You've just enjoyed a flute and two-string fiddle duet performance by Long Phi and Nhật Minh of the song “Transformation,” written by composer Tiến Đạt and accompanied by the Australian Circus during the closing ceremony of the 2010 Huế Festival.

He’s a young man who lives on the plowed field His speech gentle as the rice paddy and sweet potatoes.

She’s a young woman of virtues in the village Her lovely skin dark, her rosy smile full of youth.

O if you’re carrying the rice on the road, dear one Southern rice, Northern rice Central pole, don’t let it fall Dear one, don’t let the rice fall!

O if you’re scooping water from the field beside the streamlet, dear one Together we could empty the East Sea O dear one, for life to be in harmony O dear one.

O dear one

O dear one

O dear one He gazes at a flock of birds, wishing to be like birds in the sky Sharing food for life, coupled like a pair of chopsticks

She quietly smiles, looking over the river and mountain Her cheeks rouge as clouds in the sky.

One autumn day with a cluster of young areca nuts New dresses winding around the neighborhood Elderly mothers feel reassured Young women dreaming Children playing drums aloud.

A peaceful country with simple joys like a bird soaring in the sky or the breeze wafting by the river is a place where gentle people build their lives.

He’s a young man 　 who lives on the plowed field　 His speech gentle as the rice paddy 　 and sweet potatoes.　 She’s a young woman of virtues　 in the village　 Her lovely skin dark, 　 her rosy smile full of youth.　 Such is the dream of a race of people who remain true to and harmonious with nature, amongst the fields and rivers.

He toils deep into the land, 　 catching rain water on the fertile soil　 Picking yellow corn flowers 　 or digging for brown potatoes.　 She hoes up the ground,　 bathing in the morning mist　 After finishing watering the land, 　 she shall go home to cook.　 A countryside couple’s dream of peace and happiness is also the collective yearning of the Aulacese people.

He toils deep into the land, catching rain water on the fertile soil Picking yellow corn flowers or digging for brown potatoes.

She hoes up the ground, bathing in the morning mist After finishing watering the land, she shall go home to cook. The letter “i” hooks back, the letter “o” is round As long as we’re in the same country We still love each other Dear one, let’s not leave each other.

My sweet child, sleep well Smiling happily in your dream Loving a free life Loving a free life

The areca nut orchard was just as high as our heads Half an acre of rice paddy, now we already have two buffaloes

Watching a little boy rain-soaked in the hamlet Rain water flowing to enrich our family’s rice.

This year’s harvest we husk the rice round and round Every night we get up before the rooster crows Life is tranquil So the devoted rice plants promise the two of us a peaceful lifetime.

One of the jewels in Aulacese music is known to the public by the moniker “The Magic Flute.” Since 1958, his legendary music has enthralled audience’s hearts with a diversity of uplifting and wondrous sounds. Musician Nguyễn Đình Nghĩa was born in central Âu Lạc (Vietnam) in the year of the Dragon, 1940. During his early years, he studied at Lycée Yersin, and was a track and field athlete, specializing in high jump and pole vaulting. He was also a disciple of Shao Lin martial art. In his 20s, he married writer Trịnh Diệu Tân.

Musician Nguyễn Đình Nghĩa was a virtuoso in the bamboo flute, and was a pioneer in introducing flute solo performances in Aulacese music. He could also play the recorder,

the monochord, the zither, and T’rưng (bamboo xylophone), a musical instrument of the indigenous people in the highlands of Âu Lạc.

On our program A Journey through Aesthetic Realms, please join us for an interview with musician Nguyễn Đình Nghĩa, “The Magic Flute,” who will be sharing his thoughts with listeners today. Could you tell us briefly about your compositions as well as some of your activities?

Yes, Quốc Thái. Many other artists as well as I always try to convey our ideals in the arts by means of music. I also teach, produce music, make flutes, and teach flute performance. I used to teach at the National School of Music. Afterward, I worked for the radio station.

