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Scholars have lately displaying constantly growing interest in the role of the woman in music and in the specificity of women music making. These subjects are considered both in broad terms and as concrete phenomena. It seems to be expedient to try to combine the above subjects and by the example of a particular phenomenon – the Vietnamese female ca tru singing to trace some typological community with other traditions of female music making in countries of the Far East and partly South East Asia. Generally, thre...