life of these communities and no longer provide the original context for the Gong culture. Transmission of this way of life, knowledge and know-how was severely disrupted during the decades of war during the last century.Today, this phenomenon is aggravated by the disappearance of old craftsmen and young people’s growing interest in Western culture. Stripped of their sacred significance, the gongs are sometimes sold for recycling or exchanged for other products.
Cho đến nay Việt Nam có 5 di sản văn hóa phi vật thể được UNESCO công nhận:
1. Văn hóa cồng chiêng Tây Nguyên (2008)
2. Nhạc cung đình Huế (Nhã nhạc) (2008)
3. Quan họ Bắc Ninh (2009)
4. Ca trù (2009) - di sản này năm trong danh sách cần được bảo vệ khẩn cấp
5. Hội Gióng làng Phù Đổng và khu Đền Sóc (2010)