He represented national delegations to perform in several countries in Europe and Asia, such as Singapore, Malaysia, Thailand, Laos, Cambodia, the Philippines, France, and Switzerland during the 1960s and 1970s. Musician Nguyễn Đình Nghĩa authored a book titled “How to Play the Flute,” which has been re-printed many times. This book has been helping generations to explore the refined art of the flute. Musician Nguyễn Đình Nghĩa was recognized four times by the Maryland State Arts Council with the Individual Artist Award for Solo Instrumental Performance in 1994, 1998, 2000, and 2002.

I was lucky in that when I came to Virginia in 1984, I was interviewed by the two biggest television networks in the United States, NBC and CBS. They interviewed me on a program called “Morning News.” From then on, many Americans knew about me. They came to interview me and asked me to teach in American schools on a contractual basis. (Yes.) So I was able to continue with my path.

With his lifelong dedication to the arts, musician Nguyễn Đình Nghĩa was a researcher of musical instruments. From the bamboo flute of 6 air holes, he created another kind of bamboo flute with 11 air holes, then 16 air holes, enabling the playing of Western classical music but still retaining all the timbres of the original bamboo flute. He also invented a fully renovated T'rưng. The one air column was increased to two, and the original one octave in the T'rưng was expanded to four octaves, making it possible to play Western classical and modern music.

We also know that you are called “The Magic Flute Nguyễn Đình Nghĩa.” How did that title come about?

Actually, this is a little hard for me to answer, since it happened a long time ago. However, I think it came from the audience’s adoration. Also, I think it came from a little story. When I worked for the radio station, composer Ngọc Bích, tested my playing the bamboo flute using all the piano scales. (Yes.) And I was able to play all the Western scales – the Dorian scale – with the bamboo flute. They were very surprised that I was able to do that. Secondly, even one-fourth of the scale, I could still play it. Or it could be I had the special talent of imitating the sounds of the birds, the different sounds in this universe, so they thought that was unique and they gave me that title.

Thank you. So other than the flute that you have learned and have been playing, do you play any other instrument?

Yes. Later I also learned a number of instruments. Most of them were percussion instruments, those that lead the rhythm, such as the T’rưng or the monochord. They were the ones I liked the most, so I researched them more deeply.

Musician Nguyễn Đình Nghĩa and family were a wonderful coming together of artists with God-given talents. They performed in hundreds of venues in North America, including prestigious settings such as Carnegie Hall, Kennedy Center, and DAR Constitution Hall. Composer Phạm Duy observed that musician Nguyễn Đình Nghĩa and his family “are credited with bringing authentic Aulacese music to the United States with high acclaims. They also contributed in promoting Aulacese folk music, especially music from the Central Highlands.”

The enchanting and refreshing sounds of the flute, together with other folk musical instruments that this family of artists exquisitely played, have transported audiences to their homeland, amid nature, pristine mountains, forests, rivers and streams.

In the process of researching the intrinsic sounds of folk music, musician Nguyễn Ðình Nghĩa, came across the poetry and music of Supreme Master Ching Hai. During Christmas 1996, The Supreme Master Ching Hai International Association organized a benefit concert “Traces of Previous Lives & Love Songs” at the Long Beach Terrace Theater, California, USA, with the participation of a majority of artists well-known in the overseas Aulacese community, including the family of musician Nguyễn Ðình Nghĩa.

On this occasion, Supreme Master Ching Hai pledged to support some of his family band’s musical and cultural activities, with the purpose of introducing Aulacese traditional folk music to non-Aulacese audiences.

Towards the end of 1997, musician Nguyễn Ðình Nghĩa suggested the benefit concert “A Journey through Aesthetic Realms” which was eventually held at the DAR Constitution Hall, Washington DC, USA. At this concert, musician Nguyễn Ðình Nghĩa and his family specially performed spiritual music with the theme “Supreme Master Ching Hai's inner spirit of compassion and the Magic Flute Nguyễn Ðình Nghĩa.”

