Buddhism and The Music

Buddhism and the Musical Cultures of Asia: An Annotated Discography
Author(s): Paul D. Greene, Keith Howard, Terry E. Miller, Steven G. Nelson, Phong T. Nguyen
and Hwee-San Tan
Source: Asian Music, Vol. 35, No. 2 (Spring - Summer, 2004), pp. 133-174
Published by: University of Texas Press
Stable URL: http://www.jstor.org/stable/4098448
Accessed: 10-02-2016 17:21 UTC
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact support@jstor.org.
University of Texas Press is collaborating with JSTOR to digitize, preserve and extend access to Asian Music.
http://www.jstor.org
This content downloaded from 27.34.42.101 on Wed, 10 Feb 2016 17:21:14 UTC
All use subject to JSTOR Terms and Conditions
Volume XXXV, number 2
ASIAN MUSIC
SPRING/SUMMER 2004
Buddhism and the Musical Cultures of Asia: An Annotated

Discography
by
Paul D. Greene, Keith Howard,Terry E. Miller, Steven G. Nelson,
Phong T. Nguyenand Hwee-SanTan1
Overthe last four decades,morethanthreehundredsoundrecordingshave

beenproducedof Buddhistmusicsfromaroundthe world,and in the last
two decades, such recordings have been appearingwith increasing
to hearand study
frequency.Recordingsnow availableofferopportunities
Buddhismfromglobalmusicalperspectives,
the
although musics of some
betterrepresented
thanthose
Buddhistgroupsandculturesareconsiderably
richanddiverseworldof
of others.The sonicrecordevidencesa remarkably
Buddhistmusic-making,with some widely sharedexpressivevalues,and
also manystrikingdifferences.It is ourhopethatthis discographicsurvey,
together with a survey of scholarly literaturepublished previously
("Buddhismand the Musical Culturesof Asia: A Critical Literature
Survey,"Greene,Howard,Miller,NguyenandTan 2002), may be of use to
researchersin ethnomusicology,Buddhiststudies, the anthropologyof
religionandotherfields,whowishto examineBuddhistmusicsand musical
cultures more deeply, both within specific culture areas and also
acrosscultures.
comparatively,
Oneof thechallengesof conductinga discographic
surveylies in the
fact that Buddhism commonly merges or blurs with other religions,
philosophiesand practicesin the culturalsettingsin whichit is found.And
manysecularmusic traditions,such as Burmesesaiii gau' harp music,
Japaneseclassicalshakuhachiperformance,and Sri Lankanpop music
significantinfluencesof Buddhistthoughtor symbolism.It is
incorporate
the
scope of this discographyto explore every music which is
beyond
touchedor influencedby Buddhistphilosophyor mythology;instead,we
focuson recordingsof ritual,monasticandlay musicsthatare morecentral
music,
to the practiceof Buddhism:particularly
chant,2ritualinstrumental
In
and
visualizations.
meditations
and
musical
musical
invocations,
offerings,
availableor
thatare commercially
thissurveywe havefocusedon recordings
canbe foundin majorresearchlibraries.However,some useful recordings
are only available to researchersthroughthe Internet,by contacting
distributorsdirectly, or throughother means. As appropriate,we have
indicatedarchivecataloguenumbers,websites,and distributors'contact
in thediscographic
information
listings,as far as this informationis known.
Someof the recordingshavebeenandcontinueto be issuedmorethanonce;
134 Asian Music: Spring/Summer2004
recordings may thereforealso be found on different record labels,

sometimeswithdifferentdatesof issue.
Althoughthe currentdiscographicrecord(i.e., the collectionof
recordingsgenerally availableto researchers)of Buddhist musics is
extensiveandculturallybroad,thereareseveralstrikinggaps. (By "gaps"
we do not necessarilymeanthatno recordingsexist. For example, many
recordthe chantsandmusicsof theirown traditions,
Buddhistpractitioners
anddistributetheserecordingswithintheirown communitiesand networks.
Butsuchrecordingsarenotreadilyavailableto scholarsthroughcommercial
meansor archives,andarethereforegenerallynot includedhere.)Whilethe
Buddhistchantsand ritualmusicsof China,Japan,Korea,and Tibet are
therearefew recordingsof the Buddhistmusics
relativelywell represented,
of mainlandSoutheastAsia,Mongolia,andNepal.Thereare only a handful
of recordingsof Sri LankanBuddhistchant,andno recordingsof Burmese
Buddhistchantavailableoutsideof Burmesecommunitiesand networks.
of theNewarsof Nepal,no recordingsof
Whilethereareseveralrecordings
theSherpaorTamangBuddhistmusicareavailable.Severalof the minority
ethnicand culturalgroupsof China,Thailandand Vietnam,are likewise
or altogetherabsent.Ongoingrecordingprojectsmay
under-represented
eventually fill some of these gaps, leading to a more well-rounded
recordfor scholarlyinquiryintotheworld'sBuddhistmusics.
discographic
Mainland Southeast Asia3
of Buddhistmaterialsfor MainlandSoutheastAsia
The discography
is rathershortbecauseratherlittleresearchhasbeen publishedon this topic.
to outsidersthan is
OtherthanVietnamesechant,whichis moreattractive
chantelsewhere,few recordingshavebeenmade,mostly a trackor two as
partof an anthology.
With regardto Cambodia,thereare only two known recordings.
Dani6lou's long out-of-printrecording(A Musical Anthologyof the Orient:
Cambodia n.d.) includesonly one trackof Buddhist-related

material,a
Penh
in
Phnom
of
the
Vons
in
the
monks
Pali"
Prayu
pagoda
by
"prayer
the so-called"All Saints' Day" festival
for thefestivalof Meakkabochia,
celebratingthe spontaneousappearanceof Buddhistsaints visiting the
Buddha.AngkorJourney(2001) includestwo tracks:15, a shortdrumcall
to prayerwhichmergesintotrack16, a segmentof the MorningChantin
Pali, mostly to a monotone.The locationis only given as "Preah Sarng
Tuk."
Consideringhow manyrecordingsthereare of Thai music,it may
come as some surprisethatthereis only one track availablein the West, and
thatfrom Bhattacharya's1973 album,reissuedas a compactdisc (Music
Greene et al.: Buddhismand the Musical Culturesof Asia
135
from Thailand1999).This albumincludesone track(no. 2) of Pali chant

recordedin Bangkokat WatPra-ri-nie-yok.
Only availablein Thailand(and
series of discs (1000 Chants and
not easily found) is an extraordinary
Dasana Mahachatn.d.) that includes the complete chantfor Thet Mahachat,
the chantedritualtellingof the life story of PrinceWetsandawn,the man

whoin his nextincarnation
becamea Buddha.As suchit is a Jatakatale,the
last in the series of 547 life stories of Prince Wesandawnand his
of the HomrongMahachat,a suiteof phleng
predecessors.A performance
naphatpiecesplayedby apiphatmaikhaeng(hardmalletpiphatensemble),
precedesthechant.Thelanguageof the chantis a mixtureof Pali andThai,
oftenconsistingof a passagein Palitranslated
intoThaiandinterpreted.
Vietnam'scoverageis somewhatbetter,beginningwiththe Rounder

anthology, a two-disc set originally released as separate 12" vinyl
(BM 30 L 2022/2023)in the 1960s.
recordingson Barenreiter
Musicaphon
The Rounder reissue (Anthologyof World Music: The Music of Vietnam
1999) amazingly makes no mention of this nor does it update the

commentarywhichreflectsthe situationin Vietnamlong priorto the 1975
collapse of the Republicof Vietnam.Indeed, neither the war nor its
ramifications
of thecourtthathadbeenintactat the time
(e.g.,thedestruction
of the recording)for Vietnamesecultureare mentioned.The first CD
Music" two
includesunderthe heading"RitualMusic and Entertainment
tracksof Buddhistmusic.Track7 is therecitationof a sutra on the problem
of knowledgeand track8 is an exampleof tan (melismatic)chantin the
Nam mode, both sung by monks of Van Hanh BuddhistUniversityin
Saigon(now, Ho Chi MinhCity).The secondCD includesthreetracksof
interest.Track1 is instrumental
musicto accompanybowingbeforethe altar
of a Cao Dai temple,which,while not being Buddhist,includesBuddhist
elementswithinaneclecticreligion.Track2 is Buddhistchantsand prayers
in boththe Tungand Tan styles. Track3 is instrumentalmusic that can
accompanybothBuddhistceremoniesduringthe Tan style chantas well as
fortraditional
theater.
Tami Simon's recordingmade at Plum Village in France(Thich
Nhat Hanh and Sister Chan Kh6ng 1997) includes both traditionaland
newlywrittenchants,manybyThichNhatHanh,a Buddhistmonknotedfor
his manybooks,the earlierones protestingthe VietnamWar.Manyof the
newly writtentexts appealto those of "NewAge" sensitivity.Franqoise
Grtind's compilation (Viet Nam: Musique bouddhique de Hue 1998) is
devotedto Buddhistchantrecordedin Hue',Vietnam.The notes areexpertly

writtenand explainchantstyles, instrumentsused,and the natureof each
track.In additiontherearenotationsof scales as well as chartsexplaining
the musical system. Patrick Kersal6's Viet-Nam: Musique fundraire du
Nord(1998) is moreperipheral,
music,butthere
beingmostlyinstrumental
arealso passagesof Buddhistchantandothervocal phenomenaassociated
Vietnam.
withfuneralritesin northern
Discography:Buddhist Musics of Cambodia

AngkorJourney. 2001. CD. No manufacturer'sserial number;website:
Recordedandproducedby Jean-David
angkorjourney@yahoo.com.
Caillouetfor Les Artisns d'Angkor.
A Musical Anthology of the Orient: Cambodia. n.d. (ca. 1960s). 12" vinyl
disc. BarenreiterMusicaphon,BM 30 L 2002. Recordingsand

in German,French,andEnglishby AlainDani6lou.
commentary
Discography:Buddhist Musics of Thailand
Music from Thailand: Field Recordings by Master Ethnomusicologist

Deben
1999. CD. ARC Music (website:
Bhattacharya.
www.arcmusic.co.uk),EUCD 1557. Recordedand annotatedin

Originally
English,German,and Spanishby Deben Bhattacharya.
releasedas 33 1/3 rpmdisc.
1000 Chants and Dasana Mahachat.n.d. (ca. 2000). 10 CDs. Produced by
in the Thai Ministryof Educationand the

the Buddhamonthon
Mahidol
of
Music,
University.Bangkok.Brief notes in
College
English,longernotesinThai.
Discography:BuddhistMusics of Vietnam
Anthologyof WorldMusic: TheMusic of Vietnam.1999. 2 CDs. Rounder
andphotographs
CD 5140/41.Recordings,
commentary,
by Tran
Van KheandNguyenHuuBa.
ThichNhat Hanh and Sister ChdnKh6ng with the Monksand Nuns of

Plum Village: Drops of Emptiness.1997. CD. Boulder, Colorado:
SoundsTrue,MOO3D.Producedby TamiSimonfor PlumVillage

(France).
VietNam: Musiquebouddhiquede Hue: Khai Kinh: C6drmonie

d'ouverturedes texts sacres / BuddhistMusicfrom Hue: Ceremony
of the Openingof the Sacred Texts. 1998. CD. Inedit/Auvidis,W
260082. Producedby Franqoise

Grtind.Notesin Frenchand
byTon-ThatTiet.
Englishby Pr.TranVanKhe,translated
137
ddm ma]. 1998. CD. Arion,

Viet-Nam:Musiquefun6raire du Nord
[Nhac
ARN 58456.Recordingsandcommentary
in FrenchandEnglishby
PatrickKersal6,D~mQuangMinh,andNguyin Van Su'.
East Asia: Japan

While the rangeof traditionalJapaneseBuddhistmusic may be
musicfor the end-blownflute
thoughtto embraceZen-basedinstrumental
shakuhachiand variousgenresof folk or popularsong,4this survey of
JapaneseBuddhistmusiccoversonly traditionalvocalmusicperformedby
Buddhistpriestsin ceremonialor ritualcontexts.Sincethe twelfthcentury,
this musichas beencalledshdmyd,a termthatlargelyreplacedthe earlier
termbonbai("Sanskrithymn,"Ch.fanbei).Note that,for the purposesof
this survey,the term"ceremony"
(Jp.h6e) refersto a religiousevent held
on a particular
dateor overa particular
periodfor an expresspurpose,such
as penance,commemoration,
of secretteachings.In
prayer,or transmission
contrast,the term"rite"(Jp. hJyo) refersto the particular
liturgyor ritual
form celebrated within a ceremony. Although some ceremonies are
celebratedas a shortsingleritelastingup to severalhours,otherceremonies
areheldover an intervalof severaldays, usuallyan odd number.Lengthy
ceremonieslastforsevendays,evenmultiplesof sevendays,eachday often
severalrites.The differencebetweenceremonyand ritecan
accommodating
also be understoodas a distinctionbetweenpurposeandcontent:the same
ritecan takeone of severaldifferentforms,and be celebratedfor different
purposesat differentceremonies.
For several centuries,JapaneseBuddhismhas been a sectarian
religion,withtheheadtemplesof eachsectprovidingmodelritualformsand
vocal music for their sub-temples.5
Thus, a basic grasp of the sectarian
divisionsof JapaneseBuddhismis essentialto understanding
its traditional
vocalmusic.6For the purposesof this essay, I haveadoptedthe following
classificationsystem, identicalto thatemployedin the first truly transsectarianrecordcollectionof JapaneseBuddhistvocalmusic,the Shomyo
taikei[Anthologyof sh6my5] publishedby the recordcompanyNippon
Columbiaandthe publishinghouseH6z6kanin 1983-84.
1. Nanto.Thistermrefersto theearlyBuddhistschools,whose head
templesaresituatedin or close to the eighth-century
capitalof Nara,
also known as Nanto ("southern capital") because of its
geographicalrelationshipto the latercapitalof Kyoto. The most
traditionis maintainedby the Kegon-sect
impressiveperformance
temple T6daiji, one of Nara's largest temples. Its Omizutori
or Shuni-e("Ceremonyof the SecondMonth"),
("Water-taking")
now held in the first half of March, has been celebratedcontinuously
since 752.
2. Shingon.Establishedby theJapanesepriestKikai (K6b6Daishi,

