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The low whistle, or concert whistle, is a variation of the traditional tin whistle/pennywhistle, distinguished by its lower pitch and larger size. It is most closely associated with the performances of British and Irish artists such as Tommy Makem, Finbar Furey and his son Martin Furey, Old Blind Dogs, Michael McGoldrick, Riverdance, Lunasa, Donie Keyes, Chris Conway, and Davy Spillane, and is ...
Nguyễn Việt Tú (born February 17, 1977, in Hanoi) is a Vietnamese stage director, screenwriter, producer and event organizer. Việt Tú emerged from a young age as director of many major music programs, including most notably the Nhật thực (Eclipse) live show in 2002 and the popular music video series on VTV Bài hát tôi yêu ( VTV ...
Vietnamese poetry originated in the form of folk poetry and proverbs. Vietnamese poetic structures include Lục bát, Song thất lục bát, and various styles shared with Classical Chinese poetry forms, such as are found in Tang poetry; examples include verse forms with "seven syllables each line for eight lines," "seven syllables each line for four lines" (a type of quatrain), and "five ...
He is also the Abbot of Huong Son temple (Ha Tinh), Quan Am Dong Hai temple (Soc Trang), and Giac Ngo temple (Ba Ria - Vung Tau). [ 2 ] In 1992 he went to India for higher education and got his MA degree in philosophy in 1997 from Delhi University and D.Phil. degree from Allahabad University in 2001, respectively.
A Ca trù performance. Ca trù (Vietnamese: [kaː ʈû], 歌籌, "tally card songs"), also known as hát cô đầu or hát nói, is a Vietnamese genre of musical storytelling performed by a featuring female vocalist, with origins in northern Vietnam. [1]
Phan Bội Châu (Vietnamese: [faːn ɓôjˀ cəw]; 26 December 1867 – 29 October 1940), born Phan Văn San, courtesy name Hải Thụ (later changed to Sào Nam), was a pioneer of 20th century Vietnamese nationalism.
The first girl on the left is playing the flute in the painting Tố nữ. The sáo contains the musical spirit of Vietnamese countryside and its four peaceful seasons. In Vietnam, the people played sáo when resting on the fields or before going to sleep at night.
The nặng tone is pronounced as low rising tone (12) [˩˨] in fast speech or low falling-rising tone (212) [˨˩˨] in more careful utterance. The ngã and hỏi tone are merged into a mid falling-rising (214) [˨˩˦], which is somewhat similar to the hỏi tone of the non-Hanoi Northern accent mentioned above.