Another question if I may, which affinity brought you to the meditative music of Supreme Master Ching Hai?

I believe there was an invisible arrangement. (Yes.) For a long time, I wanted to compose meditative music, about Buddhist scriptures, especially about Buddhist philosophy. Then by chance, I met an artist who asked me to record poems. Later he gave me a number of scripture books.

After reading the books, I discovered that Supreme Master Ching Hai talked about Light and Sound, especially the inner Sounds. As I read further, I found something special, such as the sound “Om,” for example. In the universe, “Om” is an inner Sound. I became extremely curious. From that insight, I started writing music. Afterward, I couldn’t believe I could write such music. I couldn’t believe it! I had been thinking about it every night, it became a part of me, and then I could write what I wanted to express. So I felt very comforted. I think deep down inside each of us, there is a potential, just that we haven’t been able to unlock it. If we could open it properly, I think everyone of us could do it. It’s not just me.

About the A Journey through Aesthetic Realms Concert around Christmas time in Washington, D.C. , we heard that you initiated it. What motivated you to organize such a successful concert that evening?

I have to say there was some help and encouragement for me to be able to accomplish something that I have been nurturing with regard to music about Buddhist philosophy. I couldn’t believe that it went so smoothly and successfully. It was beyond my wish and imagination.

That day, there was a very warm appreciation from all audience members from the US capital city, especially from Americans. Many people came to attend. The event was very well organized. When the audience was welcomed into the concert hall to watch the show, they didn’t expect such thoughtful hospitality. There were many performing artists, and each contributed his or her talent to the event. American audience members were very surprised and impressed by the talents of the Aulacese, especially Aulacese artists. After the program, I saw that they admired us very much. (Yes.) I also found it extremely satisfying.

Through their performances of traditional musical instruments, Nguyễn Ðình Nghĩa and his family made a deep impression on audiences about Aulacese folk music, and when woven with the essence in Supreme Master Ching Hai’s poetic verses, they created a liberating feeling amidst mystical sounds and immense spiritual dimensions, where compassion and joy were present in each melody and opened up a new world filled with peace from a purely benevolent heart. On December 22, 2005, the Magic Flute Nguyễn Đình Nghĩa returned to the realm of eternal bliss and the lofty sounds of celestial melodies.

Today’s A Journey through Aesthetic Realms: Music & Poetry is a tribute in remembrance of musician Nguyễn Đình Nghĩa, presenting selected songs that the musician performed during benefit concerts in Long Beach 1996 and Washington, DC, USA in 1997, as well as a special interview with writer Trịnh Diệu Tân, his beloved wife.

Mr. Nguyễn Đình Nghĩa composed this meditative musical work “Clouds Adrift” especially for the monochord . It presents the inherently free spirit of classical Vietnamese music in accordance to a Zen perspective: within rules yet unbounded by them; within a framework yet unrestricted by it. Only sounds exist. When the heart is still and listening to each sound, in harmony with the meditative meaning of Zen Master Không Lộ’s verses which are free, self-contented, unattached to the secular world, beyond arguments and competition. The physical body and thoughts are compared to clouds drifting toward an undetermined destination. Eventually, one shall return to the realm of Sound and Light, the realm of Infinite Light.

A bowl of rice, a thousand homes Alone one travels thousands of miles afar Blue eyes watching the world White clouds inquiring the way.

A bowl of rice, a thousand homes Alone one travels thousands of miles afar Blue eyes watching the world White clouds inquiring the way. White clouds inquiring the way.

Music can vividly paint every vivacious scenery. Sounds record the vibration emanating from each creation and wholly retains an atmosphere of vibrancy and mirth through the passage of time. Invigorating images and cheerful feelings in a bazaar at a nation steeped in colors and traditional cultures resemble a splendid sound-painting.

