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[[file:Left image detail, Kanjur Chinese Collection 196, inside cover Wellcome L0031389 (cropped).jpg|thumb|Tibetan illustration of [[Saraswati]], the main deity of music and [[Musician|musicians]] in [[Mahayana]] Buddhism.]]
[[file:Left image detail, Kanjur Chinese Collection 196, inside cover Wellcome L0031389 (cropped).jpg|thumb|Tibetan illustration of [[Saraswati]], the main deity of music and [[Musician|musicians]] in [[Mahayana]] Buddhism.]]


'''Buddhist music''' is [[music]] created for or inspired by [[Buddhism]]. As a [[Buddhist art]] form, music has been used by Buddhists since the time of [[Early Buddhist schools|early Buddhism]], as attested by artistic depictions in Indian sites like [[Sanchi]]. All [[Schools of Buddhism|Buddhist traditions]] make use of music in some way, usually for [[Buddhist devotion|devotional purposes]] and they are often part of Buddhist [[Ritual|rituals]].
'''Buddhist music''' is [[music]] (Sanskrit: saṅgīt) created for or inspired by [[Buddhism]]. As a [[Buddhist art]] form, music has been used by Buddhists since the time of [[Early Buddhist schools|early Buddhism]], as attested by artistic depictions in Indian sites like [[Sanchi]]. All [[Schools of Buddhism|Buddhist traditions]] make use of music in some way, usually for [[Buddhist devotion|devotional purposes]] and they are often part of Buddhist [[Ritual|rituals]].


Most Buddhist music includes [[Chant|chanting]] or [[singing]], often of traditional [[Sutra|sutras]], [[Mantra|mantras]], [[dharani]], [[Paritta|parittas]], or [[Poetry|verse]] compositions (such as [[Gatha (India)|gathas]], [[Stotra|stotras]], and [[Songs of realization|caryagitis]]).
Most Buddhist music includes [[Chant|chanting]] or [[singing]], often of traditional [[Sutra|sutras]], [[Mantra|mantras]], [[dharani]], [[Paritta|parittas]], or [[Poetry|verse]] compositions (such as [[Gatha (India)|gathas]], [[Stotra|stotras]], and [[Songs of realization|caryagitis]]).
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: Monks, there are five dangers of reciting the Dhamma with a musical intonation. What five? Oneself gets attached to the sound, others get attached to the sound, householders are annoyed, saying, “Just as we sing, these sons of the Sakyan sing”, the concentration of those who do not like the sound is destroyed, and later generations copy it. These, monks, are the five dangers of reciting the Dhamma with a musical intonation.<ref>''Gītassara Sutta'' (A.iii.250) from "Association for Insight Meditation" at {{cite web |title=Ghitassara |url=http://www.aimwell.org/Books/Suttas/Ghitassara/ghitassara.html |url-status=dead |archive-url=https://web.archive.org/web/20071121222240/http://www.aimwell.org/Books/Suttas/Ghitassara/ghitassara.html |archive-date=2007-11-21 |access-date=2007-11-09}}.</ref>
: Monks, there are five dangers of reciting the Dhamma with a musical intonation. What five? Oneself gets attached to the sound, others get attached to the sound, householders are annoyed, saying, “Just as we sing, these sons of the Sakyan sing”, the concentration of those who do not like the sound is destroyed, and later generations copy it. These, monks, are the five dangers of reciting the Dhamma with a musical intonation.<ref>''Gītassara Sutta'' (A.iii.250) from "Association for Insight Meditation" at {{cite web |title=Ghitassara |url=http://www.aimwell.org/Books/Suttas/Ghitassara/ghitassara.html |url-status=dead |archive-url=https://web.archive.org/web/20071121222240/http://www.aimwell.org/Books/Suttas/Ghitassara/ghitassara.html |archive-date=2007-11-21 |access-date=2007-11-09}}.</ref>
Meanwhie, in the ''[[Sigālovāda Sutta|Sigalovada Sutta]]'', a sutta addressed to laypersons, music is included as a negative sense desire: <blockquote>There are these six drawbacks of frequenting festivals. You’re always thinking: ‘Where’s the dancing? Where’s the singing? Where’s the music? Where are the stories? Where’s the applause? Where are the kettledrums?’<ref>{{Cite web |title=Advice to Sigālaka |url=https://suttacentral.net/ |access-date=2023-12-18 |website=SuttaCentral |language=en}}</ref></blockquote>The ''Uposatha Sutta'' likewise asks Buddhists to reflect how noble disciples "have given up singing and dancing, the playing of musical instruments and the watching of entertainments, which are stumbling blocks to that which is wholesome."<ref>{{Cite web |title=Uposatha Sila: The Eight-Precept Observance |url=https://www.accesstoinsight.org/lib/authors/nanavara/uposatha.html |access-date=2023-12-18 |website=www.accesstoinsight.org}}</ref>
Rona Sutta,