774-835), this school draws upon the Tantrism of the later
Mahayanateachingsin India,andthereforestresses the importance
of ritualand,as a consequence,vocalmusic.Althoughthe historyof
Shingonshomyois complex,only threelineagesremaintoday:the
Nanzan Shin school, centeredin the mountaintemple complex
Koyasan,andtwo lateroffshoots,the Chizanand Buzanbranchesof
Shingi ("New Doctrine")Shingon, Chizan centeredin Kyoto's
ChishakuinandBuzanin Nara'sHasedera.
3. Tendai. Establishedby the Japanesepriest Saicho (Dengyo
Daishi,767-822), the Tendaischool also possesses the essentially
esotericcoreof Shingon,butis moreeclectic,emphasizingthe Lotus
SutraandZenmeditation
(Ch.chan).Todaythe musicalpracticesof
Hieizannortheastof Kyoto,and
a templeon themountain
Enryakuji,
the templesof Ohara,situatedin a valleynorthwestof Hieizan,are
forms.Forthepurposesof the discography,I have
the representative
includedthe shomyoof the OsakatempleShitennojiin the Tendai
classification.Althoughit hasoriginsmuchearlierthan any Tendai
theretodayis of theTendaischool.
temple,theshomyoperformed
The eclecticnatureof theTendaischoolis reflectedin the fact that
the majorityof the remainingsects arosewithinit. In contrastto Tendai,
however,the newersects areselectiveandsometimesuncompromisingin
theirreligiousoutlook.While they each possess musicalforms uniqueto
themselves,thefactthatmanyof themdevelopedout of Tendaiteachingsis
reflectedin theirritualand musicalforms,anda comprehensivegraspof
Tendaishomyois essentialfor researchon theirmusic.Eventoday,some of
themmaintainclearlinkswithTendaishomydin theformof transmissionof
fromTendaiauthorities.
certainimportant
piecesin theirrepertoires
4. JOdo.This sect is the olderof the two majorPureLandschools,
both of which stressthe importanceof salvationthroughfaith in
Amida Buddha(Amitabha).It developedfrom the teachings of
HOnen(1133-1212), who advocatedabove all the practice of
nenbutsu,callingon the nameof Amida,whichis in turnreflected
stronglyin its ritualandmusicalforms.The Kyoto templeChion'in
centers.
andTokyotempleZOjojiareimportant
5. Jado Shin. This is the other majorPure Land school (the
"True"PureLandsect), which developedout of the teachingsof
Honen'sdiscipleShinran(1173-1262).He maintainedthatAmida's
salvation,andplacedless valueon ritualized
compassionguaranteed
effortsto obtainit. The musicalpracticesof the Honganjibranch
139
(centeredat Kyoto'sNishiHongangi)andOtanibranch(centeredat
Kyoto'sHigashiHonganji)arethe mostimportant.
6. Zen. Emphasizingthe idea of enlightenment
throughpersonal
fromChinaby Japanese
effort,thetwo earlyZensectswereimported
priestswhohadpreviouslystudiedtheTendaiteachingsat Enryakuji.
Eisai (1141-1215) introducedRinzaiZen,andD6gen (1200-1253)
Zen. Both place less importanceon vocal music than earlier
SOtW
sects, but still possess remarkablyrich traditionalsound worlds,
whichmakemuchuse of percussioninstruments.
The Sote temple
Eiheiji,in Fukuiprefecture,has gained considerableattentionin
musicological circles. A later Zen-basedsect with a completely
differentmusicallanguageis the Obakusect, importedfrom China
by the ChinesepriestYinyuan(Jp. Ingen,1592-1673) in the 17th
at Uji, southof Kyoto.
century,andbasedat thetempleManpukuji
Its musicalworldreflectsits Chineseoriginsclearly.
7. Hokke. Basedon sole beliefin the LotusSutra,the Nichirensect
developedfromtheteachingsof Nichiren(1222-1282), who studied
Tendai,ShingonandNantoteachingsonly to rejectthem. Although
the Nichirensect andits brancheshaveattractedmore adherentsin
modemJapanthanthe othertraditional
sects,and spawnedmanyof
the new religiousmovementsof the twentiethcentury,vocal music
playsa relativelysmallerrolein theirreligiouslife.
In summary,the shimy6 of the Shingon and Tendaisects is of
in termsof thehistoryof JapaneseBuddhistvocal
overwhelming
importance
the music of both has
music,and,as the discographybelowdemonstrates,
attractedcommensurateattentionin scholarly record and compact-disc
collections. The even-handedtreatmentof all seven categories in the
1983-84Shomy6taikeianthologyarguablyallottedtoo muchspaceto what
mightbe seenas minorforms,attheexpenseof therichermusicaltraditions.
Viewedin anotherlight,however,thecollectioncanbe evaluatedhighlyfor
its systematic effort to counterbalance
the bias in the overall picture
presentedby earlierrecordcollections.
To turnto the discographypresentedbelow,it shouldbe notedfirst
of all thatI havemadeno attemptto be exhaustive.The ease with which
cassettetapesand CDs can be mademeansthatmanyindividualtemples
haveproducedsoundrecordings
to be purchased
on site, for the use of their
adherents and other interested visitors. These recordings are rarely
andoftenlackdatesof publication.A further
accompanied
by commentary,
problem is that even academicpublicationsare essentially ephemeral.
Japaneserecordcompaniesrarelykeeptheirproductsin printfor morethan
two years or so, so that it is extremely difficult to obtain important
recordings once the opportunityto purchase them has been missed. What
the discography below presents, then, is a list made up of two main
categories:historicallysignificantrecordcollectionsof a scholarlynature
(manyof which were also issued in cassette-tapeform), and CDs issued
since about 1990, which may still be available. The discographyis
subdividedintothe sectariancategoriesoutlinedabove,with the recordings
listedthereinin alphabetical
order.
From the mid-1960s to mid-1980s, the Japanese musicological
worlddid its utmostto publishscholarlycollectionsof the shomyo of the
mainreligioussects. Manyof these recordcollectionsfollow the general
trendof Japanesescholarlyrecordings(notedby Hughes, 1992: 349) to
includewell-annotatedexplanatorybooklets.Since the LP recordlost its
marketviability,however,suchbookletshaveall butdisappeared;
thereis
very little roomin the averageCD bookletfor scholarlyannotation,and
manyCD recordingsfail to provideeven minimalinformation,such as the
textsof thevocalmusicon therecording.
Onewayaroundthis is to produce
CD books, with the book in eitherCD-ROMor traditionally
printedform,
but examples of these are rare.One exceptionis the 1998 two-volume
collection of traditionalnotation,transcriptionand commentaryon the
Shingon sect Rishu Zanmai rite (Shingi Shingon shimyj shasei, Gakufuhen, Nika H6yd-sha / Buddhist Chant of Shingi-Shingon: Neumes and
Transcriptions,editedby the Shingon-shoBuzan-haBukky6 Seinenkai),

whichincludesfour CDs of modelperformances
by the late Aoki Yak6.
This publicationis also notablefor its inclusionof a substantialamountof
in English(Nelson1998).
commentary
Early impetus for the publication of sound recordings with
commentarybookletswas initiatedby membersof the Japaneseacademic
societyT6y6OngakuGakkai(Societyfor Researchin AsiaticMusic).7The
volume on Buddhist music in the society's first series of scholarly
publications(T6y6OngakuGakkai1972)includesmuchof the commentary
publishedwith the two early recordsets of 1964 (Shingonshomyo and
Tendai shomyo), while the 1976 Himitsu Denbo Kanj6-e: Tendai Shinsei-
sha shomyogrewdirectlyout of the society's researchactivities.Another

bodythathasinvestedmucheffortin researchon Buddhistmusic,especially
that of the Nanto schools, is the T6ky6 KokuritsuBunkazaiKenkynjo
(Tokyo National ResearchInstitutefor CulturalProperties);the 1971
TodaijiShuni-eKannonkekacollectionis an excellentexampleof whatis
possiblein a recordcommentary.
Throughoutthe discographycan be seen the names of Japanese
scholars who have contributedsignificantly to research on Japanese
Buddhistmusic:KindaichiHaruhiko(1913-), YokomichiMario(1916-),
Kataoka Gid6 (1919-2002), Hirano Kenji (1929-92), Sat6 Michiko
(1930-), IwataSCichi(1933-), Gam6Satoaki(1937-), AraiKojun(1944-),
and Sawada Atsuko (1950-). The wider scholarly world needs to become
more awareof theirremarkablecontributionsto this field.
141
Discography: Buddhist Musics of Japan

(Note: The term "commentary" refers to substantial annotation; shorter
materialis referredto as "notes.")
Trans-sectarian
Buddha: Transcending Space & Time. 2001. 2 CDs. Celestial Harmonies,
14215-2. Tracks 9 to 14 of disc 2 include Shingon and Tendai
shdmy6 pieces in an abbreviatedritualformat. English commentary,
transliterationand translationof texts by Steven G. Nelson.
Bukky6 ongaku no sekai [The World of Buddhist Music]. 1995. CD.
HCD-1001. Examples of chant from India (1), China (4),
Hozokan,Korea
Tibet
(1),
(1), andJapan(21). Supplementto the 1995 Bukkyo
ongakujiten [Dictionaryof BuddhistMusic].
ShomyO taikei [Anthology of Sh6myd]. 1983-84. LP record anthology,
seven sets and one supplementaryset, each with four LP discs and
commentary booklet in Japanese. Nippon Columbia. 1, Nanto
(Nara), GES-3674-77; 2, Shingon, GES-3678~81; 3, Tendai, GES3682~85; 4, Jodo, GES-3686-89; 5, Jodo Shin-sha, GES-3690~93;
6, Zen, GES-3694~97; 7, Hokke (Nichiren), GES-3698~3701;
Supplementaryvolume, TakiDdnin dokushj Tendaishjmyd [Tendai
sh6my6 sung solo by Taki D6nin], GES-3727~30). Each booklet
includes substantial commentary by a team of specialist authors
(both musicologists and practitioners), all texts and traditional
notation.
Nanto (Nara sects. TOdaijiof the Kegon sect; Yakushijiof the Hoss6 sect)
Omizutori: TOdaiji Nigatsudd [The "Water-drawing" Ceremony: The
"Second Month" Hall of TOdaiji]. 1994. CD. 20bit K2 Super
Coding Exciting Sounds series. Victor Entertainment,VICG-5378.
Japanesecommentaryby Sat_ Michiko.
Todaiji Omizutori no shomyd / Buddhist Chant of Shuni-e Ceremony,
Todaiji. 1997. CD. World Music Libraryseries. King Record Co.,
KICC 5215. Japanesenotes by Morimoto K6sei; English translation
by Samuel C. Morse. Includestexts.
Todaiji Shuni-e Kannon keka: Omizutori [Second-month Rites of
Confession and Penance to Avalokiteshvara at Thdaiji: The "Waterdrawing" Ceremony]. 1971. 6 LP records. Victor, SJ 3031-3032.
Japanese commentary in four booklets (total 475 pages) by

Yokomichi Mario and Sat6 Michiko. Includes texts, traditional
notationandWesternnotation.
Yakushijino shiki [The seasonsof Yakushiji].1977. 6 LP records.CBS
Sony,OOAG155-60. The majorceremoniescelebratedthroughout
the year at the NaratempleYakushiji(Gansan-e,Shuni-e,Segaki,
Jion-e,etc.). Commentary
(133 pages)by HiranoKenji,Matsukubo
Sh_in,YasudaEiin, KubotaSatoko,and SawadaAtsuko. Includes
texts.
Shingon
Daigoji no sh6myo [Shomyd of Daigoji]. 2001. CD. Japan Victor
VZCG-178.Openingmantra-centred
rite of the Ninno-e
Foundation,
ceremonyand the shugen (mountainascetic)E'in rite of Daigoji.
Japanesecommentary
by NakataJunwa.Includestexts.
Hase rongi: Shingon-sha Buzan-ha Denb6 Daie [The Doctrinal Catechism
of Hasedera:The GreatCeremonyof Transmissionof the Secret

Teachingsof the Buzanschool of the Shingonsect]. 1979. 5 LP
records. TOshibaEMI, THX-90032. Japanese commentaryby
HiranoKenji,KubotaSatoko,SawadaAtsuko,HiraiYakei, andArai
KOjun;English commentaryby Walter Giesen. Includes texts,
traditional
notation,andextensivemusicalanalysis.
Japon: Shamy6 "kcole" Shingon-Rituel Bouddhique / Japan: Shdmy6

Shingon Sha BuddhistRitual. 1994. CD. Le Chant de Monde series.
LDX 274976. Chakyoku RishuZanmairite of the Nanzan-shin

school of Shingon shOmyO.Tracking and titles inaccurate;
mystifyingnotesin Frenchand Englishby HermanVuylstekeand
AlainSwietlik.Recordedon November17, 1989.
KOyasanno sh6myO: Dai-mandara-ku [The sh6myO of Koyasan: Great
Worshipof the Mandala].2002. CD. Japan Victor Foundation,

rite of the Nanzan-shinschool of
VZCG-249. Dai-mandara-ku
Shingon shOmyO.Japanesecommentaryby Saeki K66. Includes
texts.
Shingi Shingon shomyOshasei: Nika Hoyd-sha [Anthology of the ShOmyO
of Shingi Shingon:The RitualwithTwo-partRite]. 1998. 4 CDs.