Like a river, a human’s life is also passing through infinite spiritual paths in hopes of returning to the blissful heavenly realm, just like the river one day will become a part of the vast ocean. The river encounters many things, only to part with them later, and continue flowing. Yet it can neither stay away from nor go beyond the celestial world. Once our soul achieves its ultimate goal, it is the time for a peaceful rest in Heaven.

The five-color rainbow 　 soaring over the waterfall crest　 Steam drifting about, 　 clouding the moss-grown rocky terrain　 Through the eyes of a lifeless fish　 And from the heart of a wild mushroom　 I see my previous incarnations, 　 appearing now and then　 Lingering with traces of sadness.　 The waterfall is a symbol of the stream of life and a human’s lifetime, and the rainbow is a symbol of a life elevated.

The five-color rainbow 　 soaring over the waterfall crest　 Steam drifting about, 　 clouding the moss-grown rocky terrain　 Overflowing in the hazy mist　 And basked in the light of the rainbow　 I see my previous incarnations, 　 appearing now and then　 Reflecting a season for prayers.

　 The five-color rainbow soaring over the waterfall crest Steam drifting about, clouding the moss-grown rocky terrain Through the eyes of a lifeless fish And from the heart of a wild mushroom I see my previous incarnations, appearing now and then Lingering with traces of sadness.

The five-color rainbow soaring over the waterfall crest Steam drifting about, clouding the moss-grown rocky terrain Overflowing in the hazy mist And basked in the light of the rainbow I see my previous incarnations, appearing now and then Reflecting a season for prayers.

The rainbow over the waterfall crest An unfamiliar bird hovers in the sky Sending its song down the abyss My former incarnations in ten directions Toward the mountainside with nowhere to go. A rainbow soaring over the waterfall, ## to where does it return? The five-color rainbow fades into infinity The waterfall leans over to gaze at its shadow of form and formless On the high sky a silken white bird A wild goose’s silhouette on the blue stream No one knows and no one notices. A chilled cry pierces the sky Shattering ten directions, my former incarnations appearing now and then Toward the mountainside, with nowhere to go.

Supreme Master Television had the honor of speaking to writer Trịnh Diệu Tân, beloved wife of musician Nguyễn Đình Nghĩa. She shared her candid thoughts:

My respectful greetings to viewers of Supreme Master Television. Actually, my family, from beginning to end, when we started our family, we already composed some songs. At the time Nghĩa was not yet famous. We had already written those songs that are now well-known such as “Nocturnal Dew,” “Weary Night Stars,” “Sorrow of a Young Married Woman,” and “The Two Shores.” Our love and our family came from that musical source. Music is the culmination of the soul, an upliftment for this life. Therefore, at the beginning, when Nghĩa composed the song “Butterfly’s Soul, Angel’s Dream,” I thought he was a French-educated person and yet he wrote the lyrics and music for “Butterfly’s Soul, Angel’s Dream” with these opening lines:

“My soul touched a falling yellow leaf 　 A nun picked it up and went uphill　 to offer the scriptures”　 Then a bodhi tree [symbol of enlightenment] had already been planted in his heart. In 1996, when he was invited by your Association to perform, Nghĩa were very touched because he aspired to introduce Aulacese folk music to the public as a legacy but he had not had the means to expand it all.

When he performed in 1997 for Master, at that time, on that stage, Nghĩa’s life was elevated to its pinnacle. He was very pleased, very happy. Nghĩa’s dream had been realized thanks to Master. 1996 was the starting year for our family. It was a great symbolism especially because before that, the whole family had not had room to expand, to develop our music. But after performing on Master’s stage, our family, our children were very happy. They were very enthusiastic to start going into the true path of music, to practice, to create. Therefore, Nghĩa was very happy, since now he had Master’s support mentally and materially. And it opened up a new path for Nghĩa’s journey.