⚫
==== Pro music passages ====
DN 11 Kevaddha
Certain passages in the early Buddhists are much more positive about music.

<nowiki>http://www.accesstoinsight.org/lib/authors/nanavara/uposatha.html</nowiki>

DN 31 (Sigalovada Sutta: Basically the Buddha's advice to the lay practitioner) music is included as a sense desire that arises from habitual partying:

These are the six dangers inherent in habitual partying: You constantly seek, 'Where's the dancing? Where's the singing? Where's the music? Where are the stories? Where's the applause? Where's the drumming?

<nowiki>https://www.dharmawheel.net/viewtopic.php?t=12340</nowiki>

⚫
Pro music passages


<nowiki>https://canon.dharmapearls.net/01_agama/dirgha/DA_14.html#ref2</nowiki>
<nowiki>https://canon.dharmapearls.net/01_agama/dirgha/DA_14.html#ref2</nowiki>

Revision as of 17:42, 18 December 2023

Relief of musicians from Sanchi.[1]
Tibetan illustration of Saraswati, the main deity of music and musicians in Mahayana Buddhism.

Buddhist music is music (Sanskrit: saṅgīt) created for or inspired by Buddhism. As a Buddhist art form, music has been used by Buddhists since the time of early Buddhism, as attested by artistic depictions in Indian sites like Sanchi. All Buddhist traditions make use of music in some way, usually for devotional purposes and they are often part of Buddhist rituals.

Most Buddhist music includes chanting or singing, often of traditional sutras, mantras, dharani, parittas, or verse compositions (such as gathas, stotras, and caryagitis).

Examples of Buddhist musical traditions include the Newari Buddhist Gunlā Bājan, Tibetan Buddhist music, Japanese Buddhist Shōmyō, modern Indian Buddhist bhajans, and Cambodian Smot chanting. As there are many different traditions of Buddhist music and chanting, the musical instruments used vary widely, from solely relying on the human voice, to many types of classic instruments used in Asian music (such as the ancient Indian veena) as well as modern instruments (keyboards, guitars, etc).

Types of Buddhist music

Part of a series on
Buddhism
History
Buddhist texts
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Buddhism by country

Most forms of Buddhist music is vocal music and religious chanting, often accompanied by musical instruments. A Buddhist chant is a form of musical verse or incantation, in some ways analogous to religious recitations of other faiths. While the basis for most Theravada chants is the Pali Canon, Mahayana and Vajrayana chants draw from a wider range of sources, like the Mahayana sutras.

In Buddhism, chanting is a traditional Buddhist devotional practice, as well as a means of preparing the mind for silent meditation, especially as part of formal practice (in either a lay or monastic context). Some forms of Buddhism also use chanting for ritualistic, apotropaic or other magical purposes.

In Mahayana Buddhism, the offering of music is a traditional part of devotional offerings to the Buddhas (others include water, flowers, and light). The offering of music is thus considered to bring good merit. Furthermore, in some Mahayana sources, Buddhist music is considered to be a skillful means (upaya), a way to guide people to the Buddhist path and to teach them the Buddha's teachings.

East Asian Buddhism

Ancient Chinese musical theory held that good music brought harmony to the world and Confucian thinking held that music was useful for self cultivaiton.[2][3] In Chinese Buddhism, these positive views of music combined with the Mahayana Buddhist views of music as a meritorious offering and a skillful means.

A Chinese Buddhist musical ensemble from Zhihua Temple.

