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Lien Khuc Top Hits 2 - Minh Tuyết, Hạ Vy, Vina Uyên Mỹ, Gia Linh, Tú Quyen, Thúy Vân, Huy Vũ, Gia Huy, Phillip Huy, Tuan Hưng, Kevin Khoa, Minh Chanh Nhạc Phim: 3 Đời 6 Chiếc Đua và Sao Anh Ra Đi (Minh Vy) - Minh Tuyết
Paris By Night 96 - Nhạc Yêu Cầu 2 (Music Requests 2) is a Paris By Night program produced by Thúy Nga that was filmed at the Knott's Berry Farm on April 18, 2009 and April 19, 2009 and release DVD from June 25, 2009.
Paris By Night 83: Những Khúc Hát Ân Tình is a Paris By Night program that was filmed at the Charles M. Schulz Theatre at Knott's Berry Farm in Buena Park, California, on Saturday, May 27, 2006.
The traditional music of Vietnam has been heavily influenced by Chinese music, mainly in terms of musical instruments and performance styles. [3] The introduction of American music, particularly rock and roll and pop music, has influenced the development of modern Vietnamese music.
Che Linh's musical career strongly excelled, and his first two songs were born: "Dem buon tinh le” and “Dem buoc co don” Recognizing that music is the shortest way to bring understanding between the Kinh and the Chams and all the other ethnic groups, Che Linh promised to continue and excel in the musical industry.
Lâm Nhật Tiến (born September 3, 1971) is a Vietnamese American singer who was affiliated with the music label Asia Entertainment Inc. from 1994 to 2016. [1] He gained prominence through numerous appearances in Asia Entertainment's music videos, establishing himself as one of Vietnam's leading male pop stars.
Tiếng gọi thanh niên, or Thanh niên hành khúc (Saigon: [tʰan niəŋ hân xúk], "March of the Youths"), and originally the March of the Students (Vietnamese: Sinh Viên Hành Khúc, French: La Marche des Étudiants), is a famous song of the Vietnamese musician Lưu Hữu Phước.
The Chinh phụ ngâm ("Lament of the soldier's wife", 征婦吟) is a poem in classical Chinese written by the Vietnamese author Đặng Trần Côn (1710–1745). [1] It is also called the Chinh phụ ngâm khúc (征婦吟曲), with the additional -khúc ("tune", 曲) emphasizing that it can be performed as a musical piece not just read as a plain "lament" (ngâm, 吟).