Victor Entertainment,
PCRD-1616~19.Supplementto the 1998
Shingi Shingon shOmyoshasei, Gakufu-hen,Nika Hoyd-sha (JOGe)
/ Buddhist Chant of Shingi-Shingon:Neumes and Transcriptions,2
vols.
143
Shingon shamyd [ShomyOof the Shingon sect]. 1964. 4 LP records.

NipponGramophone,PolydorSMN-9002(1~4). Two majorritual
forms of the Chizanschool of Shingonshomyo (Dai-mandara-ku,
materialfromthe NanzanShin
J6raku-e),withsomesupplementary
school, and comparisonof melodicpatternsof the two. Japanese
commentary(90 pages)by KindaichiHaruhikoand GamOSatoaki.
Includestexts.
Shingon shomyo: Daidenbbin-rya Denb6 kanjof[Shomyo of the Shingon
sect:The Ceremonyof Transmissionof the SecretTeachingsof the

Daidenbainschool]. 1993. 6 CDs. KanchiinSh6myo Kenky0kai,
T6shiba EMI, PCDZ-1240~1245.Re-releaseon CD of a 1984
recordset. Modelperformance
of Buzanschool shomyo sung solo
throughoutby TakahashiYfjun. Japanesecommentary(72 pages)
by SawadaAtsukoet al. Includestexts.
Shingon-sha Buzan-ha shomyd: Mieku Nika Hoyd [Shimyo of the Buzan
school of the Shingonsect: Memorialservicewith two-partrite].

1974. 5 LP records. Nihon no kodai chasei ongaku [Music of
ancient and medievalJapan]series 2. CBS Sony, SOJZ 84-88.

Ceremony for the founder of the Shingon sect, KOkai,with
comparisonwith melodicpatternsof the Chizanschool. Japanese
commentary(80 pages) by HiranoKenji, TokumaruYoshihiko,
Takahashi
Taikai,andSawadaAtsuko.Includestexts andtraditional
notation.
Shiza koshiki [The four lecture-sermons].1977. 5 LP records. Nippon
Columbia,GL 7003~8. Four lecture-sermonson the historical
Buddhaby My6e (1173-1232) as performedin their ceremonial
context,theJoraku-e.Sungsolo throughout
by Aoki Yfk6. Japanese
commentary(88 pages) by Shida Nobuyoshi,FukushimaKazuo,
AraiKojun,andMasumotoKikuko;Englishcommentary(4 pages)
Includestextsandtraditional
notation.
by KanazawaMasakata.
Shomyo: KOyasan Kongobuji Oku no In Tsukinami Mieku / Shomyo:
Japanese BuddhistChantof the Shin-gon Sect-Koyasan Kongobuji
Oku no In "TsukinamiMieku." 1994. CD. JVC World Sounds
VICG-5353. The Tsujinami

series, Japan.Victor Entertainment,
a
on
the
21st
of eachmonthof the year
Mieku, ceremonyperformed
on
March
when
a
more
extensive
21,
(except
ceremonyis held)at the
templeOkuno In on K6yasan.Japanesecommentary
by Takahashi
andadaptation
Mito;Englishtranslation
by RobinThomson.
Shomyo: Mieku Nika HOyo (Shingon-sha Chizan-ha) [Shamyo: Memorial
servicewithtwo-partritual(Chizanschool of the Shingon sect)].

1977. 4 LP records. King Records, KGR 13-16. Memorial
ceremonyfor the founderof the Shingon sect, Kflkai. Japanese
commentary(32 pages)by KindaichiHaruhiko,ShibataKeei, and
notation.
FuseJoei.Includestextsandtraditional
Tendai(includingOsaka'sShitennoji,sinceit usesTendaishomyo today)

CD BukkuShamy&:Tendaishomyo to Godaisan nenbutsu e no izanai [CD
to the Shomyj of the TendaiSect

Book Shbmyd:An Introduction
and the Recitationof Amitabha'sName of the Chinese Buddhist
Center Wutaishan]. 1999. CD. Tokyo: Shunjflsha,SHUNJO97008.Textby AmanoDenchl.
Hiezan Enryakujino shomyO:TaizokaiMandara-ku [Shimyd of Enryakuji
of Hiezan: Worshipof the Womb-MatrixMandala].2001. CD.

VZCG-233.Japanesenotesby Nakayama
JapanVictorFoundation,
Genshin.Includestexts.
Himitsu Denbo Kanjd-e: Tendai Shinsei-sha shomyo [The Ceremony of
of the SecretTeachings:Shomydof the TendaiShinsei

Transmission
sect]. 1976. 4 LP records.CBS Sony, OOAG82-85. Japanese
(67 pages)by KataokaGid6,YokomichiMario,Hirano
commentary
notation.
textsandtraditional
al.
Includes
et
Kenji,
Mitsugonjodo / Mandala Shomyd.1999. CD. Kojima Recordings, Ebisu-7.
Tendai ChantsResearchSociety. Japaneseand English notes by

TaniGensh6andSait6Enshin.
ShitennojiShhryd-e [The MemorialCeremonyfor Prince Shotoku of

Shitennoji]. 1977. 2 LP records.CBS Sony, 50AG 202-3. The
bugaku-hay5 (Buddhist rite with gagaku music and dance)
celebrated in memory of Prince Shotoku, who is said to have
founded Shitenn ji in the early seventh century. Japanese
commentary(8 pages) by HiranoKenji,Ono KoryO,and Kubota
Satoko.Includestexts.
ShomyO:Nijago-zanmai Shiki (RokudoKoshiki) [ShOmyo:The Ceremony
Six
of Meditationof the Twenty Five (Lecture-sermonon the

Realms]. 1980. 4 LP records.King Records, KGR 17-20. The
on the Six Realms)of Genshin
Rokud6KOshiki(Lecture-sermon
(942-1017) as performed in its ceremonial context. Japanese
commentary(30 pages) by YamadaEtai.Includestexts.
145
Shdmyd:Tendai-sha Ohara-ryashomyOtaizen [Shamyo:Anthology of the
Shcmyoof the OharaSchoolof Tendaishomyd].1977.Threesets of

fourLP records.KingRecords,KGR 1-12.
Modelperformances
of
the shomyo used in the majorritualforms of the Ohara school
(Shika Hoy6, Hokke Senb6, Mandara-ku,Kanj6-e,Hokke Daie,
for eachset (36, 35 and44 pages)
ReijiSah6).Japanesecommentary
notation.
by KataokaGid6.Includestextsandtraditional
Tendaishomyo[Shomyoof the Tendaisect]. 1964.4 LP records.Nippon
Gramophone,
PolydorSMN-9001(1~4). Two majorritualformsof
the Oharaschoolof Tendaishomyd(Taiz6kaiMandara-ku,
Shamy6
Reiji), reconstructionsof extinct forms combiningshomyo with
gagaku court music, special solo pieces, and a study of melodic
patterns.Japanesecommentary(82 pages) by Kataoka Gid6.
Includestexts.
Tendai shomyd: Kong6kai Mandara-ku [Shomyd of the Tendai sect:
Worshipof the DiamondMandala].1996. CD. Nippon Columbia,

COCO-80095.TsukumaSonn6(Enryakuji)andthe TendaiChants
Research Society. Japanese commentaryby Tsukuma Sonn6.
Includestexts.
J6do
Nenbutsu Jodo-sho shomyo: Honen Shonin J6do kaishfa happyakunen
ky6san kinen [Nenbutsu and Shbmyd of the J6do Sect: In
Celebration
of the800thAnniversary
of the Foundingof the Sect by
Honen].1974.3 LPrecords.Victor,SJ3033-1~3.Shomyo-used in a
majorceremony(Goki-e)anddaily worship.Japanesecommentary
by ShishidoEiyti and IshidaTentei.Includestexts and traditional
notation.
JodoShin
Jodo Shin-sha Honganji-ha sh6myd: Goshoki Hoonko H5ydo[Shmyd of
the Honganjibranchof the J6do Shin sect: The Ceremonyof

of the Sect's Founder].1975. 5
Thanksgivingin Commemoration
LP records. Nihon no kodai chasei ongaku [Music of ancient and
medieval Japan]series 3. CBS Sony, SOJZ 119-123. Complete

coverageof the most extensiveceremonyof the Honganjibranch,
with performances of both shomyO and gagaku. Japanese
(107 pages)by HiranoKenji,IwataSoichi,Ono KOryl,
commentary
KubotaSatoko,andSawadaAtsuko;Englishcommentary(1 page)
by Otani Kimiko. Includes texts, and traditionaland Western
notation.
of theObakusect)
Zen (Eiheijiof the Satasect,Manpukuji
Eiheiji no asa: Daibonsho to Hannya-shingyd [Morning at Eiheiji: The
Great Temple Bell and the Heart S_tra]. 1999. CD. Nippon
Columbia,COCJ-30461.The sound world of the S6t6 temple
Eiheiji. Japanesenotes by Mogi Hitoshi and Suzuki Matsumi.
Includestexts.
Manpukujino bonbai: Obakushashimyo no sekai [The Buddhist Chant of
The Worldof ShamyOof the ObakuSect]. 1999. CD.

Manpukuji:
NipponColumbia,COCJ-30462.Morningand eveningservicesat
Manpukuji.Japanesenotes by Mogi Hitoshi and Iwata Ikuko.
Includestexts.
NenbutsuZen: Ingen Zenji sanbyakunendaionki kinen [Nenbutsu Zen: On
the300thAnniversary
of the Deathof MasterYinyuan].1972. 2 LP
records. Canyon Records, P-1002~3. Music of the Uji temple
Manpukuji,of the Obaku Zen sect. Japanese commentaryby
AwakawaK6ichi,WadaBunshO,KatOJiko, and HayashiSekk6.
Includestexts.
Obakubonbaino subete[TheCompleteBuddhistChantof theObakusect].

1979. 3 LP records. CBS Sony, OOAG 668-70. Japanese
commentary(16 pages) by Abe Zenryo,MorimotoShinko, and
KimuraTokugen;shortEnglishnotes translatedby George Gish.
Includestexts.
Shomyd:Eiheiji-shomyo. shikan taza no sekai- [The ShomyOof Eiheiji:
A Worldof
andEarnestMeditation].2003. CD. Columbia
Shomyd
Hogaku Meikyoku Collection series 20. Columbia Music
COCJ-32458.Japanesenotes by Mogi Hitoshiand
Entertainment,
KumagaiChriky6.Includestexts.
Soto Zen [Zenof the SMtoSect]. 1980, 1982, 1983.Three-setseriesof the
music of the Zen SotMsect. 1. T6shibaEMI,THX-90055~60.Six
Six LP records.3. THX-90175~81.
LPrecords.2. THX-90146&51.
Seven LP records.Japanesecommentaryfor each set (94, 94 and
120pages,excludingcolorpages)by HiranoKenji,WataraiShjun,
SawadaAtsuko,andSakuraiHideo.Includestexts and traditional
notation.
147
East Asia: Korea

Every Koreantemplehas a small shop selling trinkets,texts, and
CDs. Cassettes still exist, but marginally so since with Korea's
technologicalmasterytheirdemiseis imminent.Some templeswill feature
theirown residentabbotson recordings,or particularly
famousmonks,but
the majorityof the recordingsaredevotional,everydaychantsand mantras,
doctrinalexpositions,andsomeyombul,thesutrassungin Sino-Koreanor a
Sino-Koreanphoneticrenderingof Sanskritthatarecentralto daily temple
services.Theremay also be a little contemporary
stuff for sale: hymns,
children'ssongs,andthe soundsof the templeenvironment.
The last is not
as surprisingas it may sound,since most Koreantempleshave since the
15thcenturybeensituatedhighon mountains,
well removedfromthe bustle
of everydayKorea.The one thing that is typicallymissing from temple
bookshopsand souvenirhuts is pomp'ae, the monophonicformal chants
performedonly by trainedmonksthatostensiblygo backto the 8th century
or before,andlinkingto Chinesefanbai.To findpomp'ae,one needs to visit
a
shop. Hereis a quick summaryof what has
standard--secular--music
been
produced:
Originallypackagedin a wooden box, BuddhistBells of Korea
(1966/1999)was publishedby the "KoreanCulturalTreasuresInstitute,"
which seems to be an early English-languagerenderingof the Korean
CulturalPropertiesBureau(Munhwajae
kwalliguk),the governmentoffice
responsiblefor conservingthe Koreantangibleand intangibleheritages.
Whatyou get is simpleenough:eachclapperlessbell, struckonce or twice
andallowedto fade to silence.The downsideis the Americanvoice-over,
givinginformationabouteach.Theoldestextantbell datesback to the 8th
centuryand the floweringof Buddhismduringthe Unified Shillaperiod;
althoughpreserved,it is now crackedand can no longerbe played.Some
bells aredesignatedas NationalTreasuresor, to give the full Koreantitle,
An accompanyingbookletgives
"Important
TangibleCulturalProperties."
technicaland historicalinformation.The Synnarare-releasehas been
packagedin two forms, only the more recent of which (listed below)
containstheoriginalbooklettext.
The recordingson KoreanBuddhistMusic (1968) were made by
JohnLevyin 1964.At thattime,he wasassistedby a young Koreanscholar,
ByongWon Lee, andwas ableto capturea generationof monkswho have
longsincedied.In 1963,thefolkloristYe Yonghaewrotein his book,In'gan
(Seoul:Han'gukilbosa,1963) that
munhwajae[HumanCulturalProperties]
only fourKoreanmonksstill knewthe celebratedformalchants,pomp'ae.
Theyarerecordedhere,chantingin excerptsfromthe greatrite,Yongsanjae,
the rite celebratingSgkyamuni'ssermonon the spiritualmountain.The
andanalysisbothby
recordingshavebeenusedas thebasisof transcription