Since Japanese Buddhism is divided in thirteen doctrinal schools, and since Chan Buddhism, Zen and Buddhism in Vietnam – although sharing a common historical origin and a common doctrinal content – are divided according to geographical borders, there are several different forms of arrangements of scriptures to chant within Mahayana Buddhism.:

Pure Land Buddhists chant nianfo, Namu Amida Butsu or Namo Amituofo (Homage to Amitabha Buddha). In more formal services, practitioners will also chant excerpts from the Larger Sutra of Immeasurable Life or occasionally the entire Smaller Sutra of Immeasurable Life (a sutra not unique for Pure Land Buddhism, but chanted in the evening by Chan-buddhists and Tendai-buddhists as well).

Popular with Zen, Shingon or other Mahayana practitioners is chanting the Prajñāpāramitā Hridaya Sūtra (Heart Sutra), especially during morning offices. In more formal settings, larger discourses of the Buddha (such as the Diamond Sutra in Zen temples and the Lotus Sutra in Tendai temples) may be chanted as well.

Particularly in the Chinese, Vietnamese and the Japanese traditions, repentance ceremonies, involving paying deep reverence to the buddhas and bodhisattvas, as well as executing rituals to rescue and feed hungry ghosts, are also occasionally practiced. There is no universally used form for these two practices, but several different forms, the use of which follows doctrinal and geographical borders. Within Chan, it is common to chant Sanskrit formulae, known as dhāraṇīs, especially in the morning.

Li Na, a famous Chinese singer who became a nun in 1997, produced many popular Buddhist music albums under her new name Master Chang Sheng (释昌圣). Influential C-pop singers like Faye Wong and Chyi Yu (who released 4 albums featuring Buddhist chants) also helped Buddhist music reach a wider audience.

Japanese traditions

Daily practice in Nichiren buddhism is chanting the five character of Namu Myōhō Renge Kyō (homage to the true dharma of the Lotus Sutra). A Mahayana sutra that reveals the true identity of Shakyamuni as a Buddha who attained enlightenment numberless kalpas ago. Kumarajiva's translation, which is widely honoured, is entitled the Lotus Sutra of the wonderful law (Myoho Renge Kyo). The mystic relationship between the law and the lives of the people courses eternally through past, present, and future, unbroken in any lifetime. In terms of space, the Nichiren proclaims that the heritage of the ultimate law flows within lives of his disciples and lay supporters who work in perfect unity for the realization of a peaceful world and happiness for all humanity. Nichiren practitioners will chant Nam Myoho Renge Kyo - the true aspect of all the phenomena and recite certain chapters from the Lotus Sutra, in particular the 2nd and 16th chapters.

Japanese chanted poetry shigin (詩吟) is also another form of Buddhist music.

Komusō monks who are known for their practice of suizen ("blowing zen") and their Honkyoku (本曲), pieces of shakuhachi music.
Vowz Band, a modern Japanese Buddhist band

Shomyo

Shomyo (声明) is a style of Japanese Buddhist chant; mainly in the Tendai and Shingon sects. There are two styles: ryokyoku and rikkyoku, described as difficult and easy to remember, respectively.

Honkyoku

Honkyoku (本曲) are the pieces of shakuhachi or hocchiku music played by wandering Japanese Zen monks called Komuso. Komuso temples were abolished in 1871, but their music, honkyoku, is one of the most popular contemporary music styles in Japan. Komuso played honkyoku for enlightenment and alms as early as the 13th century. In the 18th century, a Komuso named Kinko Kurosawa of the Fuke sect of Zen Buddhism was commissioned to travel throughout Japan and collect these musical pieces. The results of several years of travel and compilation were thirty-six pieces known as the Kinko-Ryu Honkyoku.

Nepalese Buddhism

Members of the Nepalese Buddhist Gyānmālā Bhajan Khala singing hymns at Asan, Kathmandu.

In Nepalese Newar Buddhism a type of Buddhist devotional music called Gunlā Bājan (Template:Lang-new) is popular.[4] [5]

Tibetan Buddhist music

Tibetan Buddhist monks with various musical instruments used in Tibetan Buddhist rites
An ensemble of Tibetan monks from Nechung Monastery, Dharamsala

In the Vajrayana tradition, chanting is also used as an invocative ritual in order to set one's mind on a deity, Tantric ceremony, mandala, or particular concept one wishes to further in themselves. For Vajrayana practitioners, the chant Om Mani Padme Hum is very popular around the world as both a praise of peace and the primary mantra of Avalokitesvara. Other popular chants include those of Tara, Bhaisajyaguru, and Amitabha.

