Relevant bibliographies by topics / Music Music Mahayana Buddhism

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music Music Mahayana Buddhism'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Music Music Mahayana Buddhism"

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Mabbett, Ian W. "Buddhism and Music." Asian Music 25, no. 1/2 (1993): 9. http://dx.doi.org/10.2307/834188.

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Li, Wei, and Peter Crossley-Holland. "The Music of Tibetan Buddhism." Yearbook for Traditional Music 32 (2000): 239. http://dx.doi.org/10.2307/3185295.

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Misra, Shveata, and Ina Shastri. "Rumination of Music on Buddhism and Hinduism." International Journal of Human Movement and Sports Sciences 2, no. 3 (2014): 33–40. http://dx.doi.org/10.13189/saj.2014.020301.

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Laade, Wolfgang. "The Influence of Buddhism on the Singhalese Music of Sri Lanka." Asian Music 25, no. 1/2 (1993): 51. http://dx.doi.org/10.2307/834190.

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Harnish, David. "The Future Meets the Past in the Present: Music and Buddhism in Lombok." Asian Music 25, no. 1/2 (1993): 29. http://dx.doi.org/10.2307/834189.

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Reehl, Duncan. "Musicalizing the Heart Sutra: Buddhism, Sound, and Media in Contemporary Japan." Religions 12, no. 9 (2021): 759. http://dx.doi.org/10.3390/rel12090759.

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In Japan, explicitly religious content is not commonly found in popular music. Against this mainstream tendency, since approximately 2008, ecclesiastic and non-ecclesiastic actors alike have made musical arrangements of the Heart Sutra. What do these musical arrangements help us to understand about the formation of Buddhist religiosity in contemporary Japan? In order to answer these questions, I analyze the circulation of these musical arrangements on online media platforms. I pursue the claim that they exhibit significant resonances with traditional Japanese Buddhist practices and concepts, w
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Haskins, Rob. "Aspects of Zen Buddhism as an Analytical Context for John Cage's Chance Music." Contemporary Music Review 33, no. 5-6 (2014): 616–29. http://dx.doi.org/10.1080/07494467.2014.998426.

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Klein, Jennie. "Being Mindful: West Coast Reflections on Buddhism and Art." PAJ: A Journal of Performance and Art 27, no. 1 (2005): 82–90. http://dx.doi.org/10.1162/1520281052864006.

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Jamnongsarn, Surasak. "TRANSKULTURASI MUSIK ANTARAGAMELAN JAWA, ANGKLUNG, DAN MUSIK TRADISI THAILAND." MELAYU ARTS AND PERFORMANCE JOURNAL 2, no. 2 (2020): 158. http://dx.doi.org/10.26887/mapj.v2i2.975.

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Javanese gamelan and angklung to Thailand music gives the impact on the development of Thailand traditional music. That musical transculturation exists in the musical instrument of angklung and the musical concept of Javanese gamelan that are then mixed with the system of Thailand traditional music involving gamut (tuning system), presentment method, and its function in society. This transculturation shows the understanding of cultural relation between Thailand traditional music that has the background of Buddhism philosophy and Gamelan that has the background of Kejawen syncretism. These two
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Schafer, John C. "Death, Buddhism, and Existentialism in the Songs of Trinh Côông Sóón." Journal of Vietnamese Studies 2, no. 1 (2007): 144–86. http://dx.doi.org/10.1525/vs.2007.2.1.144.

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Various explanations have been offered for the extraordinary popularity of the composer and singer Tr]nh Côông SKn: his poetic lyrics, his avoidance of the clichéés of prewar music, his antiwar themes, his ability to choose talented female singers, and the like. But little has been said about the Buddhist themes in his songs, perhaps because Vietnamese scholars take them for granted. This article points out these themes and argues that they help explain the Trinh Côông S Kn phenomenon. It also discusses European existentialism, which the author argues fascinated Trinh Côông S Kn but was ultima
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Dissertations / Theses on the topic "Music Music Mahayana Buddhism"

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Ungpho, Rewadee [Verfasser], Gretel Akademischer Betreuer] Schwörer-Kohl, and Marianne [Akademischer Betreuer] [Bröcker. "Chinese ceremonial music in Mahayana Buddhism in Southern Thailand / Rewadee Ungpho. Betreuer: Gretel Schwörer-Kohl ; Marianne Bröcker." Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2010. http://d-nb.info/1025133870/34.

