This article appeared in the Experimental Musical
Instruments Volume 12 #1, accompanied by a generous helping of photos of Ta
Tham and his instruments.
©Copyright 1996 Jason Gibbs
A MUSICAL INSTRUMENT WORKSHOP IN
HANOI
by Jason Gibbs
Tucked into a comer of the Hanoi Music Conservatory campus is a
spare building that doubles as the workshop and living space for Ta Tham and his
crew of musical instrument artisans. The front room is both a living room and an
instrument showroom; the back room is where the work is done, evidenced by the
wood trimmings, an assortment of bamboo tubes, and the various manual and power
tools found throughout the room (see Example 1, putting the finishing touches on
a dan bau in Ta Tham's workshop). Upon entering the building, one cannot help
but notice the variety of unusual instruments hanging from the walls. These are
both traditional instruments of Vietnam and instruments of Ta Tham's
invention.
Ta Tham was born in 1929. He came of age during the time
Vietnam was fighting for its freedom from France and took part in the historic
battle of Dien Bien Phu in 1954. Soon after North Vietnam achieved its
independence he enrolled in the first class at the Hanoi Conservatory in 1956
where he studied both classical Western and traditional Vietnamese instruments.
While studying the violin and the piano, he came to realize that these
instruments were the result of continuous improvement and development over time
and asked himself why Vietnamese instruments should not also benefit from such
improvement. Many traditional Vietnamese string instruments are soft in volume,
better suited to playing in intimate chamber settings or personal contemplation
than for the concert stage. He felt that instruments needed to be built with
fuller resonance and louder volume. Another dream behind his work and research
has been to create a Vietnamese orchestra made up of instruments with a degree
of expression and precision and in a variety of tessitura like the Western
orchestra.
In 1957 he set out to research Vietnamese traditional
instruments in order to understand their history and construction with a view
towards improving them. From that time he also began to design his own
instruments. In a traditional society like that of Vietnam, going against the
grain and venturing into new areas is often not encouraged and Ta Tham's visions
were often neglected and at times even obstructed by the musical authorities.
For this reason he often had to work independently. This independence, however,
made it difficult to earn a living. Periods of poverty slowed the realization of
his dreams. At times, he had to work in rice fields, as a laborer and even as a
fisherman in order to support his research. Despite many years when he hid his
work for fear of derision, he was rewarded in 1987 when he won several national
prizes for his inventions. He has been building traditional instruments at the
National Conservatory of Music for several years already. During their American
tour in October 1995, I met several Vietnamese musicians touring with the Thang
Long Water Puppet group from Ha noi, some of whom used traditional instruments
constructed in Ta Tham's workshop.
Ta Tham's invented instruments use the raw materials common to
traditional instruments, such as hard and soft woods, various sizes of bamboo,
gourds, etc... He bases his inventions not only on the instruments of the ethnic
Vietnamese, but also upon those of Vietnam's many ethnic minorities. To further
his research, he has traveled extensively in North Vietnam's mountainous
regions, searching out the instruments of the country's minority peoples. During
my stay in Ha noi in 1995 he took several trips to Hoa Binh, a city on the edge
of mountainous home of the Muong people.
Vietnam is best known for its string instruments, like the 16
string zither dan tranh a cousin of the Chinese zheng, the Japanese koto and the
Korean kayagum; the 4 string lute dan ty ba a cousin of the Chinese p'i p'a and
the Japanese biwa; the dan nguyet, the 2-stringed moon-shaped lute; and the dan
nhi, the two stringed bowed lute (similar to the tro duong from Cambodia). There
are also a wide range of percussion instruments like drums (trong), woodblocks
(mo and phach), bells (chuong and qua nhac) and gongs (cong and thanh la), and
castanets (senh). Two string instruments unique to Vietnam are the dan bau, or
monochord, and the dan day, a 3 string lute used primarily in hat a dao music, a
highly literary entertainment song form performed by professional singers.
Vietnam's many minority peoples have also created a wide range of distinctive
musical instruments.