Writer Diệu Tân talked about the joy of meeting Supreme Master Ching Hai for the first time in 1996 and the reason that inspired musician Nguyễn Đình Nghĩa to create meditative music.

After we met Master for the first time, we naturally developed a very uncommon affection and faith. We were very touched. We didn’t know which miracle had made us feel very close to Master. We highly respected and treasured her, someone who has been very famous for a long time, but we had not had an opportunity to meet. The image of Master being seated on that chair was so beautiful, so venerable and precious. It’s unforgettable in our minds.

After this impression in 1996, when we came home, Nghĩa and our family started reading many of Master’s books. We started studying her scriptures, her poetry, and we had such an immense inspiration. That was the motivation for the whole family to practice for the entire year. Nghĩa was composing and training our children, and he was orchestrating all the instruments as well. The meditative path had turned into a stage that was very grand, very beautiful to praise youthful love and the divinity in Master’s music.

Writer Trịnh Diệu Tân shared more of her thoughts about musician Nguyễn Đình Nghĩa’s performance in the 1997 benefit concert.

Even now, when talking about that concert, people are still impressed since no single organization could produce such a beautiful night, so sacred and precious. All artists were looking up to Master. So that was a success that Master had planted in this world.

In a gathering, there were several thousand Association members sitting on their seats very beautifully. It was very solemn. That night, I had the opportunity in my life to shake hands with Master. Her face was very beautiful; she is truly a Bodhisattva. My classmates, those who had the same level as I, when I talked about Master, they understood and they admired her very much. Because Nghĩa usually met with many friends, and there were also his admirers who came to ask him about Master. And Nghĩa also answered them as such. They believed us. They believed that Master is noble and has a beautiful character in life.

Writer Trịnh Diệu Tân had read several poetry selections written by Supreme Master Ching Hai.

Among the poems, what I like best is the one titled “Self Confession,” written by Master. The verses were very elegant, very insightful, expressing all of Master’s sincerity. And Master has already been enlightened, so she knew how to put down everything that needed to be put down. That is the truth of Master’s path. Sentient beings who are full of suffering must confess to themselves and be like Master to walk on the path that Master has outlined. That is a very essential matter, especially for young people because in present-day society, people compete so much. Their spiritual life is very vague. They have no goal to follow, especially the young people, our children.

Master has love for humankind, for the young people, so she is concerned that they may go in the wrong path. Master shares her teaching which is very beneficial for the young people as well as the ones who made the wrong choices in life. Master has a path for them to choose to follow. So that is a very good program, everyone ought to support it. I think all communities or the world would appreciate such matter.

Moved by the suggestion of a tribute program honoring musician Nguyễn Đình Nghĩa and touched by Supreme Master Ching Hai’s love for her family, writer Trịnh Diệu Tân conveyed her thoughts.

Nghĩa already passed on five years now. Today I’m very touched that Master rebroadcasts his work and his music. His soul somewhere will understand Master’s compassion. Master still reminds people of someone who has passed on, for us that is very touching.

Two days ago, I received a phone call from an Association member saying that Master had a gift for the family of Nguyễn Đình Nghĩa. When someone has passed away, there is nothing to be reminded of, but Master has extended her heart. An important person like her is still thoughtful of the small details. Because she cannot live for each individual. She has to shoulder humanity’s problems and do things to benefit humanity.

But to a humble individual, she still thinks of him, then her compassion has spread all over the world. Humankind has to thank her and ought to treasure her compassionate heart. Respected Master, you have not forgotten him in his life, his work, and in a way, in his training, his contribution, and in the trust that Master had given him.

Therefore, in a distant world, he knows that Master has thought of him and his family. We thank Master very much. We would like to send Master our most respectful and best regards from our family. We wish Master good health always, to be forever young, and we wish Master to bring her Truth teaching to the world and sentient beings.