Tibetan Buddhism is the most widespread religion in Tibet. Musical chanting, most often in Tibetan or Sanskrit, is an integral part of the religion. These chants are complex, often recitations of sacred texts or in celebration of various festivals. Yang chanting, performed without metrical timing, is accompanied by resonant drums and low, sustained syllables. Individual schools such as the Gelug, Nyingma, Sakya and Kagyu, and even individual monasteries, maintain their own chant traditions. Each instrument mimics the sound of an animal, the drums being the footsteps of elephants and the horns mimic bird calls.

Tibetan monks are also noted for their skill at throat-singing, a specialized form of chanting in which, by amplifying the voice's upper partials, the chanter can produce multiple distinct pitches simultaneously. Japanese esoteric practitioners also practice a form of chanting called shomyo.

Theravada chanting

In the Theravada tradition, chanting is usually done in Pali, sometimes with vernacular translations interspersed.[6] The intonation and style of the chant varies by tradition, with some preferring a more monotone chant and others a more melodic chanting.

Among the most popular Theravada chants[6] are: Tisarana (The Three Refuges), Pancasila (The Five Precepts), Upajjhatthana (The Five Remembrances), Metta Sutta (Discourse on Loving Kindness), and Mangala Sutta (Discourse on Blessings).[7][8]

The traditional chanting in Khmer Buddhism is called Smot.

Myanmar

Myanmar is home to a broad genre of contemporary Buddhist music called dhamma thachin (ဓမ္မသီချင်း) or dhamma tay (ဓမ္မတေး, lit. 'Dhamma songs'), composed in the twentieth to twenty-first centuries.[9] These songs draw on religious themes, and are commonly broadcast in Buddhist monasteries, and during religious festivals and donation feasts.[9] Popular recording artists of this genre include Soe Sandar Tun and Mandalay Thein Zaw.[9] From a lyrical perspective, this genre can be subdivided into songs that extol the Buddha and Buddhism, and songs that exhort listeners to follow Buddhist teachings.[9] Some compositions use traditional Burmese instruments and vocal stylings associated with the Mahāgīta, a genre of Burmese classical music.[9]

Scriptural sources and doctrine

A musical ensemble with flute and an ancient Indian vina, from Amaravati.
A relief depicting musicians at Chakhil-i-Ghoundi Stupa, Hadda, Afghanistan, 1st-2nd century CE.

In the early Buddhist sources

Various passages from the early Buddhist texts contain criticisms of musical performance directly from the Buddha. The main criticism is that music leads to sense desire and attachment, and is thus a hindrance to meditative concentration (samadhi), and to peace of mind. However, there are other passages in which the Buddha praises music and chanting.

Aside from textual sources, there are numerous depictions of musicians and musical instruments at ancient Buddhist sites like Sanchi, Amaravati, and Chakhil-i-Ghoundi.

Against music

In the Ghitassara Sutta (Anguttara Nikaya 5.209), the Buddha admonishes Buddhist monks for reciting the teaching (Dhamma) in a musical way:

Monks, there are five dangers of reciting the Dhamma with a musical intonation. What five? Oneself gets attached to the sound, others get attached to the sound, householders are annoyed, saying, “Just as we sing, these sons of the Sakyan sing”, the concentration of those who do not like the sound is destroyed, and later generations copy it. These, monks, are the five dangers of reciting the Dhamma with a musical intonation.[10]

Meanwhie, in the Sigalovada Sutta, a sutta addressed to laypersons, music is included as a negative sense desire:

There are these six drawbacks of frequenting festivals. You’re always thinking: ‘Where’s the dancing? Where’s the singing? Where’s the music? Where are the stories? Where’s the applause? Where are the kettledrums?’[11]

The Uposatha Sutta likewise asks Buddhists to reflect how noble disciples "have given up singing and dancing, the playing of musical instruments and the watching of entertainments, which are stumbling blocks to that which is wholesome."[12]

Pro music passages

Certain passages in the early Buddhists are much more positive about music.

https://canon.dharmapearls.net/01_agama/dirgha/DA_14.html#ref2

DN 21:

  ...taking his yellow beluva-wood lute, he approached the Indasala Cave. Thinking: ‘As far as this is neither too far nor too near to the Lord, and he will hear my voice,’ he stood to one side. Then, to the strains of his lute, he sang these verses extolling the Buddha, the Dharma, the Arahants, and love:

    [...]