Han Manyong in his Han'guk pulgyo umak yon'gu [Studies on Korean
Buddhistmusic] (Seoul: Seoul NationalUniversityPress, 1980) and by
Byong Won Lee in his The BuddhistMusic of Korea (Seoul: Jung Eum Sa,
1997).Hence,it is possibleto tie thesoundsto notations.The importanceof

this albumas a historicaldocumentcannotbe underestimated,
and it will
shortlybe re-releasedon CD in Francewithadditionalnotesby Lee.
For many years, the four LPs titled Han'guk chont'ong pulgyo
pomp'ae uishik [A ritualof KoreantraditionalBuddhismchants](1977)

were the only commercially-produced
chant recordingsavailableon the
domesticmarket.Thesearenowlongdeleted,butarelikelyto still be sitting
in archives, and what you get is exactly what it says on the cover.
The CD Seon: The BuddhistMeditation Music of Korea (1989) is
recordedby thecomposerand taegumbamboo

somethingof a block-buster,
flute playerKim Young Dong (b.1952) at SonggwangTemplein South
ChollaProvince.The templewasfor manyyearshometo one of the most
seniorBuddhistabbots,andwelcomedmany travelingmonks-including
foreigners-to its halls. Much of the album is extractedfrom the
eveningservice(includingone particularsenior monk who is known for
singingin a deepmannerthatif notdevotionalwouldbe consideredto clash
witheverybodyelse), butit is nota completeservice.The first ten minutes
compriseambientsounds:bells, drumsand wooden fish calling sentient
fromdeepin the mountain.Cricketsandother
beingsto thetemplecaptured
naturalsoundsat times almostdrownout the distantbells. In fact, though,
issuedin Korea,andKim adds
thealbumwasthefirstNew Age compilation
for purists,
his own bamboofluteimprovisations
and,perhapsunfortunately
a synthesizedchorus.
Kim Young-dong's Seon (1989) had an immediate effect,
encouraging Buddhist temples and organizationsacross the Korean
peninsulato recordalbumsthattriedto overhaulthetraditionwith something
new. Ch'onnyonui sori (1989) was one of the best received,and adds
youthfulpop numbersandchantsthatare designedas copies of Christian
hymns.
Haryongnam Pulgyo umak (1993) is comprised of recordings
originallymadein the 1930s,cleanedup and reissuedon CD. Essentially,

thesechantsaregivenin a folksongstyle,butwithlittledynamicrange,and
are partof the secularizationof Buddhistmusic that occurredwith the
of recordingcultureduringtheJapanesecolonialperiod.
development
Sansa ui hyanggi [Scent of Serenity] (1999) and Mujigae sori
[Rhythmof Rainbow](2000), the first two CDs of the KoreanBuddhist

ChantSeries,are meditativealbumsof the formalpomp'ae chants.Pop
Hyon (who tends to spell his name Pup Hyeon in recent communications;
149
Kim Eungki is his Korean name) is the monk featuredon them. He is also
the entrepreneur: he set the series up, subsidizing the recordings and
approaching Asia Record, and now markets himself quite successfully
througha dedicatedwebsite (www.pompae.or.kr).These are very nice, crisp
recordings,and thoughtfullyput together to sample representativeparts of
the repertory.They are not, though,up to the standardof the old masters on
John Levy's 1964 recordings(KoreanBuddhist Music 1968); Pop Hyon is
just too young, having graduatedwith a BA only in 1992. He now works as
a professorof Koreantraditionalmusic at Dongguk University in Seoul.
Korean BuddhistChantSeries 3-5 (2001), the next three CDs in the
series, switch gear. They comprise the repertoryof Buddhist dances, quite
deliberately showcasing the dances as they are given at temples ratherthan
theirsecular(and popular)equivalents.Yes, it is difficultto hear dancing,but
a secularinstrumentalgroupwould routinelyaccompanythe dance, although
monks are heardwith crashingcymbals and bashing a massive barreldrum.
A boxed set contains Korean Buddhist Chant Series 6-12 (2001), CDs 6
through 12 in the series, and contains a recording of the great rite,
Yongsanje;while KoreanBuddhistChantSeries 13-18 (2002), sold together
as a set, featurea furtherrite, Sangjukwon'gong.
Kwon Myonghak,Ha RyongnamHoeshimgok (2000) is a re-release
of 1930s recordings, here recalling the music of two particularlyfamous
monks of their time. Hoeshimgok is a semi-secularextended song, close to
folksong in structure,mode and vocal style but based on Hwach'ong, the
vernacularand melodic chantsthatconcludedaily services.
The Ellipsis penchant for taking tracks from all and sundry and
them
cutting
togetheron samplersreachesnew, butfrom a comparativepoint
of view, useful levels with One Sound: TraditionalBuddhist Music (2000).
The problem, though, is the nature of the one Korean track: recorded in
America by a resident monk in New Jersey. In this age of transcontinental
travel, Korea is not so far away, and it would be worthwhile listening to
Buddhistmusic in the place where it belongs.
In II Ch'o: Pomp'ae kwa Chakpommu,formal chants are coupled to
"composed dance." The significance of the latter is, as with Pop Hyon's
Korean Buddhist Chant Series, that supposedly Buddhist dances-the
cymbaldance,fan dance, butterflydance and drum dance--are very much a
partof secular dance repertories.Really, though, this album caters to those
who need recordingsto workfrom as they are practicingthe dances.
Kim Sungnyo's Ch'anbulga (1996/2003) is the fourth volume of
compositions by Pak Pomhun (b. 1942), formerly a professor at Chungang
University and the founding conductor of Chungang Traditional Music
Orchestra.Pak startedhis careeras a p'iri (oboe) player,but soon garnered

a reputationas a composer of ch'angjak kugak,"new traditionalmusic."
Now the conductorof the NationalTraditionalMusic Orchestra,he typically
incorporatesfolk melodies in his compositions, elaborating them in ways
that never hide the original. Over the last decade he has spent considerable
time developing an East Asian orchestra that has involved mixing and
matchingChinese, Japaneseand Koreanensembles.And, as the years go by,
he identifies himself more and more with Buddhism. Hence this album,
which also celebrateshis work producingtheatreand dance scores.
Discography:BuddhistMusics of Korea
BuddhistBells of Korea. 1966. 4 EP records.KCTI. Reissued as The Great
of Shilla Dynasty. 1999. 2 CDs. Synnara,NSSRCD-025.
Ch 'onnyonui sori. 1989. Cassette.Seoul Records, SOEC-043.
Han'guk chont'ong pulgyo pomp'ae uishik [A Ritual of Korean Traditional
Buddhism Chants]. 1977. 4 LPs. Sung Eum, SEL-100 052 - SEL100 055.
HaryongnamPulgyo umak. 1993. CD. Cantabile,SRCD-1141.
II Ch'o: Pomp'ae kwa Chakpommu.n.d. 2 CDs. Yejon Media, DDSA-21
22C.
Kim Sungnyo's Ch'anbulga. 1996. Oasis, ORC-1583. Reissued on the label
Dream Beat and KukakCenter,2003.
Korean BuddhistChant Series 3-5. 2001. 3 CDs. Asia Record, POMPAE003 0005.
Korean Buddhist Chant Series 6-12. 2001. Song Am Sennim's
PosthumousWorks. 7 CDs. Asia Record, POMPAE 006-012.
Korean Buddhist Chant Series 13-18. 6 CDs. Song Am Sennim's
PosthumousWorks. Asia Record,POMPAE013-018, 2002.
Korean Buddhist Music. 1968. LP record.Vogue, LVLX-253. Recorded in
1964 by John Levy.
Kwon Myonghak, Ha Ryongnam Hoeshimgok. 2000. CD. Jigu, JCDS0707.
Mujigae sori [Rhythm of Rainbow]. 2000. CD. Korean Buddhist Chant
Series 2. Asia Record,ACD-572.
151
One Sound: TraditionalBuddhistMusic. 2000. CD. Ellipsis Arts, CD4015.

Sansa ui hyanggi [Scent of Serenity]. 1999. CD. Korean Buddhist Chant
Series 1. Asia Record,ACD-571.
Seon: The BuddhistMeditationMusic of Korea. 1989. CD. Seoul Records,
SRCD-3013.
East Asia: China
In recent years, following the rise in popularity of Chinese
MahayanaBuddhism in many parts of East and Southeast Asia, recordings
(cassettes and compact discs) of Buddhistmusic have inundatedthe market.
Much of this outpouringfalls into two categories: newly composed pieces,
often in so-called New Age style; and traditionalvocal liturgy re-arranged
for Chinese instrumentsand/orelectronic synthesizers or Western musical
instruments.Commercialcompaniesin Taiwan,Malaysia and Singapore are
the most prolific producersof such recordings.8Temple and monasteriesin
China and Taiwan also produce their own recordings of Buddhist liturgy,
often sold in their own on-site shops; most of these are aimed at religious
proselytizing ratherthan at scholarlydocumentationof traditionalBuddhist
liturgy. This review will focus only on recordings of traditionalChinese
Buddhistmusic.
The earliestcollection of Buddhistrecordingswas produced in 1957
in Taiwan under the auspices of Shi Hsing Yun, founder of Foguangshan
monastery. Of the six LPs, three comprise traditionalfanbei (Buddhist
hymns) while the rest are newly composed songs with Buddhist lyrics.
These recordings are of historical significance as they are the first
commercial recordings of religious music in Taiwan, and the singers
included monks who arrivedin Taiwan from the mainland after 1949.CD
copies of these recordings, with introductorynotes in English, have now
been deposited in the National Sound Archive,British Library,London (Fo
Kuang Shan Monastery BuddhistHymns Collection n.d.; Fo Kuang Shan
MonasteryBuddhistSongs Collection n.d.).
Valuable field recordings made from 1963 to 1969 by John Levy
became the first commercial recording released in the West (Chinese
BuddhistMusic 1969). Although LaurencePicken's introductorynotes on
the music need to be carefullyreassessedin the light of subsequent research,
they are still a noteworthyattemptby a Westernscholar to analyze Buddhist
music. Recordings of two Buddhistritualsheld at Shandaosi monastery in
Taipei in 1969 are housed in the Universityof Minnesota(Recordings of the
Buddhist Rite for the Dead 1969). The rituals are the Yogacara Rite of
Releasing Flaming Mouth (Yuqie Yankou Shishi Jiyao) and part of the
Water and Land Grand Ritual (Shuilu Dafahui), both of which are still
under-researched.
The value of these recordingslies in that the presiding
monksincludedthe late VenerableMasterMingchangof Hong Kong who
was originallyfromQixiashanin Nanjingand VenerableMasterWuyi of
Taiwanwhowas originallyfromJinshansimonasteryin Zhenjiang,Jiangsu
province.The singingof these elder monks is a valuableoral legacy of
traditional
fanbeistyle.A descriptive
catalogueprovidesdetailedinformation
abouttherecordings(Liu 1973).
Since the 1980s,morerecordingsof scholarlyvaluehaveappeared
as Buddhistmusicresearchbeganin earnestin post-MaoChina.9The most
usefulamongthesearethe AudioandVideo Encyclopediaof Chinaseries
producedby the ShanghaiVideoandAudioCompany.Eachset in the series
featuresa generalprefaceby China'sforemostBuddhistmusicscholarTian
notes by
Qing;some(e.g. Chaozhoufoyue 1989) also includeintroductory
otherscholars.The notesandtranscription
of a selectionof hymnsarealso
publishedin a separatevolume(Tian1993).
OcoraRadioFrance,in conjunction
withethnomusicologist
Franqois
Picard,has producedseveral commendablefieldworkrecordingsof the
completemorningand eveningliturgies.'0These contain comprehensive
notesby PicardandTianQing.
Of the recordingsof instrumental
Buddhistmusic,thatof Beijing's
the mostinterest,followedby those of Tianjin
Zhihuasitemplehasattracted
andWutaishan.Forvocal liturgy,the musicof Tianningsiis saidto be the
mostrepresentative,
becomingthemodelformonasticliturgynationwideand
in Chinesemonasteries
outsideChina.Regionalrepertories
andhymnstyles
arereceivingsome attention(e.g. Chaozhoufoyue 1989;Sanxiang[Henan]
foyue 1995). Field recordingsof Buddhistmusic of particularregionsby
scholarsin the West are also findingtheirway into the NationalSound
Archive of the British library(Francesca Tarocco Collection n.d.),"' but
moreresearchon regionaltraditionsis neededto gain a clearerpictureof

ChineseBuddhistmusicas a whole.
Discography:Buddhist Musics of China
Beijingfoyue [The Beijing Buddhistmusic]. n.d. The Audio and Video

Encyclopediaof Chinaseries.Cassette.ShanghaiYinxiangGongsi
(ShanghaiAudio and Video Company),YAF-26. Notes by Tian
Qing.
Beijinghanzangfoyue [Beijing'sHanandTibetanBuddhistmusic].1999. 2
CDs.Producedby BeijingGuanghuasi
Temple,BeijingYonghegong
Temple,BeijingshiFojiaoXiehui.Notesin ChineseandEnglishby
TianQing.
153
BeijingZhihuasiyinyue[Musicof Zhihuatemplein Beijing].1990. 2 CDs.

WindRecords,TCD2008-9.
BuddhistMusic of Tianjin: Tianjin Buddhist Music Ensemble. 1995. CD.
Nimbus,NI 5416.
Ceremonial Music Played by Buddhist Monks from the Zhihua Temple.
1988.CD. HongKong,HKCD8.260483.
Chaozhoufoyue [Buddhistmusic of Chaozhao].1989. 4 cassettes.The

AudioandVideo Encyclopediaof Chinaseries. ShanghaiYinxiang
Gongsi,YAF-8-11.Notes by Shi Huiyuan(notes and transcription
in Tian 1993).
China: Buddhist Music of the Ming Dynasty: Zhihuasi Temple. 1992. CD.
JVC,VICG-5259.
Chine: fanbai, chant liturgique bouddique, le4on du soir au temple de
Quanzhou. 1989. CD. Ocora C559080. Notes in French and

Englishby FranqoisPicard.
Chine: fanbai, chant liturgique bouddique, lI9on du matin a Shanghai.
1995.CD. OcoraC560075.Notes in French,English,and German

by TianQing.
Chine: fanbai, chant liturgique bouddique, hymns au trois joyaux. 1997.
CD. Ocora C560109. Choir of the Xuefo Tang of Shengqiu

(Henan), Meiyou Xiangchun Musical Association of Pudong
(Shanghai).Notes in French,English, and Germanby Franqois
Picard.
ChineseBuddhistMusic. 1969. 33 1/3 rpmdisc. Lyrichord,LLST7222.