Our appreciation for the invaluable contribution by musician Nguyễn Đình Nghĩa and his family to the field of music in both Âu Lạc and the world. Although the artist already left this earthly realm, his love and dedication remains. During his auspicious encounter with a Master on Earth, the musician opened the flower in his heart to embrace profound ideas and compose tranquil spiritual music to help bring peace to the minds of the multitude. May the legacy of musician Nguyễn Đình Nghĩa continue on, and may we always cherish a beautiful soul who had come to us.

On today’s special program “In Cherished Memory of the Magic Flute Nguyễn Đình Nghĩa,” we have listened to the song “A Country Couple,” by composer Phạm Duy, sung by singers Ngọc Cẩm and Nguyễn Hữu Thiết with dance accompaniment by Tre Việt Dance Company from northern Âu Lạc (Vietnam).

Next was “Turkish March” by composer Mozart was a flute duet performance by musician Nguyễn Đình Nghĩa and his daughter Đoan Trang, with piano accompaniment by Larry Bohnert. Following that was the song “Rainbow and Waterfall” written by musician Nguyễn Đình Nghĩa, with lyrics inspired by Supreme Master Ching Hai’s books “The Key of Immediate Enlightenment” and “I’ve Come to Take You Home.” His flute and vocal performance was accompanied by the Nguyễn Đình Nghĩa Family Ensemble.

This was followed by the song “Clouds Adrift,” poem written by Zen Master Không Lộ. It was adapted to music and performed on the monochord by musician Nguyễn Đình Nghĩa, with vocals by singer Kiều Hưng, and accompanied by the Nguyễn Đình Nghĩa Family Ensemble. The show continued with a special interview with Nguyễn Đình Nghĩa’s beloved wife, writer Trịnh Diệu Tân, by Supreme Master Television. A telephone interview with musician Nguyễn Đình Nghĩa on Sài Gòn Radio Overseas with Mr. Quốc Thái and Ms. Quỳnh Hương on October 19, 1998 was also featured.

Zen Master Không Lộ was born in 1016 in Hải Thanh Giao Thủy, Nam Định Province, northern Âu Lạc (Vietnam). He was known for his literary knowledge and was offered the role of National Tutor during the Lý dynasty. Master Không Lộ passed on in 1119 during the reign of King Lý Nhân Tông. Some of his legacies include the Buddhist short poem “Revealing One’s Reflection” and “Noted Sayings of Zen Master Không Lộ.”

Composer Mozart was born in 1756 in Salzburg, Austria. Since age 3, he was able to play the violin and piano. He composed his first symphony when he was yet 9 years old. Compositions written by the musical genius Mozart are still adored by audiences today and often performed at major concerts around the globe such as Symphonies 25, 36, 40, 41, the opera “Magic Flute,” and “Turkish March.”

Phạm Duy was born in Hà Nội, Âu Lạc (Vietnam), in 1921. He started his singing career traveling from north to south Âu Lạc in the years 1943-1945, and has become a legendary composer in Âu Lạc since the 1950s. Phạm Duy’s music encompasses many genres, including folk songs, spiritual songs, children’s songs, and timeless love songs of the era. Supreme Master Ching Hai had sent gifts to the multi-talented and esteemed composer Mr. Phạm Duy in appreciation of his invaluable musical contribution.

In a benefit concert organized by the Supreme Master Ching Hai International Association in 1996 in Long Beach, California, USA in support of Aulacese (Vietnamese) artists residing in their homeland, composer Phạm Duy shared his thoughts as follows:

I’ve always viewed a human life as an endless journey. Yet any departure always has a return. To Supreme Master Ching Hai, Nirvana is not a place of refuge; to Lưu and Nguyễn, heavenly bliss could not make them forget their way home. Therefore: “One step forward 　 is to arive at the Origin,　 One inch back is to return to the suffering!”　 To me, Supreme Master Ching Hai always exemplifies a carefree departure and an innocent return.