  When he heard this, the Lord said: ‘Pancasikha, the sound of your strings blends so well with your song, and your song with the strings, that neither prevails excessively over the other. When did you compose these verses on the Buddha, the Dharma, the Arahants, and love?’

Mahaparinibbana sutra says that after the decease of Buddha Shakyamuni, people danced around his corpse! I.e they honoured Buddha by dances!

Positive depictions

In Mahayana sources

Painting from Ajanta Caves, depicitng the bodhisattva Padmapani surrounded by celestial musicians


Lankavatara

Amitabaha sutras music in the pure lands

Lotus Sutra wonderful sound

tathagataguhya chapter 8 and 5

Kinnara king druma

In Zen Buddhism

John Daido Loori justified the use of chanting sutras by referring to Zen master Dōgen.[13] Dōgen is known to have refuted the statement "Painted rice cakes will not satisfy hunger". This statement means that sutras, which are just symbols like painted rice cakes, cannot truly satisfy one's spiritual hunger. Dōgen, however, saw that there is no separation between metaphor and reality. "There is no difference between paintings, rice cakes, or any thing at all".[14] The symbol and the symbolized were inherently the same, and thus only the sutras could truly satisfy one's spiritual needs.

To understand this non-dual relationship experientially, one is told to practice liturgy intimately.[15] In distinguishing between ceremony and liturgy, Dōgen states, "In ceremony there are forms and there are sounds, there is understanding and there is believing. In liturgy there is only intimacy." The practitioner is instructed to listen to and speak liturgy not just with one sense, but with one's "whole body-and-mind". By listening with one's entire being, one eliminates the space between the self and the liturgy. Thus, Dōgen's instructions are to "listen with the eye and see with the ear". By focusing all of one's being on one specific practice, duality is transcended. Dōgen says, "Let go of the eye, and the whole body-and-mind are nothing but the eye; let go of the ear, and the whole universe is nothing but the ear." Chanting intimately thus allows one to experience a non-dual reality. The liturgy used is a tool to allow the practitioner to transcend the old conceptions of self and other. In this way, intimate liturgy practice allows one to realize emptiness (sunyata), which is at the heart of Zen Buddhist teachings.

Influence outside of Buddhism

There are also a number of New Age and experimental musical forms which are related to or draw on Buddhism, some with understanding of the words, others merely based on repetition. A large number of these schools tend to be syncretic and incorporate Hindu japa and other such traditions alongside the Buddhist influences. Music for Zen Meditation

While not strictly a variation of Buddhist chanting in itself, Japanese Shigin (詩吟) is a form of chanted poetry that reflects several principles of Zen Buddhism. It is sung in the seiza position, and participants are encouraged to sing from the gut - the Zen locus of power. Shigin and related practices are often sung at Buddhist ceremonies and quasi-religious gatherings in Japan.

Beyond Singing

In 2009, the Beyond Singing Project produced an album combining Buddhist chants and Christian choral music.[16] Musicians involved included Tina Turner and Dechen Shak-Dagsay.

SOURCES

https://www.buddhisma2z.com/content.php?id=276

https://www.hrpub.org/download/20140701/SAJ1-19990068.pdf

The Impact of Mahayana Buddhism on Indian Music (1st AD -3rd AD) by C. Kumara

http://repository.kln.ac.lk/handle/123456789/15951

https://escholarship.org/content/qt3763180t/qt3763180t_noSplash_44fa08dca2e12aa6e4cb54c9b9e9a2b3.pdf

https://en.wikipedia.org/wiki/Gandharva

Sounds of Dharma, Buddhism and Music

http://www.buddhism.org/Sutras/2/Sutras41.htm

https://www.grafiati.com/en/literature-selections/music-music-mahayana-buddhism/dissertation/

https://academic-accelerator.com/encyclopedia/buddhist-music

http://ecmc.rochester.edu/rdm/pdflib/Morris.BudMus.pdf

=====


https://www.accesstoinsight.org/lib/authors/piyadassi/protection.html#value

https://www.jstor.org/stable/834188

http://newera.edu.mn/en/course/material/japan-music-8303/pdf_content

https://www.oxfordbibliographies.com/display/document/obo-9780195393521/obo-9780195393521-0136.xml