Recordedby John Levy in Hong Kong and Taiwan.Notes by
LaurencePickenandJohnLevy.
Chongqing Luohansi yankou [The Yankou ritual of the Luohan-si
monasteryin Chongqing].1991.4 cassettes.The Audio and Video

Encyclopediaof Chinaseries.ShanghaiYinxiangGongsi, YAF-1518. Notes by Zhong Guangquan(notes and transcription
in Tian
1993).
Fo Kuang Shan Monastery Buddhist Anthems Collection (1-4). n.d.
NationalSoundArchivecallnumber:2CDR0001507-10.
Fo Kuang Shan MonasteryBuddhistHymns Collection (1-6). n.d. National

Sound Archive call number:2CDR0001501-6.
Fo Kuang Shan MonasteryBuddhistSongs Collection. n.d. National Sound
Archivecall number:2CDR0001511-12.
FrancescaTaroccoCollection[of ChineseBuddhistandtraditional
music].
n.d. National Sound Archive call numbers: 1CDR0001091-94;
ICDR0001080-87;C 951/1-12.
Jin'gufanyin[TheTianjinBuddhistmusic]. 1989. 2 cassettes.The Audio
andVideoEncyclopedia
of Chinaseries.ShanghaiYinxiangGongsi,
YAF-6-7.Notes by ZhangShenglu(notesandtranscription
in Tian
1993).
Recordings of the BuddhistRitefor the Dead "Yii-chiayen-k'ou shih-shih
yao chi." 1969. University of Minnesota, S0001-S0127 and

S0001X-S0127X.Recordedby Chun-JoLiu with Ling-teLiao and
MichaelWelch.
Sanxiangfoyue[SanxiangBuddhistmusic]. 1995. 3 cassettes.The Audio

andVideoEncyclopedia
of Chinaseries.ShanghaiYinxiangGongsi,
YAF-27-29.NotesbyTianQing.
Tian'ningsichangsong[TheTianningBuddhistmusic]. 1991. 3 cassettes.
The Audio and Video Encyclopediaof China series. Shanghai
Yinxiang Gongsi, YAF-12-14. Notes by Hu Yao (notes and
in Tian1993).
transcription
Wutaishanfoyue [The MountWutaiBuddhistmusic]. 1989. 5 cassettes.
The Audio and Video Encyclopediaof China series. Shanghai
YinxiangGongsi,YAF-1-5. Notes by Liu Jianchang(notes and
in Tian1993).
transcription
Yuqieyankouyinyuefoshi[TheYogacararite of FeedingFlamingMouth:
Buddhistritualmusic]. 1986. 6 cassettes.Zhongguo Changpian
Gongsi[ChinaRecordCo.],EL-65-70.Notesby LingHaicheng.
Zhihuasijing yinyue [The "Capital"music of Zhihuatemple]. 1991. 2
cassettes.BeijingYinxiangGongsi,YY 91, 09 and10.
155
Inner Asia
As a resultof a swell of popularand scholarlyinterestin Tibetan
Buddhismin recentdecades,recordingsof TibetanBuddhistmusics are
numerous.Recordingssurveyed here have been made not only by
ethnomusicologistsaffiliatedwith universities,but also by composers,
Buddhistpractitioners,and musiciansinterestedin Tibetancultureand
religion.Internationalpop starMickeyHart,for example, has produced
as ethnomusicological
severalrecordings,workingwithFredericLieberman
consultant.Primarily,recordingshave been made by American,British,
Frenchand Italianethnomusicologistsand recordists.Beginning in the
1990s, researchersand recordistsfrom Japan and China also have
contributedusefulrecordings.Mostrecordingshavebeen made in Tibetan
communities,templesand monasticcentersthat have formedoutside of
Tibet:in Bhutan,Nepal,and in the Indianregions of HimachalPradesh
(particularlyDharamsala),Ladakh,Sikkim, Karnataka,and elsewhere.
ChineseresearcherTianQing has maderecordingsin Tibet itself (Amdo:
Monastere tibdtainde Labrang 1996). Recordings have also been made in
Europe (Monasttre de Gyiit6: La voix des Tantra 2000) and the United
States (The GyutoMonks: TibetanTantricChoir 1990).
Recordings span more than four decades of Tibetan Buddhist

to studyTibetan
practice,whichaffordsthelistenera remarkable
opportunity
musical
historical
monastic
comparative
rituals--in
traditions--particularly
perspectives.Amongthe earliestarePeterCrossley-Holland'srecordings
from the early-mid 1960s (Music of Tibetan Buddhism 1999), and also
othersfrom the 1970s: Mireille Helffer's Monast~rede Gyiitd: La voix des
Tantra (2000) and Ladakh: Musique de monastdre et de village (1989);
John Levy's Tibetan BuddhistRitesfrom the Monasteries of Bhutan, vols.
1-3 (1990); Stephen Beyer's Songs of Gods and Demons: Ritual and
TheatricalMusic of Tibet (n.d.) and TibetanMystic Song (n.d.); and David
Lewiston's many recordings (e.g., Tibet: The Heart of Dharma 1996).
Theseandmanyothershavebeenissuedmorethanonce over the decades,

andmostarecurrentlyavailableon CD.
Most of the recordingsavailablepresentexcerpts from Tibetan
monasticgrouprituals,featuringritualchant(dbyangs)and instrumental
music(rol mo) of Tibetanmonksin rich variety.Ritualmusic of all four
mainsects of TibetanBuddhismare represented:
dge-lugs-pa(Gelugpa),
rning-ma-pa(Nyingmapa),bka'-brgyud-pa(Kagytipa) and sa-skya-pa
in availablerecordings
is musicof the dge-lugs(Sakyapa).Bestrepresented
pa,theDalaiLama'ssect.Therearenumerousrecordingsof the rGyud-stod
(Gyuit6)TantricCollege(or University),a dge-lugsinstitutionfoundedby
the Dalai Lama in 1474 which has recently gone on performance and
rite is the Invitationto
recordingtours. Perhapsthe most frequently-recorded
Mah_k_la,excerpts of which can be found on numerousrecordings,

performedby differentTibetangroups. Peter Crossley-Holland'swelldocumented Music of Tibetan Buddhism (1999) is a 3-CD set which
includesuseful notes, photographs,music notation,and reproductionsof

Tibetanchantnotation.It is basedon field recordingsconductedin Ladakh,
Sikkimand Darjeelingin the 1960s, and has been re-releasedon CD by
RounderRecords.This collectionincludesrecordingsof ritualmonastic
music from all four main TibetanBuddhist sects. Mireille Helffer's
Monastirede GyiitY"
(2000), a 2-CD set, includesnotes,Tibetannotations,
anda sonogram.Her notesto Ladakh:Musiquede
drawings,photographs,
monastireet de village(1989)arelikewisehelpful,allowingthe listenerto
identifyandcomparedifferentstyles of chant(e.g., dbyangsand gdangs)
and also different types of dbyangs chant vocalization (e.g., ring'then-"long," andthung-'then--"short")in the recording.
John Levy's 4-CD series Tibetan Buddhist Rites from the
Monasteriesof Bhutan(1990),exploresmanyfacets of monasticand folk

musicallife, and is accompaniedby generalnotes on Tibetancultureand
religion.StephenBeyer's recordings(Songsof Gods and Demons n.d.;
TibetanMystic Song n.d.) areof particularvalue becausehe includes or
and
makesavailablethe Tibetantexts of his recordingsin transliteration
translation.David Lewiston'snumerousrecordings(includingTibet: The
Heart of Dharma [1996] which comes in a 64-page book; Tibetan
Buddhism: The Ritual Orchestra and Chants [1995]; Tibetan Buddhism:
Shartse College of Ganden Monastery [19891; TibetanBuddhism: Tantras
of Gyiitoi[1988]; Tibetan Buddhism: Shedur: A Ghost Exorcism Ritual
[1978])constitutea wealthof recordedmusic,andhis accompanyingnotes

andbookletsincludeusefulhistorical,culturalandreligiousinformationon
Tibetan Buddhism and its rites. Tibet: Monks of the Sera Jd Monastery,
(1998) recorded by Angelo Ricciardi,accompaniesa 95-page, wellbookthatintroduces

illustrated
TibetanBuddhismforthe generalreader.
Thereare also a few recordingsavailableof music performedby
Tibetan nuns (Buddhist Nuns at Chuchikjall [1999] and The Songs of

Milarepa [n.d.]; also, Rituals of the Drukpa Order [1990] includes one
trackof nunsaccompanied
by monks).The vocalandinstrumental
practices
and these recordingsprovidean
of Tibetannuns are quite understudied
for comparativestudywiththe practicesof monks,whichhave
opportunity
examined(see Ellingson1981: 137). In
beenconsiderably
morethoroughly
peoples,such as the Tamangsand
Nepalthereare manyTibetan-related
forms
or
who
variants
of Tibetan Buddhism, but
Sherpas,
practice
few
as
of
there
are
yet
unfortunately
recordings theirBuddhistmusics.Gerta recordingof the ritualmusicof the
MatthiasWegneris currentlypreparing
(workingtitle:Musicof the SherpaPeople
Sherpapeopleof Solu-Khumbu
ofNepal II: Ritual Music).
157
In addition to the recordings surveyed here, Tibetan Buddhism

practitionershave also producedrecordingsof their own monastic chant and
instrumentalmusic, and some of these recordingscirculatethrough and even
beyond networks of Tibetan Buddhist communities. Such recordings may
be found throughTibetan meditationcenters, temples and cultural stores in
many locations in NorthAmerica,Europeand elsewhere.
The impact of Buddhism extends well beyond ritual music and can
also be heard in Tibetan folk and classical musics. Although it is not a
primaryaim of this discography to survey folk and classical musics, it is
worth noting that several available recordings contain Buddhist-related
musics. John Levy's Tibetan and Bhutanese Instrumentaland Folk Music
(1990) contains, among other things, a Lhasa pilgrim's song. The CD
TibetanCourt and InstrumentalMusic (1995) contains recordings of garlu
song and instrumentalmusic accompanyinggar dance: classical traditions
associated with the Dalai Lama's court. Such musics are traditionally
performed at public ceremonies and spectacles, such as the death
anniversaries of past Dalai Lamas, and occasions when the Dalai Lama
embarkson official journeys. Buddhistmythology from India and Buddhist
themes in Tibet's history are often enacted in lha mo (Tibetan opera)
performances,and several useful recordingsof this performancetraditionare
available, e.g., Tsang-tsu hsi ch'ii yin-yiieh / The Opera Music of Tibet
(1994); Songs of Gods and Demons (n.d.); and Tibetan and Bhutanese
Instrumentaland Folk Music (1990).
In Mongolia, Buddhism and Buddhist music follow Tibetan
traditions, but there are some significant areas of distinction (see Pegg
2001). Regrettably, very few recordings are available. Probably the most
useful one is Alain Desjacques' Mongolie: Chamanes et lamas (1994),
which contains recordings of Mongolian Buddhist ritual chant and
instrumental music performed as part of the office at the Erdeni Zuu
monastery.In track3 one can hearconches and opening recitations;in track
4 one can hear a rich combination of Mongolian instruments, notably
including urt buree (dung chen). The CD also comes with useful notes.
Brief excerpts of Mongolian Buddhistmusic can also be heard on three CD
anthologies: The Disappearing World(1994); Music of Mongolia (1995);
and Shu-De: Voicesfrom the Distant Steppe (1994). Epic songs and long
songs (urtynduu) have been and continueto be vehicles of the propagation
of Buddhism in Mongolia, and many of these incorporate Buddhist
symbolism and mythology in their songtexts togetherwith shamanistic and
secularthemes. Distinctiveexamples(althoughnot especially foregrounding
Buddhist themes) can be heard in Virtuosos from the Mongol Plateau
(1994) and the CD accompanyingCarole Pegg's book Mongolian Music,
Dance, and Oral Narrative (2001).
Discography:Buddhist Musics of Tibet

Amdo: Monastere tibetain de Labrang. 1996. CD. Ocora 560101.
Recordingandnotes(20 pp.)of the bLa-brang(Labrang)monastery,

in the dge-lugs-patradition,by TianQing, in French,Englishand
German,includingphotographs.
Brda ma su sna: Dhama suna. 1997. Available on cassette or CD. No
catalog no. Tibetan Institute of PerformingArts, Dharamsala.

Recordedin 1996. Includesritualmusic of rGyud-stod(Gyuti6)
monks,andfolk music.
BuddhistLiturgyof Tibet. 1991. CD. WorldMusic Libraryseries. King
Records/SevenSeas, KICC 5137. Recordedin 1990 by Kyoji
Booklet(12 pp.) in
Hoshikawa,Namgyalmonastery(Dharamsala).
Tantric
Japanesewith 1 p. in English,photographs.Vajrabhairava
meditation.
BuddhistNuns at Chuchikjall:TibetanPrayer Chants. 1999. CD. Sounds
of the World series. Portugal:IMC Music, Ltd., SOW 90178.

Recordedat ChuchikjallTemplenearthe village of Karshain the
Himalayas.Brief notes in Englishby WilliamHogelandand Kim
Gutschow.
Chod: CuttingthroughDualism. 1993. CD. AmiataRecords, ARNR 0193.
Chantsby ChogyalNamkhaiNorbuRinpoche,recordedin 1992.