Singer-songwriter Nguyễn Hữu Thiết was born in 1928 in Huế, central Âu Lạc. Regarded by the media as “The Most Admired Singing Duo,” he and his gentle wife Ngọc Cẩm performed many timeless songs such as “White Rice Under the Clear Moon,” “Moon Falling Down the Bridge,” and “Spans of Bamboo Bridge.” He also composed a number of songs, for example, “Who Is He?” “You Left That Autumn Evening,” “You Have Departed,” and “Missing Each Other in the Evening Rain.”

Famed singer Ngọc Cẩm and her singer-songwriter husband Nguyễn Hữu Thiết were given the nickname “Lovebirds of the Arts.” They performed songs with traditional themes such as “White Rice Under the Clear Moon,” “Moon Falling Down the Bridge,” “Spans of Bamboo Bridge,” and “On the Golden Rice Field.” Ngọc Cẩm also wrote the lyrics for Mr. Nguyễn Hữu Thiết’s well-known song, “You Left that Autumn Evening.”

Kiều Hưng has a rich voice and is most successful with folk songs. He is also a talented actor. In the famous Russian opera “Evgheni Oneghin,” he played the roles of Priker and poet Lenski. His voice was also recorded and used for instructional purposes at Kiev Music Academy in Russia. Artist Kiều Hưng has been presented with gifts and warm words of appreciation from Supreme Master Ching Hai.

Larry Bohnert was born in Arlington, Virginia, USA. He holds a Master of Music Education from the University of Virginia. Mr. Bohnert has performed with the Fairfax Symphony, the Arlington Symphony, and been a part of a jazz combo called “The Family.” When he was on tours with the Nguyễn Đình Nghĩa Family Ensemble, Mr. Larry Bohnert was also the presenter introducing Aulacese (Vietnamese) traditional musical instruments and genres.

Đoan Trang, the first-born daughter in Nguyễn Đình Nghĩa's family, graduated from Sài Gòn National Music Conservatory, majoring in orchestration, harmony and ethnomusicology. She is a skilled player of traditional instruments such as the flute, drum, and bamboo xylophone. She specializes in the 36-string dulcimer. Ms. Đoan Trang and all other members of musician Nguyễn Đình Nghĩa’s family have received gifts from Supreme Master Ching Hai in loving admiration.

Nam Phương, musician Nguyễn Đình Nghĩa’s daughter, specializes in the monochord; in addition, she is well-versed in playing the 16-string zither.

Nguyễn Đình Nghị, first-born son of musician Nguyễn Đình Nghĩa, is a gifted performer of the Hmong flute and guitar. He is especially known for his quickness in playing Aulacese musical chords.

The twins Nguyễn Đình Chiến and Nguyễn Đình Hòa are the youngest members of the family. Chiến participated in Eleanor Roosevelt High School Orchestra and was the most outstanding drummer of the year at his school. Hòa is well-versed in bass guitar, having composed for the orchestra during his high school years. Chiến and Hòa toured with their family to perform such instruments as bamboo xylophone, bass guitar, drum, and wooden bell.

Nguyễn Bảo is Ms. Nam Phương’s husband. He graduated from Old Dominion University in Virginia with a bachelor’s degree in electrical and computer engineering. He has toured with the Nguyễn Đình Nghĩa family in the United States and Canada. He plays various instruments such as the T’rưng, guitar, and drum.

Thank you for watching today’s A Journey through Aesthetic Realms: Music & Poetry. Please stay tuned to Supreme Master Television for Vegetarian Elite. May your life be filled with Heaven’s blessing. We’ll see you next time.

Please join us on Saturday, December 25, 2010, for a special program on “Winter Songs,” featuring musical compositions that are favorites in Aulacese (Vietnamese) music.

Please join us today, for a special program on “Winter Songs,” featuring musical compositions that are favorites in Aulacese (Vietnamese) music.

On such a night like tonight, When snow wails and the wind weeps outside