http://ecmc.rochester.edu/rdm/pdflib/Morris.BudMus.pdf

https://foguangpedia.org/fgs-music-productions/

https://www.google.com/url?q=https://muse.jhu.edu/article/585265&sa=U&ved=2ahUKEwikkv23soyDAxU9TTABHatOBvQ4MhAWegQIKBAC&usg=AOvVaw2VTipkdLd28ALLHhmYrFwY

https://elischolar.library.yale.edu/cgi/viewcontent.cgi?article=1159&context=yjmr

https://www.journals.uchicago.edu/doi/abs/10.1086/463658?journalCode=hr

http://www.buddhanet.net/audio-library.htm

https://mountainmusicproject.com/2014/04/mahayana-nuns-also-making-beautiful-music-in-nepal/

https://www.dharmawheel.net/viewtopic.php?t=36502

https://sacredmusicradio.org/buddhist-sacred-music/

https://www.reddit.com/r/Buddhism/comments/14im2rd/musical_instruments_used_in_ceremonies_chinese/

https://www.buddhistchurchesofamerica.org/music

Styles-----+-+++

Indian Buddhist music caryagitis, Bauls etc

Nepalese music, bhajans etc

Tibetan Buddhist music

https://rubinmuseum.org/spiral/listening-and-liberation-the-world-is-sound/

https://kvrx.org/app/blog/features/the-dalai-lamas-inner-world-and-the-world-of-buddhist-mantra/

https://www.cambridge.org/core/journals/yearbook-for-traditional-music/article/abs/music-of-tibetan-buddhism-in-ladakh-the-musical-structure-of-tibetan-buddhist-chant-in-the-ritual-bskangso-of-the-dgelugspa-sect/64AC36B6F167D9D88BC54057794C8172

https://elischolar.library.yale.edu/yjmr/vol1/iss1/4/

and Himalayan , Mongolian

Chinese Buddhist music

https://iranmusicology.com/wp-content/uploads/2022/01/wei1992.pdf

Japanese - shomyo and gagaku

Blowing Zen

http://www.ijhssnet.com/journals/Vol_4_No_8_June_2014/8.pdf

Theravada

https://studenttheses.universiteitleiden.nl/access/item%3A2711225/view

https://so02.tci-thaijo.org/index.php/JRKSA/article/download/263178/176612/1038969

https://digitalcollections.sit.edu/cgi/viewcontent.cgi?referer=&httpsredir=1&article=2077&context=isp_collection

Western

https://fpmt.org/lama-zopa-rinpoche-news-and-advice/lama-zopa-rinpoche-news/music-can-bring-so-much-joy-and-happiness/

BCA chanting

https://www.buddhistchurchesofamerica.org/chanting

Heng sure

https://www.drbu.edu/news/contemplating-sounds-buddhist-music-comes-west/

Chinese Mahayana chanting

http://thanhsiang.org/kl/archive/2008/s-religion/chanting/081015-mahayanachanting01.htm

Modern

https://teahouse.buddhistdoor.net/the-melody-of-bodhi-a-conversation-with-imee-ooi/

https://www.davidpublisher.com/Public/uploads/Contribute/6361c869d2860.pdf

https://d-nb.info/1025133870/34

https://academic.oup.com/book/25919/chapter-abstract/193659233?redirectedFrom=fulltext

https://mypalladium.org/grammy-winner-peter-rowan-brings-mixes-bluegrass-buddhism-palladium-show-sunday/

https://www.montereyherald.com/2013/11/02/sharing-buddhism-through-music/

https://www.mdpi.com/2077-1444/12/9/759

https://digitalcommons.tacoma.uw.edu/access/vol7/iss1/3/

Cage

https://www.themarginalian.org/2012/07/05/where-the-heart-beats-john-cage-kay-larson/

https://www.nantien.org.au/en/sites/upload/buddhism/pdf/bies16.pdf

https://www.researchgate.net/publication/327051554_Viewing_Instrumental_Sounds_in_Theravada_Buddhism_with_the_Buddhist_Doctrine_of_Emptiness

the Mahasiddha Vinapa:

"Vinapa was the only son of the King of Gauda who loved the sound of music. He pestered the court musicians until they agreed to teach him to play the tambura, a four string instrument; and later the vina, a seven string instrument. He loved playing the vina so much that he could hardly bear to set it down to take a few morsels of food. However, his obsession worried his parents and the court for he is the heir to the throne. His parents then summoned a highly trained yogin called Buddhapa in hopes he could wean the prince away from music.