Producedby MatteoSilva and MarcEagleton,booklet(12 pp.) in
English,FrenchandGermanby JohnShane.
Diamond Path: Rituals of Tibetan Buddhism. 1998. CD. The Lewiston
Archive.Shanachie66006.Yamantaka
TrochuRite of Khampagar
Monastery.Notesby DavidLewiston.
Garland Encyclopedia of World Music, vol. 5: South Asia: The Indian
2000. Editedby AlisonArnold.New

CD supplement.
Subcontinent,
York:Garland.Tracks23 and 24 are recordingsof Tibetanritual
musicfromLadakh.
The GyutoMonks: Freedom Chantsfrom the Roof of the World. 1989. CD.
Rykodisc/360?Productions, RCD 20113. rGyud-stod (Gyutito)

TantricCollege, producedby Mickey Hart. Notes (12 pp.) in
English.Also included:musicby MickeyHart,Kitaroand Philip
Glass.Recordedin 1988.
159
The Gyuto Monks: Tibetan Tantric Choir. 1990. CD. Windham Hill
Records, WD-2001. Recordedin California and produced by

MickeyHart.Notes (8 pp.) by RobertA. F. Thurmanand Frederic
Lieberman.
Ladakh:Musique de monastdreet de village [Ladakh:music of monastery
and of village]. 1989. CD. Le Chantdu Monde/CNRS/Mus6e

de
l'Homme,LDX 274 662. Booklet(33 pp.) in Frenchand English.
Recordings, notes, photographsand transcriptionsby Mireille
Helffer, assisted by Michel Guillaume.Translationby Barbara
Thompson.This is a re-release-with moreextensive notes-of a
1978 LP.
Lama Karta: Tibetan Chants, Buddhist Meditation. 1996. CD. Milan

Records 35757.
Monastere de Gyiitd:La voix des Tantra / The Monastery of Gyiitd: Voice
of the Tantra.2000. OcoraC 560133/C560134. 2 CDs. Recorded

in Parisin 1975;programnotesincludingTibetannotation,drawings,
photographs,sonogramand commentaryby Mireille Helffer and
Daniel Cauxin French,with Englishand Germantranslations(23
Chantandinstrumental
musicperformed
pp.)insertedintocontainer.
by monksin the TantricCollege of rGyud-stod(GyUtit),the first
generationof Tibetanmonksin exile in India.
Music of the Sherpa People of Nepal II: Ritual Music (working title). In
development.Recordingsby Gert-Matthias
Wegner,fundedby Eco
Himal(Kathmandu).
The Music of Tibet: The TantricRituals. 1970. 33 1/3 rpm disc. Anthology
of the World'sMusic,4005. Recordedby HustonSmith.
Music of Tibetan Buddhism. 1999. 3 CDs. Anthology of World Music
series.Cambridge,MA: RounderRecords,Rounder5129/30/31. 3
CDs. Re-release of 3 LPs (by BairenreiterVerlag/Musicaphon
Musica2009, 2010, 2011) recordedby by PeterCrossley-Holland
andoriginallyreleasedin the 1960s. A 25-pagebookletin English
containsvery useful notes by PeterCrossley-Holland(reproduced
fromthe originalrelease),includingphotographs,
Tibetannotations,
and musicaltranscriptions.
The collectionincludes recordingsof
ritualmusicof therning-ma-pa
(disc 1), bka'-brgyud-pa
(discs 1-2),
sa-skya-pa(disc2), anddge-lugs-pa(discs2-3) monasticorders.
Musiquerituelletibitaine.1971.LP.OcoraC 599011. Recordedand with

notes by Georges Luneau.

Musique tibdtaine du Sikkim. 1955. LP. Mus6e de I'Homme,Vogue LVLX
187.Recordingsby R. Canzio.
Musiques du toit du mond: Ladakh et Nepal [Musics of the roof of the
world:LadakhandNepal].1988.CD. Sunset-France,
Playa Sound,
PS 65021. Recordedat the monasteryof Hemisby G6rardKremer.
Bookletin FrenchandEnglish.
The Perfect Jewel: Sacred Chants of Tibet. 2002. CD. Rykodisc, RCD
10626. rGyud-stod(Gyuitib)
TantricCollege, producedby Mickey
Hart.
Rituals of the Drukpa Order. 1990. CD. Tibetan Buddhist Rites from the
Monasteries
of Bhutan,vol. 1. New York:LyrichordDiscs, LYRCD
7255. Recordedby JohnLevy. Notes (12 pp.) in Englishby John
andmusicaltranscriptions.
Levy,includingtranslations
Sacred Ceremonies: Ritual Music of TibetanBuddhism:Monks of the Dip

Tse Chok Ling Monastery, Dharamsala. 1990. CD. Distributed by
CelestialHarmonies(P.O.Box 30122,Tucson,AZ 85751, U.S.A.).

FortunaRecords,17074-2.
Sacred Ceremonies 2: Tantric Hymns and Music of Tibetan Buddhism.
1992.CD. FortunaRecords,17079-2.Monksof the Dip Tse Chok

Dharamsala.
LingMonastery,
Sacred Ceremonies 3: Ritual Music of Tibetan Buddhism. 1996. Celestial
Harmonies,13132. Monksof the Dip Tse Chok Ling Monastery,

Dharamsala.
Sacred Dances and Rituals of the Nyingmapa and Drukpa Orders. 1990.
CD.TibetanBuddhistRitesfromthe Monasteriesof Bhutan,vol. 2.

New York:Lyrichord
Discs,LYRCD7256.Recordedby John Levy.
Notes (9 pp.) in English by John Levy, including musical
andphotographs.
Firstreleasedin 1973.
transcriptions
SacredMusicof Tibet.1997.CD. Impetus,IMPCD 19530. Buddhistchant

andinstrumental
music.
Sacred Music, Sacred Dance for Planetary Healing: Tibetan Buddhist
Monks from Drepung Loseling Monastery. 1992. CD. Music &
Arts Programsof America, Inc. (P.O. Box 771, Berkeley, CA

94707),Music& ArtsCD 736. Recordedat the Universityof Iowa
in 1991.
161
Sacred Tibetan Chant: The Monks of Sherab Ling Monastery. 2003.
Naxos,ASIN:B00007MBAD.
Sacred Tibetan Chants from the Great Prayer Festival: Ten Buddhist
Monks from Drepung Loseling Monastery. 1992. CD. Music &
Arts Programsof America, Inc. (P.O. Box 771, Berkeley, CA

94707),Music& ArtsCD 735. Recordedat the Universityof Iowa
in 1991.
SongsandMusicof Tibet.1999/1962.CD. SmithsonianFolkwaysRecords,

F-04486. Recordedin Kathmanduby HowardKaufman;includes
folksongsandchants.
Songs of Gods and Demons: Ritual and TheatricalMusic of Tibet.n.d. 12"
33 1/3 rpm disc. Lyrichord,LLST 7291. Recording,notes, and

by StephenBeyer.
photographs
TheSongs of Milarepa.n.d. 12"33 1/3 rpmdisc. Lyrichord,LLST7285.

Recording by R. Belfield, recordingand notes by A. Robin
Broadbank.A recording of nuns' music, kar ma pa Tibetan
Buddhism.
Tashi LhunpoMonastery:Sacred Prayers for H. H. the Dalai Lamas and
the Panchen Lamas.2003. CD. OgreOgressProductions,ASIN:

B00008W6RD.
Temple Rituals and Public Ceremonies. 1990. CD. Tibetan Buddhist Rites
fromthe Monasteriesof Bhutan,vol. 3. LyrichordDiscs, LYRCD

7257. Recordedby John Levy. Notes (9 pp.) in Englishby John
andphotographs.
Levy,includingmusicaltranscriptions
Tibet: Monks of the Sera Jd Monastery: Ritual Music and Chants of the
Gelug Tradition.1998. CD inside smallhardcoverbook (95 pp.).

AmiataRecords,ARNR 0598. Recordedby Angelo Ricciardiin
Karnatakain 1997. dge-lugs-pasect. Book by Fosco Mariani,
Stefano Dallari, Lama Sherab Gyaltsen Amipa, Matteo Silva,
FrancescaCalleaand Angelo Ricciardi,includingphotographs,in
EnglishandItalian.
Tibet: Musiquessacrdes. 1989/1971.CD. Ocora 559011. Recordedin

Nepal;includesManiRimduritualmusic;editedandwith notes (in
FrenchandEnglish)by GeorgesLuneau.
Tibet-Nipal: Musique bouddhiste lama'Tque;musique rituelle et profane.
1966. LP. Paris, BAM LD-104. Producedby C. Jest.

Tibet: The Heart of Dharma: Buddha's Teachings and the Music They
Inspired.1996. CD inside smallhardcoverbook (64 pp.). Ellipsis

Arts, 4050. Producedby David Lewiston. Recordingsof 'Brasspungs (Drepung)and KhampaganMonasteries.Book includes
and6 pp.tracknotes.
photographs
Tibetan and Bhutanese Instrumentaland Folk Music. 1990. CD. Tibetan
BuddhistRites fromthe Monasteriesof Bhutan,vol. 4. Lyrichord

Discs, LYRCD7258. Recordedby JohnLevy. Notes (11 pp.) in
Englishby JohnLevy, includingphotographs.Track6 is a Lhasa
of Ache Lhamo,a sung
pilgrim'ssong;track20 is a performance
religiousdrama.
Tibetan Buddhism: Shartse College of Ganden Monastery.1989. CD.
Bridge Records, BCD 9015. Recorded by David Lewiston in

Karnataka
in 1987.dge-lugs-pasect. Booklet(11 pp.) in Englishby
DavidLewiston.
Tibetan Buddhism: Shedur: A Ghost Exorcism Ritual. 1978. Explorer
series. 12" 33 1/3 rpm disc. Nonesuch Records, H-72081. The

VenerableYeshe DorjeRinpoche,Masterof the Rite. Recordedin
Dharamsala
by DavidLewiston.Notesby GlennH. Mullin.
Tibetan Buddhism: Tantras of Gyiiti. 1988. CD. Elektra/Nonesuch
Records, 979198-2. Recorded in 1972 by David Lewiston in

HimachalPradesh.Notes(8 pp.) in Englishby FrancescaFremantle
andDavidLewiston.dge-lugs-pasect,includesMah k la Tantraand
Sangwa Dupa. First released(in two separaterecordings)in the
1970s.
TibetanBuddhism: The Ritual Orchestra and Chants. 1995. CD. Explorer
Series.Elektra/Nonesuch
Records,972071-2.Recordedin 1973 by
DavidLewistonatKhampagan
HimachalPradesh.Notes
Monastery,
(14 pp.)in Englishby DavidLewiston,includingphotographs.First
releasedin 1976.
Tibet: Buddhist Chant I: Namgyal Monastery, Dharmalala. 1994. CD.
JVCWorldSounds,VICG5039.
Tibet: Buddhist Chant II: Gyuto Monastery, Bomdile. 1994. CD. JVC
WorldSounds,VICG5040.
163
The Tibetan Buddhist Chant. 1992. CD. World Music Library vol. 64.
Seas,KICC5164. Tibetanchants(dgeTokyo:KingRecords/Seven
lugs-pa sect) recordedin Tokyo in 1990, producedby Fukuda
Minoru. Booklet (18 pp.) in Japanesewith 3 pp. in English,
Containsexcerptsof K_lacakra
ritual.
photographs.
A Tibetan Buddhist Rite from Nepal: Padmasambava Chopa with the
MahakalaOffering.1973?LP.Lyrichord,
LLST-7270.
TibetanBuddhist Ritesfrom the Monasteries of Bhutan, vols. 1-4. 1990. 4
CDs. Available as a box set: LyrichordDiscs, LYRCD 9001.

and musical
Recordingsby JohnLevy withnotes,maps,translations
See
under
individual
Rituals
transcriptions.
of the Drukpa
listings:
Order (vol. 1); Sacred Dances and Rituals of the Nyingmapa and
Drukpa Orders (vol. 2); Temple Rituals and Public Ceremonies
(vol. 3); Tibetanand Bhutanese Instrumentaland Folk Music (vol.
4).
Tibetan Court and Instrumental Music. 1995. CD. Wind Records,
Wind/TCD1605. Recordedin 1993-94 by Mao Ji-zeng. Booklet

(34 pp.)in ChineseandEnglish.Recordingsof garlu song andgar
music,classicaltraditionsperformedat the Dalai Lama's courtand
on occasionsof publicceremonies.
Tibetan Music from Ladakh and Zanskar. 1983. LP. Lyrichord, LLST
7383. Recordedby EricLarsonin 1982.
TibetanMysteries:Monksof the Dip Tse GhokLing Monastery. 1999. CD.
Soundof theWorld,ASIN:B00000JP01.
TibetanMystic Song. n.d. 12" 33 1/3 rpmdisc. Lyrichord,LLST 7290.

