- The Oxford Handbook of Music Censorship
- In the Quest of Gallican Remnants in Gregorian Manuscripts: Archaisms in the Masses for the Holy Cross in Aquitanian Chant Books
- The English Kyrie
- Governmental Interference as a Shaping Force in Elizabethan Printed Music
- The Sounds of Indigenous Ancestors: Music, Corporality, and Memory in the Jesuit Missions of Colonial SouthAmerica
- “We Should Not Sing of Heaven and Angels”: Performing Western Sacred Music in Soviet Russia, 1917–1964
- A Strident Silencing: The Ban on Richard Wagner in Israel
- HARPOCRATES at Work: How the God of Silence Protected Eighteenth-Century French Iconoclasts
- Sex, Politics, and Censorship in Mozart’s <i>Don Giovanni</i>/<i>Don Juan</i>
- The Depoliticized Drama: Mozart’s Figaro and the Depths of Enlightenment
- The Curious Incident of <i>Fidelio</i> and the Censors
- “Years in Prison”: Giuseppe Verdi and Censorship in Pre-Unification Italy
- Micronarratives of Music and (Self-)censorship in Socialist Yugoslavia
- Popular Music as a Barometer of Political Change: Evidence from Taiwan
- Music and Censorship in Vietnam since 1954
- Miguel Ángel Estrella: (Classical) Music for the People, Dictatorship, and Memory
- A Case Study of Brazilian Popular Music and Censorship: Ivan Lins’s Music during Dictatorship in Brazil
- Alban Berg’s “Guilt” by Association
- Slow Dissolves, Full Stops, and Interruptions: Terezín, Censorship, and the Summer of 1944
- Selling Schnittke: Late Soviet Censorship and the Cold War Marketplace
- Curb that Enticing Tone: Music Censorship in the PRC
- Censorship and the Politics of Reception: The Filmic Afterlife of Marc Blitzstein’s The Cradle Will Rock
- Pete Seeger’s Project
- Government Censorship and Aaron Copland’s <i>Lincoln Portrait</i> during the Second Red Scare
- “A Day in the Life”: The Beatles and the BBC, May 1967
- Composing in Black and White: Code-Switching in the Songs of Sam Lucas
- Exploring Transitions in Popular Music: Censorship from Apartheid to Post-Apartheid South Africa
- Rap Music and Rap Audiences Revisited: How Race Matters in the Perception of Rap Music
- Deaths and Silences: Coding and Defiance in Music about AIDS
- Teaching Silence in the Twenty-First Century: Where are the Missing Women Composers?
- Veiled Voices: Music and Censorship in Post-Revolutionary Iran
Abstract and Keywords
This chapter traces the history of music censorship in Vietnam since 1954 with reference to a broad range of music genres. It discusses music censorship from 1954 to 1975, when Vietnam was divided into North and South. The tight ideological control established by the Vietnamese Communist Party in the North is compared with music movements linked to antiwar protests in the South. The chapter then examines the period of severe censorship following the end of the Vietnamese-American war in 1975 and considers how the cultural climate changed in the reform era after 1986. It highlights the limits of cultural freedom in the reform era and discusses how music censorship has become intertwined with concerns about the effects of globalization on morality and national identity. Finally, the chapter addresses the impact of technology since the late 1990s, paying particular attention to Vietnamese rap and the potential for musicians to use the Internet to bypass conventional systems of state censorship.
Barley Norton is Reader in Ethnomusicology at Goldsmiths, University of London.
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