At their first meeting, the prince recognized Buddhapa as his master and prostrated to the yogin. They then sat down to speak deeply about life and death and all that lies between and beyond. Knowing that the prince is ready for spiritual training, the yogin asked if the prince was ready to take a sadhanas. The prince replied, “My music is my sadhanas, venerable yogin. Nothing matters to me but my vina and the sound of the tambura. The only sadhanas I would practice is one that I could learn without abandoning music.” So Buddhapa taught the prince a musical sadhanas whereupon he initiated the prince and instructed him to meditate continuously upon the sound of the instrument but he must free himself of all distinction between the sound that is struck and what the mind perceives, to cease all interference with the sound, conceptualizing, critical and judgemental thought, and to contemplate only on pure sound.

The prince practiced the percepts he had been taught for 9 years and attained the state of mahamudra-siddhi.

He performed wondrous deeds. He could foretell the future, read people’s thought, and appear in more than one place at the same time. It was said that he had gained his siddhi directly from the deity Hevajra himself. All his long life he taught multitudes of beings how to find release from the bonds of existence, and when he completed his task, he was assumed into the Paradise of the Dakinis."

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See also

Notes

  1. ^ "Musicians generally described as "Greeks" from the eastern gateway at Sanchi" in Stoneman, Richard (2019). The Greek Experience of India: From Alexander to the Indo-Greeks. Princeton University Press. pp. 441–444, Fig. 15.6. ISBN 9780691185385.
  2. ^ Don Michael Randel, ed. (2003). The Harvard Dictionary of Music (4th ed.). Harvard University Press. pp. 260–262. ISBN 978-0-674-01163-2.
  3. ^ Bresler, Liora (2007). International Handbook of Research in Arts Education. Springer. p. 85. ISBN 978-1-4020-2998-1.
  4. ^ Lewis, Todd T. (January 1996). "Notes on the Uray and the Modernization of Newar Buddhism" (PDF). Contributions to Nepalese Studies. Retrieved 4 January 2012. Page 111.
  5. ^ Lewis, Todd T. (Winter 1993). "Contributions to the Study of Popular Buddhism: The Newar Buddhist Festival of Gumla Dharma". Journal of the International Association of Buddhist Studies. Retrieved 19 February 2013. Page 328.
  6. ^ a b Khantipalo (1982, 1995).
  7. ^ For a bilingual edition, see, for instance, Indaratana (2002), pp. 32-34. To listen to this being chanted, go to http://chantpali.org/metta.html.
  8. ^ Indaratana Maha Thera (2002), pp. 1–2. Audio file at http://www.buddhanet.net/filelib/mp3/03-chant-03.mp3
  9. ^ a b c d e MacLachlan, Heather (2022). "Burmese Buddhist Monks, the Seventh Precept, and Cognitive Dissonance". Asian Music. 53 (1): 34–55. doi:10.1353/amu.2022.0002. ISSN 1553-5630.
  10. ^ Gītassara Sutta (A.iii.250) from "Association for Insight Meditation" at "Ghitassara". Archived from the original on 2007-11-21. Retrieved 2007-11-09..
  11. ^ "Advice to Sigālaka". SuttaCentral. Retrieved 2023-12-18.
  12. ^ "Uposatha Sila: The Eight-Precept Observance". www.accesstoinsight.org. Retrieved 2023-12-18.
  13. ^ Loori, John Daido (2007). "Symbol and Symbolized". Mountain Record: The Zen Practitioner's Journal. XXV (2). Archived from the original on 2010-11-15.
  14. ^ Yasuda, Joshu; Anzan, Hoshin. "Gabyo: Painted Rice Cakes by Eihei Dogen Zenji". White Wind Zen Community. Archived from the original on 2008-03-07. Retrieved 2008-03-26.
  15. ^ Loori, John Daido (1997). "Zen Mountain Monastery Dharma Talk". Mountain Record: The Zen Practitioner's Journal. Archived from the original on September 27, 2011.
  16. ^ "Beyond Singing: The Journey". Beyond Singing. Archived from the original on 2009-11-05. Retrieved 2009-09-20.

References

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