Recording,notes, and photographsby Stephen Beyer; 'brug-pa
TibetanBuddhism.
TibetanRitual/ Ritueltibetain. 1991. CD. Anthology of TraditionalMusics
/ Anthologie des musiquestraditionnelles.Auvidis/UNESCO,D

8034. Recordingsof ritualmusic of the Dehra Dun Monastery
(ming-ma-paorder)by ManfredJuniusandP. C. Misra.Booklet(8
pp.) in Englishand Frenchwithphotographs.Ritualinvocationof
the GoddessYeshikiMamo.Excerptsof this recordinghave been
releases8103 (RitualChantand
reproducedon UNESCO/Auvidis
Music, 1996) and 8108 (People at Prayer, 1999).
Tibetan Ritual / Rituel tibetain: Monks of the Bodnath Monastery. 1997.
CD. Playa Sound, PS 65183. Tibetan chant by the monks of

BodnathMonastery,Nepal.
Tibetan Ritual Music, Chanted and Played by Lamas and Monks of the
Four Great Orders. 1995/1980. CD. LyrichordDiscs, LYRCD

with notes (3
7181. Recordedin 1961 by PeterCrossley-Holland,
pp.) by PeterCrossley-Holland.Issuedpreviouslyon 33 1/3 rpm
disc in 1960s. Containsnotesandrecordingsof ritualsof dge-lugsandsa-skya-pasects.
bka'-brgyud-pa
pa,rning-ma-pa,
Tibetan Sacred Temple Music: Eight Lamas from Drepung. 1988. CD.
ShiningStarMusic,ASIN:B000001002.
A Tribute to the Karmapa. 2003. CD. Khaeon 200104. Monks of the
RumtekMonastery.
Tsang-tsu hsi ch'ii yin-yiieh / The Opera Music of Tibet. 1994. CD. Hsi-
tsangyin ytiehchi shih[Themusicof Tibet],vol. 1;Chung-kuoshao

shu min tsu yin yUiehta ch'tian[The music of the minoritiesin
China],vol. 1. Tapei:WindRecords,Wind 1601. Notes (36 pp.) in
Chinese and English, including Chinese translationof Tibetan
songtexts, English transliterationof songtext excerpts, and
andhistoricalnotes.
ethnographic
Discography:Buddhist Musics of Mongolia
The Disappearing World.1994. CD. Saydisc Records (The Chipping,

Wotton-Under-Edge,Glos. GL12 7AD U.K.), CD-SDL 376.
Recordingassociatedwith a film documentaryof the same name;
track3 is a recordingof khyalakh
MongolianBuddhistmusic.
Mongolian Music, Dance, and Oral Narrative: Performing Diverse
Identities,CD supplementto book. 2001. Seattle:Universityof

WashingtonPress. Recordingsand book by Carole Pegg (2001).
Containsseveralexamplesof Mongolianepic,urtynduu(long song),
andfolksong,genresin whichBuddhistthemesare presentbut not
foregrounded.
Mongolie: Chamaneset lamas [Mongolia: shamans and lamas]. 1994. CD.
Ocora Radio France, 560059. Recording and notes by Alain

Desjacques.Booklet(24 pp.)in French,English,and Germanwith
photographs.
Musicof Mongolia.1995.CD. Musiquedu Monde.BudaMusique,ASIN:

B000001N8P.Containsonetrackof MongolianBuddhistmusic.
165
Shu-De: Voices from the Distant Steppe. 1994. CD. Real World, Womad
RW41. Producedby PeterGabriel.Containsone trackof Mongolian
Buddhistmusic.
Virtuososfrom the Mongol Plateau. 1994. CD. Tokyo: Seven Seas, KICC
5177. Recording and notes by KajiuraYasuko. Booklet (26 pp.) in
Japanese and English, translations of Mongolian songtexts,
photographs. Recording contains several examples of Mongolian
epics and folksongs, genres in which Buddhist themes are present
but not foregrounded.
South Asia
Recordingsof Buddhistmusicin SouthAsia, if not numerous,are
diverse in the sense that they cover diverse aspects of the religion.
the Theravadatraditionarerecordingsof monasticchantand
Representing
ritual
energetic
drummingin Sri Lanka;representingthe Mahayana
traditionare recordingsof folk and folk-popularBuddhistbhajans and
Buddhist processual music (both vocal and instrumental) in Nepal; and
representingthe Vajrayana branchare recordings of traditionallysecretive
Tantricsongs known as caryd or cacd, performedby Newar Buddhist

Valley.
priestsin theKathmandu
There is a small but growing collection of internationallyavailable
recordingsof the music of the Newar (Nevar) people, a Nepali group of
Tibeto-Burman
originswhose culturecan be called South Asian due to
one
approximately thousandyears of mutualinteractionwith NorthIndia.
Many Newars practicea mix of Hinduismand Buddhism,and several
compositionsthat
generalNewarrecordingscontainvocalandinstrumental
can be incorporatedinto either Hindu or Buddhist rituals. One example is
the vocal and instrumental music that is performed on the musical
processions and pilgrimages of Newar Buddhist and Hindu-Buddhist
laypeople. Such music can be heardin several useful recordings: the wellannotated Nepal: Musique de fete chez les Newar (1989, especially track
14); Felix Hoerburger's Nepal: Musik der Nevdr-Kasten (1971); Gert-
Matthias Wegner's Masterdrummersof Nepal (2001, although the

emphasishereis on Hinduprocessualmusic);and Tamboursde la terre2
(1992, tracks5 and6). PaulGreenehas prepareda multimediawebsiteof
the Buddhistmusical pilgrimagesof Newar Mahqrjans(Farmers),including
a SacredTerrain"
soundfiles ("Ordering
2003) to accompanyhis articleon
Buddhistmusiciansof Asan
this pilgrimagetradition(2003). Kathmandu
Tol recently have produceda cassette titled Gufila Bajahi[Music of Gufila]
musicthey performas they conduct

(n.d.),a recordingof the instrumental
daily pilgrimagejourneys together to and from SwayambhoiStopa during
Gufill, the Newar Buddhist holy month. The cassette is available at the
CassetteCentrein AsanTol. Buddhistlaypeopleactivelyrecord

Annapurna
and distribute their contemporaryBuddhist gyanmala ("garland of
knowledge")hymns;these recordingsare readilyavailablewithinNepal,
and can be purchasedat shops at the Swayambhoand Bodnathtemple
complexesin Kathmandu
(GyanmalaBhajann.d.).
A CD accompanyingEuropeanBulletinof Himalayan Research 12-
13,(editedby Franck
1997) containsone NewarTantricBuddhist
Bernmde,
caca (or caryd)song, "Raktavarna,"
originallyrecordedby ArnoldBakein
1956.As RichardWiddessnotes(2004; 1997: 14, n4), ArnoldBake made
recordingsof a Vajracdryapriestperformingmorethantwentycaca songs,
with some of the songs performedmorethanonce. These field recordings
arenow locatedattheNationalSoundArchiveof the BritishLibrary.Under
conditionsof secrecy,thepriestalsoallowedBaketo film one of the dances
performedtogetherwith the song,andBake'sfilms arenow locatedat the
Schoolof OrientalandAfricanStudies,in London.
Also recordedin SouthAsia aremanyperformances
of Tibetanand
Tibetan-relatedmusics, particularlyin Nepal, Ladakh, Dharamsala,
DarjeelingandKarnataka.
Recordingsof such Tibetanand Tibetan-related
Buddhistmusicsaresurveyedin thesectionon InnerAsia.
Recordingsof Sri LankanTheravddaBuddhistchant,pirit (Pali:
paritta),areincludedin severalcollections:WolfgangLaade'sSri Lanka:
Buddhist Chant: Mah_ Pirit (1990); Herman Vuylsteke's Sri Lanka:
Musiquesrituelles et religieuses (1992); and FrangoisJouffa's Ceylon: Les
tamboursmagiques de Sri Lanka(n.d.). The excerpts assembled in Laade's
well-annotatedrecordingare well organized,allowing the listener to

experiencethe generalstructureof the Maha Pirit ceremony(Sheeran
1993/94:299; see also Ellingson'scomments[1987:187] on the Laadeand
Vuylstekerecordings).Cassettesof Buddhistchanting(and othermusics)
continueto be producedin Sri Lanka,and some are availablethrough
Wickremesooriya and Co., The Children's Bookshop, 47/2, Sri
Gardiner
Colombo2, SriLanka(tel:22838).
Mawatha,
Chittampalam
Therearealso some recordingsof Buddhistmusics performedby
Sri Lankanlaypeople.Hewisidrummusicperformedat Buddhisttemples,
and as partof pirit ceremonies, can be heardon Sri Lanka:Buddhist Chant:

Maha Pirit (1990) and on Ceylon: Les tambours magiques de Sri Lanka
(FranqoisJouffa, n.d.). The LP Srr Lanka: Singhalese Music, Singing and
Drumming (1977) includes recordings of Buddhist folksongs and

drumming.Simhalaberapada [Sinhalesedrumrhythm](1991), a cassette
producedby Sri LankanscholarCyrilde SilvaKulatillake,containshMwisi
and procession (perahera) music, including Kandyan drumming.
Kulatillake's
SrVLa-ika:
K6lam: The Masked Play (198?) contains spoken
dialog and instrumentalmusic of kalam musical theatre.K6lam often enacts
167
Buddhisttales or themes, and as Ellingsonpoints out (1987: 188) the

singing style is reminiscentof Buddhistpirit chant. Martina ClausBachmannhas includedsoundfiles in her website ("JatakaNarrations"
2002) on Sri LankanJataka performances-enactmentsof tales of the
Buddha'sprevious lifetimes--accompanyingher article on this topic
(2002).
Historicaland comparativeevidence suggests that some of the
philosophies,practices,andperhapsalso musicalfeaturesof ancientIndian
Buddhismhave continuednot only in Sri Lankaand Nepal but also, in
transformed
ways,in themusicalpracticesof Indiangroupssuchas the Baul
of Bengal (Widdess 2004). While such music is not considered
"Buddhist"and is thereforenot surveyedhere,it is usefulfor purposesof
of SouthAsian
comparisonandcan contributeto a broaderunderstanding
Buddhist-related
music.(Formoreinformation,
see the CD Bengal:Chants
des "fous"[1990, CNRS/Mus6ede I'Homme/LeChantdu Monde LDX
274715], and Charles Capwell's book The Music of the Bauls of Bengal
[1986]).
Discography:Buddhist Musics of Nepal

Garland Encyclopedia of World Music, vol. 5: South Asia: The Indian
CD supplement.
2000. Editedby Alison Arnold.New
Subcontinent,
York:Garland.
Gunla Bhajan,vol. 1. n.d. Cassette.AnnapurnaCassette Centre (Asan,

ACCA101.
Kathmandu),
GyanmalaBhajan,(multiplevols.).n.d.Cassettes.Swayambhi
Availableat SwayambhQ
Gyanm.la
BhajanKhala,Kathmandu.
Stapa
complex.
Himalayan Music. 1997. CD accompanying European Bulletin of
HimalayanResearchvol. 12-13. Special double issue edited by

FranckBernedetitled HimalayanMusic: State of the Art.
Master drummers of Nepal Present Auspicious Drumming Traditions of
Bhaktapur.2001. CD. Availablethroughthe Kathmandu

University
Departmentof Music, website: www.asianart.com/kumusic/.
Recordedand with very useful notes by Gert-MatthiasWegner
of Music)and co(Chairof the Kathmandu
UniversityDepartment
the
Kathmandu
UniversityDepartmentof Music and
producedby
Pro Musica Viva Foundation.Booklet (12 pp) containingcolor
andnotesin English.
photographs

Music of the Sherpa People of Nepal II: Ritual Music. In development.
Recordings by Gert-MatthiasWegner, funded by Eco Himal

(Kathmandu).
Nepal: Musik der NevdrT-Kasten.1971. 33 1/3 rpm disc. Klangdokumente
zur Musikwissenschaft,KM0003.Recordingand notes (11 pp. in

Germanwith summariesin English)by Felix Hoerburger,
including
andmusicaltranscriptions.
photographs
Nepal: Musique de fite chez les Newar [Festival music of the Newars].
1989. CD. Geneva:Archivesinternationales

de musiquepopulaire,
Gallo VDE 553. Recordedby Marguerite
Mus6ed'ethnographie,
(1952)andLaurentAubert(1973).Booklet(28
Lobsiger-Dellenback
Laurent
in French and English,offering useful
Aubert,
pp.) by
commentaryon the music and cultureof the Newars, including
photographs.
a SacredTerrain:MelodicPathwaysof HimalayanFlute
"Ordering
2003. Multimedia
website:
Pilgrimage."
http://www.de2.psu.edu/faculty/pdg4/Orderi
ngASacredTerrain/.
andmaps
Recordings(MP3)by PaulD. Greene,withphotographs
of NewarBuddhistpilgrimages.
Websiteis a multimediasupplement
to the article(Greene2003).
Tamboursde la terre 2: Asie. 1992. CD. Ethnic/Auvidis,6774. Recorded
by Philippe EdouardBernard,MalgorzataAlbinska, and Dave

Striebel.Notes by LaurentAubert.Booklet(16 pp.) in Frenchand
Tracks5 and 6 are recordingsof
English,includingphotographs.
Newarinstrumental
music from Bhaktapurused in Buddhistand
Hindupilgrimagesandprocessions.
Discography:BuddhistMusics of Sri Lanka
Ceylon: Les tambours magiques de Sri Lanka. n.d. Playa Sound, PS
33516. Recordingandnotesby FranqoisJouffa.
Embodimentsof the
"Jataka Narrationsas MultimedialReconstructive
MentalSystem BuddhaShakyamuni."
2002. Multimediawebsite:
http://www.uni-bamberg.de/ppp/ethnomusikologie/wom02-2.
preparedby MartinaClaus-Bachmann.
Recordingsandphotograph
Websiteis a multimediasupplementto an article(Claus-Bachmann
2002).
169
Simhala bera pada [Sinhalesedrum rhythm].1991. Cassette. Sooriya,

GDNU 45. Distributedby Wickramasooriya
& Co., The Children's
BookShop,47/2, Sir Chittampalam
A. GardinerMawatha,Colombo
2, tel: 22838. No notes.Includesrecordingsof Kandyandrumming
traditions.
(side2) andotherceremonialdrumming
Sri Lanka: Buddhist Chant: Maha Pirit [The Great Chant]. 1990. CD.
Music of Man Archive.JecklinDisco, JD 651-2 (availablein the

U.S. from Koch International,
2700 ShamesDrive, Westbury,NY
11590).Recordingof monksof the Madangalla
Pirivena,Sri Lanka.
Recordingandnotesby WolfgangLaade.Bookletin English.
SrT Lanikd:Kolam: The Masked Play. 198?. 12" 33 1/3 rpm disc.
BM 30 SL 2569. Recording,notes, and

Bairenreiter-Musicaphon,
photographsby Cyrilde Silva Kulatillake.Recordedin 1972 and
1982. Performanceby the Gunaddsa Troupe of Ambalangoda,
directedby T.W. Harischandra.
Notes (10 pp.) in English and
German,Sinhalatext,photographs.
Sri Lanka: Musiques rituelles et religieuses. 1992. CD. Ocora 580037.
Recordingandnotesby HermanC. Vuylsteke.Booklet (16 pp.) in

