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1. Van singing

Van singing is a genre of music which derives from the time-honoured Vietnamese belief in mother-worship. The melodies of Van singing used to retell the sacred stories include Con, Xa, Doc, Phu and a number of others. In order to reflect the distinct character and sentiment of different parts of Viet Nam, instrumentalists of this genre have over the years drawn from a variety of regional musical styles, developing different variations in order to make Van singing even more rich and fascinating.

2. Quan Ho singing

Quan Ho is a popular vocal genre that is linked closely to the custom Ket Cha (establishing friendships between villages) found amongst the ancient Kinh Bac. Traditionally, the representatives of various Cha (villages), known as brothers Hai and sisters Hai, would get together each Springtime to show off each others' skills in singing. Later this tradition developed into the genre now known as Quan Ho singing.

3. Then singing

Then singing also derives from a popular belief which plays an important role in spiritual life of the ethnic minorities living in mountainous region of northern Viet Nam, notably the Tay, Nung and Thai people. During the ceremony, a woman plays the Xoc nhac (Tintinnabula), and the Tinh Then (three-stringed lute), whilst at the same time reciting stories and recitatives. The resulting melodies, collectively known as Then singing, incorporate a variety of different movements, including Pat Ngoang (catching cicadas), Phat Tang (opening up the path), Kham Hai (crossing the sea), and so on.

4. Solo Ding Takta

Ding Takta is a bronze-reed flute of Ede ethnic group which every mature Ede male is expected to know how to play, since it is the voice of love, the evidence of his maturity and the means by which he is eligible to be a full member of the Ede community.

5. Lullaby : Eme kha ba

Eme Kha Ba is a kind of lullaby in the Phu La ethnic minority of the northwest Viet Nam. In addition to its function of sending a baby to sleep, it is also used by young lovers to convey their feelings towards each other. Those visiting Phu La village at sunset might be lucky enough to hear its enchanting melody.

6. Solo Ding Goong

Originating from the Giarai ethnic minority, the Ding Goong is a polyphonal plucked string instrument which is now in popular use throughout the Central Highlands. Each ethnic group has its own special way of tuning the Ding Goong, which is played only by men and features in both daily activities and special festivals. The Ding Goong is known under a variety of alternative names including B'rang, Tinh Dinh, and Chinh.

7. Bacarole : Ho do dua

Ho Do Dua is a type of folk singing which has developed in Nghe An and Ha Tinh provinces. It is performed in a variety of different contexts, including courting, working in the fields, and rowing boats on the river.

8. Kuut singing

The Kuut is a long recitative melody of the Ede ethnic minority. According to the particular context, different types of accompaniment can be provided. Traditionally talented Kuut singers are senior artists recognised for their skill and depth of knowledge.

9. Ha Leu singing

Since time immemorial, small children of the Nung Loi ethnic minority of Cao Bang province have accompanied their older brothers and sisters to markets and festivals. There they get the chance to practise a type of love duet known as Ha Leu singing, so that by the time they reach maturity they know how to choose a singing partner, how to select the right lyrics and how to combine their part with that of their partner.

10. Thay mai singing

Thay mai is a folk song of the Cham people of Ninh Thuan province. Its melanchody melody and lyrics reflect the language of love.

11. a Dao singing

a Dao singing began as an expression of worship in the village communal house. However, as time went by, it developed into a distinct vocal genre performed by women and acquired the alternative name Ca tru (literally 'singing for reward'). Moreover recently, thanks to the work of enthusiastic literati, a new element of refinement and professionalism has been introduced into the genre. Typically the singer accompanies herself on castanets, supported by a Dan Day (rectangular-shaped resonator three-stringed lute) and a Chau drum.

12. Solo T'rung

T'rung is the onomatopoeic name for one of the most important folk instruments of the Central Highlands, which has now become popular throughout Viet Nam. An idiophone which comprises between of 14 or 16 bamboo sections, the instrument is believed by researchers to have originated amongst the Giarai people as a water device for scaring wild animals and birds away from the fields.

13. Bok Weng Non

The Bok Weng Non derives from the musical repertoire of the Kh'mer ethnic minority wedding ceremony. It is sung at the very moment when the bridegroom ties a thread around the bride's hand to symbolize the stability of their love, expressing the joy and wishing the couple a long and happy life together.

14. Ly Chieu Chieu and Ly Ngua O

Ly Chieu Chieu and Ly Ngua O are two special folksongs in repertoire of Ly tunes in Quang Tri and Thua Thien Hue provinces. Ly means to sing, but for the people of these two provinces, it defines a particular genre of solo singing which expresses a person's innermost feelings, at moments of sadness as well as joy.