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The Role of Music within
Tibetan Buddhism
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Marcus Cook - s2701452
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Buddhism is a vast and complex religion with each style differing in various
ways. One of the most famous and well-recognised forms of Buddhism is Tibetan
Buddhism with its most significant figure, the Dalai Lama, influential in world
political affairs. As part of my research into Tibetan Buddhism, I visited
Chenrezig, a Tibetan Buddhist Monastery in the hinterlands of the Sunshine
Coast, and was witness to one of their ceremonial rituals. Incorporating my first
hand experience into my research, this paper will look to examine what role
music plays in Tibetan Buddhism.
Buddhism began to spread and establish itself in Tibet during the 7th Century AD,
where it synthesised with the indigenous Bon religion of Tibet. By absorbing
elements of Bon a new form of Buddhism developed commonly known as
Tibetan Buddhism, but sometimes referred to as Tantric Buddhism or Lamaism.
Tibetan Buddhism is esoteric and tantric in nature, concerned with hidden and
inner teachings, using spiritual energies and visual, aural and symbolic elements
such as mandalas (symbolic map of spiritual universe), mudras (symbolic hand
gestures), chants and music. Because of this Tibetan Buddhism is a highly
ritualised form of Buddhism in which music is inseparable from ritual and
therefore is a significantly important element to the religion. This was evident
from the services and rituals performed at Chenrezig, where all ritual activities
where either accompanied by music or the text and teachings where chanted.
Those practicing Tibetan Buddhism worship daily at home or within a temple or
monastery. The place of worship is usually ornately decorated incorporating a
shrine containing the image of Buddha or a bodhisattva (enlightened being),
with candles and incense. At Chenrezig worship rituals where held in their
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Gompa. Within Chenrezig’s Gompa, many of the characteristics outlined in the
research were prevalent such as the ornate decorations, incense and candles, a
shrine in the image of Buddha along with many wall hangings depicting Buddha
and protective deities. On their website they describe the precise
representations of the decorations, “In the Gompa there are representations of
some of the different manifestations of the Buddha, including Chenrezig - the
Buddha of Compassion, Shakyamuni Buddha - the historical Buddha and Green
Tara, a feminine manifestation embodying the Buddhist teachings (or Dharma)
in action.” (http://www.chenrezig.com.au)
Tibetan Buddhism has strong beliefs in monastic living, which involves giving up
many possessions to live a simple, unselfish life within a monastery. Those that
follow this practice are referred to as monks and nuns or the Sangha and study
under the leader of the monastery. Chenrezig is a fully functioning monastic
community with various accommodations on site. The research outlines those
that undertake monastic living and become monks or nuns dress in various
robes, most commonly dressed in their day-to-day robes (Zen) coloured maroon,
which was in inline with what I was during my time at Chenrezig.
Although open to the public Wednesday to Sunday, guidelines are given to
visitors wishing to visit or participate in rituals at Chenrezig. These guidelines
are presented to visitors upon entering the complex and are also posted upon
the website:
· Shoes and hats should be removed before entering the teaching room
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· Modest dress is required for both men and women. This means: long trousers or
skirts/short below the knee, covered shoulders and modest necklines (short-shorts,
singlets and short skirts are not appropriate)
· Texts and other holy objects should not be placed on the floor or walked over
· During the teachings one should not point the soles of one's feet towards the
teacher or the altar; a respectful upright posture should be maintained. Please sit
in a chair if it is difficult for you to sit on a cushion on the floor
· Prostrations, while not compulsory, are a sign of respect for the teaching and the
qualities of the teacher
· If you must move about or leave the room during a teaching, do so with respect
for the teacher and fellow students, making as little disturbance as possible
· Stand respectfully when the teacher enters and leaves the Gompa.
(http://www.chenrezig.com.au)
The music of Tibetan Buddhism is performed in daily services as a form of ritual
worship. The music incorporates chanting and instruments and is performed by
monks and nuns who have studied and practiced under the guidance of their
leader. The ritual performance involves the performers or worshipers sitting in
rows, facing each other. For the ritual at Chenrezig we sat in rows at 90 degrees
to the leader, who sat upon a raised platform. The instruments commonly used
in Tibetan Buddhist music are various trumpets (Kang Dung - traditionally made
from a thighbone now made from metal, Dung Kar - conch shell trumpet, Dung
Chen - long metal trumpet 6 to twelve feet usually played outside), drums,
cymbals, shawms and hand bells (Vajras). The ritual at Chenrezig made use of all
of the above apart from the Dung Chen as those are used outside where they are
permanently fixed.
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As outlined in various sources, the ritual at Chenrezig had an individual leader
who led the Sangha using chant throughout the ritual. The structure of Tibetan
Buddhist music involves chanted passages, instrumental passages and at times a
combination of both. The chanted passages recite various texts and scriptures of
the teachings of Buddha or give praise and reverence to Buddha, bodhisattvas or
protective deities.
Chanting is the most important part of Tibetan Buddhist rituals with the
instrumental music often used to demarcate aspects of the ritual (Beck, 2006, p.