French,English,andGerman.Re-releaseof 1982 recording(Ocora
558552).
?rr Lanka: Singhalese Music, Singing and Drumming. 1977. 33 1/3 rpm
disc. Bairenreiter-Musicaphon,
BM 30 SL 2566. Recordedin 1972
by Josef Kuckertz in the Kandy and Matale regions and in
Ambalangoda,and in 1976-1977 by Cyril de Silva Kulatillake.
Includes Buddhistfolksongs and drumming.Notes (8 pp.) in
EnglishandGermanby JosefKuckertz.
Paul D. Greene,PennsylvaniaState University
Keith Howard,School of Oriental and African
Studies, University of London
E.
Terry Miller, Kent State University
Steven G. Nelson,Kyoto City Universityof Arts,
Phong T. Nguyen,Kent State University
Hwee-SanTan, School of Orientaland
African Studies, University of London
Notes
1. The sectionsurveyingthe discographyof ChineseBuddhistmusics was authoredby
Hwee-SanTan;the sectionon mainlandSoutheastAsia by TerryE. Miller andPhong T.
Nguyen; the section on Japanby Steven G. Nelson; the section on Korea by Keith
andsectionson SouthAsia and InnerAsia by
Howard;andthe introductoryparagraphs
PaulD. Greene.
2. To be sure, in many Buddhist cultures--particularly Therav_da Buddhist
cultures-ritual chant is not considered "music." Following common practice in
ethnomusicology, our aim is to assemble available recordings in which cultural
of soundcan be heard,whetheror not this is actuallyconsidered"music"by
patternings
to thisissue:GreeneandWei 2004).
(see also the Introduction
practitioners
3. In additionto the recordingsfrommainlandSoutheastAsia discussedhere,a website
accompanying The World of Music 44/2: Body and Ritual in Buddhist Musical Cultures
shadow
includesphotographsand soundfiles of wayangkulit Banjar,a Buddhist-Hindu
(Indonesia),to accompanyMargaret
puppetmusicaltheatretraditionin SouthKalimantan
Kartomi's article on this tradition (Kartomi 2002). Website: http://www.unibamberg.de/ppp/ethnomusikologie/wom02-2.
4. The shortbibliographicsurvey of literatureon JapaneseBuddhistmusic in Greene,

Howard,Miller,Nguyen,andTan 2002 includesparagraphson both shakuhachimusic
andfolksong(pp. 150-51).
5. For an English-languagehistoryof JapaneseBuddhistmusic that takes into account
recentdevelopmentsin Japanesescholarship,see Nelson2003.
6. Tamaru1996providesa conciseaccountof thesectarianhistoryof JapaneseBuddhism.
7. For an English-languagehistoryof the society and its majoractivities, see Tsuge
2000.
a greatnumberof CDs of these types (website:
8. Taiwan'sWindRecordshas produced
On Buddhismand Chinese rock music, see Steen
http://www.wind-records.com.tw).
1999.
9. For a bibliographicsurveyof ChineseBuddhistmusic, see Greene,Howard,Miller,
Nguyen,andTan2002.
10. Fora reviewof theserecordings,see Tarocco2001.
11. Fieldrecordingsby Hwee-SanTanof the hymnstylesof Fujianprovince,which have
widespreadinfluencein Taiwan,andSouthEastAsiancountries,will also be depositedat
the NSA in the nearfuture.
171
References
AmanoDencho,IwataS6ichi,HarimaSh6g6andAsukaKanritsu,ed.
1995 Bukkydongakujiten[Dictionaryof BuddhistMusic]. Kyoto:
H6z6kan. Includes CD, Bukkydongaku no sekai [The World
of BuddhistMusic].
Capwell,Charles
1986
TheMusic of the Bauls of Bengal. Kent: Kent State University
Press.
Martina
Claus-Bachmann,
2002
"Jataka Narrations as Multimedial Reconstructive
Embodimentsof the MentalSystem BuddhaShakyamuni."
The Worldof Music 44/2: 115-34.
Ellingson,Ter
1981 Review-essay:FourTibetanRecordings:TibetanFolk Songs
from Lhasa and Amdo (LyrichordLLST 7286); The Songs of
Milarepa (LLST 7285); Tibetan Mystic Song (LLST 7290);
Songs of Gods and Demons: Ritual and Theatrical Music
(LLST 7291). Asian Music 12/2: 133-51.
1987
Review of Srr Lafika:KOlam:The Masked Play (33 1/3 rpm
disc, n.d., recorded by Cyril de Silva Kulatillake).
Ethnomusicology31: 187-90.
Greene,PaulD.
2003
"Orderinga SacredTerrain:MelodicPathwaysof Himalayan
Flute Pilgrimage."Ethnomusicology47/2: 205-27.
Greene,PaulD.; Howard,Keith;Miller,TerryE.; Nguyen,Phong T. and

TanHwee-San
2002
"Buddhismand the Musical Culturesof Asia: A Critical
LiteratureSurvey."The Worldof Music 44/2: 135-75.
Greene,PaulD. andWei,Li
2004
"Introduction:
MindfulnessandChangein BuddhistMusical
Traditions."Asian Music 35/2.
Hughes,David
1992
"2. Japan." In Ethnomusicology: Historical and Regional

Studies, ed. Hellen Meyers,pp. 345-63. New York & London:
Norton (Norton/GroveHandbooksin Music).
Kartomi,Margaret
2002
"Meaning,Style andChangein Gamelanand WayangKulit
fromHindu-Buddhist
Java
BanjarSinceTheirTransplantation
to SouthKalimantan."
TheWorldof Music44/2: 17-55.
Liu,Chun-Jo
1973 "The SerendipityChants:A DescriptiveCatalogueof the
Recordingsof the BuddhistRite for the Dead, 'Yu-chiayenk'ou shih-shihyao chi'."ChinoperlPapers3 (wholeissue).
Nelson,StevenG.
1998 "BuddhistChantof Shingi-Shingon:
A Guidefor Readersand
Listeners." In Shingi Shingon sh6myd shasei, Gakufu-hen,
Nika Hoyd-sha (Ge) / Buddhist Chant of Shingi-Shingon:
Neumes and Transcriptions2, pp. 458-503. Tokyo: Shingon-
sho Buzan-haBukky6 Seinenkai[YouthAssociationof the

BuzanBranchof theShingonSect].
2003
"Shimy6: The BuddhistChantof Japan."In BuddhistRitual

Chantfrom Korea and Japan, pp. 12-23. New York: Japan
Society.
PeggCarole
2001
Mongolian Music, Dance, and Oral Narrative: Performing
Diverse Identities (with CD). Seattle: University of

Washington.
SawadaAtuko[Atsuko]
2002
"Buddhist Music in Japan."In East Asia: China, Japan, and
Korea, pp. 611-18. Ed. Robert C. Provine, Yosihiko

andJ. LawrenceWitzleben.New York
[Yoshihiko]Tokumaru,
and London: Routledge. The Garland Encyclopedia of World
Music 7.
Sheeran,Anne
1993/94 Review of Buddhist Chant I: MahMPirit: The Great Chant
(compactdisc, 1990,recordingandnotesby WalfgangLaade,
Jecklin Disco JD 651-2). Asian Music 25/1-2: 298-301.
173
Shingon-shiBuzan-haBukkyoSeinenkai[YouthAssociationof the Buzan

Branchof the ShingonSect],ed.
1998
Shingi Shingon shomy6 shasei, Gakufu-hen, Nika H6y6-sha

(J6 Ge) / Buddhist Chant of Shingi-Shingon: Neumes and
2 vols. Tokyo:Shingon-shoi
Buzan-haBukky6
Transcriptions,
Seinenkai[YouthAssociationof the Buzan Branch of the
ShingonSect]. IncludesfourCDs of model performancesby
the late AOKIYok6, Victor Entertainment,
PRCD-1616-~19.
see Nelson1998above.
Englishcommentary:
Steen,Andreas
1999 "Buddhismand RockMusic:A New Music Style?" CHIME
Journal12-13:151-64.
TamaruNoriyoshi
1996
"Buddhism."In Religion in Japanese Culture, pp. 43-62. Ed.
Noriyoshi Tamaruand David Reid. Tokyo, New York and

London:KodanshaInternational.
Tarocco,Francesca
2001
Recordingreview: Chine/Fanbai/Chantliturgique bouddhique
(C559080, C560075 and C560109). CHIME Journal 14-15:
192-94.
Tian Qing, ed.
1993
Zhongguo fojiao yinyue xuancui [The selected Chinese
Buddhistmusic].ShanghaiYinyueChubanshe.
T6yoOngakuGakkai[Societyfor Researchin AsiaticMusic],ed.

1972 Bukkyo ongaku [Buddhistmusic]. Tokyo: Ty6 Ongaku
Gakkai (T6y6 OngakuSensho 6).
TsugeGen'ichi
2000 "T' y6 Ongaku Gakkai and Music Research in Japan."
Yearbookfor TraditionalMusic 32: 157-65.
Widdess,Richard
1997
"Cary6: The Revival of a Tradition?"European Bulletin of

HimalayanResearch 12-13: 12-20.
2004
"CarydandCaca:ChangeandContinuityin NewarBuddhist
Ritual Song." Asian Music 35/2.
YokomichiMarioandKataokaGid6,ed.
1984 Shamyo jiten [Dictionaryof
Kyoto: H6z6kan
Sh6my6].
LP anthologyShomyo
(Specialappendixto the trans-sectarian
taikei, 1983-84).

Buddhism and The Music

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Buddhism and The Music

Uploaded by

Copyright:

Available Formats

Buddhism and the Musical Cultures of Asia: An Annotated Discography

Volume XXXV, number 2

Buddhism and the Musical Cultures of Asia: An Annotated

Overthe last four decades,morethanthreehundredsoundrecordingshave

134 Asian Music: Spring/Summer2004

recordings may thereforealso be found on different record labels,

Dani6lou's long out-of-printrecording(A Musical Anthologyof the Orient:

Cambodia n.d.) includesonly one trackof Buddhist-related

thatfrom Bhattacharya's1973 album,reissuedas a compactdisc (Music

Greene et al.: Buddhismand the Musical Culturesof Asia

from Thailand1999).This albumincludesone track(no. 2) of Pali chant

the chantedritualtellingof the life story of PrinceWetsandawn,the man

Vietnam'scoverageis somewhatbetter,beginningwiththe Rounder

The Rounder reissue (Anthologyof World Music: The Music of Vietnam

1999) amazingly makes no mention of this nor does it update the

devotedto Buddhistchantrecordedin Hue',Vietnam.The notes areexpertly

136 Asian Music: Spring/Summer2004

Discography:Buddhist Musics of Cambodia

disc. BarenreiterMusicaphon,BM 30 L 2002. Recordingsand

Music from Thailand: Field Recordings by Master Ethnomusicologist

www.arcmusic.co.uk),EUCD 1557. Recordedand annotatedin

1000 Chants and Dasana Mahachat.n.d. (ca. 2000). 10 CDs. Produced by

in the Thai Ministryof Educationand the

Anthologyof WorldMusic: TheMusic of Vietnam.1999. 2 CDs. Rounder

ThichNhat Hanh and Sister ChdnKh6ng with the Monksand Nuns of

SoundsTrue,MOO3D.Producedby TamiSimonfor PlumVillage

VietNam: Musiquebouddhiquede Hue: Khai Kinh: C6drmonie

260082. Producedby Franqoise

Greene et al.: Buddhismand the Musical Culturesof Asia

ddm ma]. 1998. CD. Arion,

East Asia: Japan

138 Asian Music: Spring/Summer2004

2. Shingon.Establishedby theJapanesepriestKikai (K6b6Daishi,

Greene et al.: Buddhismand the Musical Culturesof Asia

140 Asian Music: Spring/Summer2004

Transcriptions,editedby the Shingon-shoBuzan-haBukky6 Seinenkai),

sha shomyogrewdirectlyout of the society's researchactivities.Another

Greene et al.: Buddhismand the Musical Culturesof Asia

Discography: Buddhist Musics of Japan

142 Asian Music: Spring/Summer2004

Japanese commentary in four booklets (total 475 pages) by

Hase rongi: Shingon-sha Buzan-ha Denb6 Daie [The Doctrinal Catechism

of Hasedera:The GreatCeremonyof Transmissionof the Secret

Japon: Shamy6 "kcole" Shingon-Rituel Bouddhique / Japan: Shdmy6

LDX 274976. Chakyoku RishuZanmairite of the Nanzan-shin

KOyasanno sh6myO: Dai-mandara-ku [The sh6myO of Koyasan: Great

Worshipof the Mandala].2002. CD. Japan Victor Foundation,

Shingi Shingon shomyOshasei: Nika Hoyd-sha [Anthology of the ShOmyO

of Shingi Shingon:The RitualwithTwo-partRite]. 1998. 4 CDs.

Greene et al.: Buddhismand the Musical Culturesof Asia

Shingon shamyd [ShomyOof the Shingon sect]. 1964. 4 LP records.

sect:The Ceremonyof Transmissionof the SecretTeachingsof the

Shingon-sha Buzan-ha shomyd: Mieku Nika Hoyd [Shimyo of the Buzan

school of the Shingonsect: Memorialservicewith two-partrite].

ancient and medievalJapan]series 2. CBS Sony, SOJZ 84-88.

VICG-5353. The Tsujinami

144 Asian Music: Spring/Summer2004

Shomyo: Mieku Nika HOyo (Shingon-sha Chizan-ha) [Shamyo: Memorial

servicewithtwo-partritual(Chizanschool of the Shingon sect)].

Tendai(includingOsaka'sShitennoji,sinceit usesTendaishomyo today)

to the Shomyj of the TendaiSect

Hiezan Enryakujino shomyO:TaizokaiMandara-ku [Shimyd of Enryakuji

of Hiezan: Worshipof the Womb-MatrixMandala].2001. CD.