Many of Ta Tham's instruments are hybrids of existing
Vietnamese instruments. In Example 2 is a dan bau made of a mixture of wood and
bamboo with two strings and necks allowing for two fundamentals and two harmonic
series. [Readers on the World Wide Web: most of the photos are not included with
the as posted here on the EMI web site. They do appear in the print version of
the article in Experimental Musical Instruments Volume 12 #1, Sept. 1996.] On
the right is his Nam Tranh Kep, using design characteristics of two traditional
instruments, the angular-shaped dan day and the flower-shaped dan sen. It has
two necks, each with a string one made of silk, one made of metal. The Trang
Thau (example 3) is based on the moon-shaped dan nguyet, that uses the
heightened frets common to Vietnamese lutes allowing for liberal pitch bending.
An innovation of the Trang Thau is the adoption of two different fret systems
side by side. In example 4, Ta Tham is pictured with what he called, in French,
a contrabasse vietnamienne, in fact modeled on the much smaller tinh tau lute
used by shamans of the minority Thai people of northwestern Vietnam.
Many of Ta Tham's creations are percussion instruments. The
nhac tien (example 5) is a variation on the traditional song loan and senh tien.
It has a clapper connected to a woodblock like the former and a number of
rattling coins, augmented by bells like the latter. The dan mo trau (example 6)
uses a series of tuned water buffalo-shaped cowbells that are rattled side to
side.
In a traditional country like Vietnam, there is no concept of
experimental music like we have in the West there is no avant-garde to speak of.
Vietnam's cultural policy encourages the unity of the nation's peoples and the
development of culture that serves them. An inventor of musical instruments like
Ta Tham is less interested discovering new sounds or performance techniques than
in working with the raw materials and musical system at hand. He is curious
about activities outside Vietnam and is interested in meeting his colleagues in
the world of musical instrument invention. You can probably find him and
workshop at the Hanoi Conservatory.
DAN BAU
If one sound had to be chosen to
evoke Vietnam, for many it would be the sound of the dan bau, also known as the
dan doc huyen (single-string instrument). The word bau means gourd and refers to
the dried gourd fastened to the handle, surrounding the string at the point
where is connects to the handle. In the past this gourd may have served as a
resonator, but today it survives as a decorative feature. Nowadays the dan bau
is constructed using hardwood for a frame and softwood for the surface. The
handle is made of flexible carved bamboo or water buffalo horn, and the string
is made of metal. At the present time it is almost always amplified (example 7,
a dan bau side by side with gourd). Historically the dan bau was played by blind
street musicians or xam. The earlier dan bau xam (example 8) is constructed from
a split bamboo tube. It used a silk string and occasionally substitutes a half
coconut shell for the dried gourd. In the days before amplification a trunk
could be placed under the instrument as a resonator.
Historical records trace the invention of the dan bau to 1770.
but some scholars have claimed earlier origins and antecedents for the
instrument. Some speculate that it originates from a string stretched from the
teeth, others believe its antecedent is the trong quan -- a "drum" consisting of
a rope fastened to the ground at both ends stretched over pole that serves a
bridge. This pole is positioned over a trunk, or empty pit that serves as a
resonator. Ta Tham believes it originates from the tan mang, an instrument of
the Muong minority constructed from a bamboo tube with a bamboo thread carved
from out of it that is plucked like a string. None of these instruments,
however, employ harmonics, the performance technique that makes the dan bau
unique. It uses these harmonics exclusively, produced at nodes at 1/2, 1/3, l/4,
1/5 and 1/6 the length of the string. A small bamboo plectrum held in the right
hand plucks the string while the lower side of the hand stops the string at the
appropriate node. The left hand moves the handle to bend the pitch downward by
moving in the direction of the instrument, or upward by pushing the handle away
from the instrument. The pitch can bend as much as a 4th or 5th in either
direction. The left hand also produces a variety of vibratos, glissandos and
grace notes. The instrument's virtuosity and expressiveness are to found in its
left hand technique, which should have a subtlety that mimics the sound of the
Vietnamese singing voice or declaimed poetry.
Traditionally the dan bau has played in the groups of blind
musicians, in Vietnamese chamber music (nhac tai tu). More recently it also
takes part in the ensembles of cheo and cai luong theatrical music. In Vietnam
today there is a growing virtuosic literature with solo works and concertos for
the dan bau.
Jason Gibbs is a composer, bassoonist and librarian
living in San Francisco. He can be reached at PO Box 420217, San Francisco CA
94142, or by e-mail at Jasong@sfpl.lib.ca.us
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