177). The style of chant used within Tibetan Buddhism is quite unique in how
melodic content is approached. “The melodic content occurs in terms of vowel
modification and contouring of tones” (Beck, 2006, p. 180) Therefore, the
melodic content in Tibetan Buddhist chant is altered by shifts in timbre and tonal
colours. The chanting style utilized is also very resonant with a deep bass vocal
tone with higher harmonics. This style of chant was used throughout the ritual
performed during my visit to Chenrezig with instrumental parts used to signify
different aspects of the ritual.
One of the original purposes of chant in Buddhism was its use as a form of
notation, for the teachings of Buddha and other sacred texts to be learnt by heart
and recited from memory. “The earliest Buddhist communities used chant to
remember the teachings of the Buddha… all of his teachings were recalled solely
through the use of chant”(Beck, 2006, p. 172). Chant was important in preserving
important teachings and scriptures of the religion whilst expounding the truth of
the Sutras, however it has become an important, if not essential part of worship.
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As stated above the music of Tibetan Buddhism is inseparable from the ritual
and worship undertaken within the religion and is not viewed as music by those
practicing, but rather as ritual observance. Tibetan Buddhists believe a line
divides the profane or phenomenal realm from the sacred and transcendent
realm and use religious techniques to establish a conduit to temporarily reach
the transcendent world (Mabbett, 1993, p. 11). The various techniques or tools
used to establish this “conduit” include mandalas, mudras, mantras and
meditation. Just as these techniques are used to access the transcendent realm so
to is chant and music in the rituals of Tibetan Buddhism. “The role of sacred
music lies primarily in the process of inner transformation towards an ever-higher
purer state known as ‘enlightenment’” (Lhanungpa, 1969, p. 3). The music of
Tibetan Buddhism therefore is not symbolic but rather specifically and
uncompromisingly sacramental, with instruments viewed as sacramental
apparatuses used to “tune in to the radio signals of the Void” (Mabbett, 1993, p.
21). Buddhists believe that musical performance not only consists of the music
produced by physical sound but also of mentally produced music that is
perceived and imagined by each listener. “The combination of the two locations
for music – the voice and the mind – leads to greater intensification of the
worshipful action” (Beck, 2006, p. 186). It is in this way that a deeper use for
music in Tibetan Buddhism is evident.
The use of music within Tibetan Buddhism aims to contribute to the path of
enlightenment and a plays significant part as an apparatus for the practitioners
of the religion. Zhuan’s
A Record of the Buddhist Religions as Practiced in
India and the Malay Archipelago (as cited in Hsing Yun, 2006) discusses the
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outcomes and benefits from musical performance in Buddhism:
“Six kinds of merits that can be obtained: knowledge of the depth and extent
of the Buddha’s virtue, an intuitive realization of the truths of the Dharma, a
reduction in negative or harmful habits of speech, a clearer and healthier
respiratory system, a mind more free from fear and anxiety, and longevity
and improved health.”
This is further evidence of how the purpose and use of Tibetan Buddhist music
goes far beyond that of entertainment, personal satisfaction or performance for
symbolic reasons.
Although the original purpose of chant and music in Tibetan Buddhism was
concerned with preserving the teachings of Buddha, it is clear from the research
and my observations at Chenrezig that the music of Tibetan Buddhism has
developed to serve a deeper role identical to tantric elements within the religion.
Just like the other tantric elements of Tibetan Buddhism, chant and instrumental
music are used as tools to access the transcendental world and to achieve the
ultimate goal of the religion, “enlightenment”. The music of Tibetan Buddhism
may appear to outsiders as a symbolic form of performance, however the real
nature of the music lies deeply within the sacred and transcendental, serving a
much higher purpose than originally perceived.
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Reference List
Beck. G. B. (2006). Sacred sound: experiencing music in world religions. Ontario,
Canada: Wilfred Laurier University Press.
Chenrezig Institute. (n.d.). Retrieved April 10, 2011, from
http://www.chenrezig.com.au
Harderwijk. R. (2011). Views on Buddhism. Retrieved April 21, 2011, from
http://www.viewonbuddhism.org/
Lhalungpa, L. P. (1969). Tibetan music: Secular and sacred. Asian Music, 1(2), pp.
2-10. Retrieved April 15, 2011, from JSTOR
Mabbett. I. W. (1993). Buddhism and music. Asian Music, 25(1/2), pp. 9-28.
Retrieved April 15, 2011, from JSTOR
Miller. T. E. & Shahriari. A. C. (2009). World Music: a global journey (2nd Ed.). New
York, NY: Routledge.
Powers. J. (2007). Introduction to Tibetan Buddhism (2nd ed.). Ithaca, NY: Snow
Lion Publications
Tsukamoto. A. (1983). The music of Tibetan Buddhism in Ladakh: The musical
structure of Tibetan Buddhist chant in the ritual Bskaṅ-gso of the Dge-Lugs-pa
Sect, Yearbook for Traditional Music, 15, pp. 126-140. Retrieved April 15, 2011,
from JSTOR.
Waddell. L. A. (2004). Tibetan Buddhism: with its mystic cults, symbolism and
mythology, and in its relation to Indian Buddhism. Kessinger Publishing.
Wallace. B. A. (1993). Tibetan Buddhism: from the ground up; a practical
approach for modern life. Somerville, MA: Wisdom Publications.
Yun. H. (2006). Sounds of the Dharma: Buddhism and music. Hacienda Heights,
CA: Buddha’s Light Publishing
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