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Sota, Yuji. "Independence and interdependence in John Cage's adoption of Zen Buddhism and anarchism." Thesis, State University of New York at Buffalo, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3726001.

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<p> The composer John Cage adopted Indian aesthetics, Zen philosophy, and anarchism to underpin his music and aesthetic. Although his interest in each ideology has been studied, the reason why he incorporated ones from disparate values remains unclear. Considering the trajectory of his intense quest for the theories that reinforced his music and aesthetic, elucidating the commonalities and differences among Indian aesthetics, Zen philosophy, and anarchism should reveal what he ultimately pursued. This dissertation explores comparative analyses of his interests in order to detect the notion of
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Nakao, Kyohei. "Hoichi for Orchestra." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/347089.

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Hoichi is an original musical composition for orchestra. It is approximately 42 minutes in length. The piece is inspired by a Japanese folk tale entitled Hoichi, the Earless. This story about a blind lute player takes place in Shimonoseki, the city in which I was born. The contrast between chamber sonority and orchestral forces symbolizes Hoichi's battle against evil spirits. Although he eventually loses his ears and dies the music turns into a strong life assertion toward the end. I relate this to a Zen Buddhist notion: when you lose (transcend) everything, you gain everything. The piece ends
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Kishimoto, Masashi. "Tracing the Development of Japanese Choral Tradition, and the Influence of Buddhism and Western Music." Diss., North Dakota State University, 2012. https://hdl.handle.net/10365/26861.

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This research deals with the origin and development of Japanese choral music emphasizing Japanese folk tunes. The process of how modern styles of Japanese choral music evolved is rather complicated, and has been greatly influenced by the paralleled development of society, tradition, culture, language, politics, and religion. In order to truly understand the essence and evolution of traditional Japanese music, it is crucial to recognize the cultural influences that make up Japanese history. In the late fifth century, Japan started to absorb new music from mainland Asia into its own culture. Thi
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Griffith, Dana Gregory. "Collected Toons of the Blues Buddha." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1214920403.

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Yang, Serena. "John Cage and Van Meter Ames: Zen Buddhism, Friendship, and Cincinnati." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378195094.

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Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.

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Cockrell, Brittany B. "Mindfulness and authentic creativity developing a healthy lifestyle." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/362.

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The contemporary society of the United States of America is becoming an increasingly stressful environment to live in. Our rapid advances and developments in virtual, electronic, and high-speed technology have led us to a lifestyle that operates more quickly. However, our attachment to such a face-paced lifestyle has unfortunately led us towards an increasingly stressful lifestyle. This research focuses on identifying our current society's perceptual outlook and illustrating how the practice of mindfulness can help reduce the anxieties, struggles, and mental flaws which cloud our perception. T
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Chen, Pi-Yen. "Morning and evening service : the practice of ritual, music, and doctrine in the Chinese Buddhist monastic community /." 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9934032.

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Maguire, Randy Allen. "When the horse runs off." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3503.

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"When the horse runs off" is a one-act chamber opera, which features an original libretto by playwright Sarah Saltwick, and is based on a Buddhist fable. The piece is scored for four singers and six instrumentalists. Similar to the manner in which the original fable is used as a point of departure, the opera incorporates folk music of Nepal and China into a larger, more varied palette of sounds. These are places from which this fable could have originated, so this is a natural way to create a world within the piece that feels organic.<br>text
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Books on the topic "Music Music Mahayana Buddhism"

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Claus-Bachmann, Martina. Mahayana-buddhistische Liturgie im heutigen Indonesien: Musikkulturelle Überlieferung chinesischer Migranten. Lit, 1998.

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Pulgyo ŭmak kamsang: Buddhism music appreciation. Unjusa, 2005.

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Từ, Thanh. Phật giáo trong lòng dân tộc. Nhà xuất bản Văn hóa thông tin, 2008.

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Hanʾguk ŭi Pulgyo ŭmak: Buddhism music of Korea. Unjusa, 2005.

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Xue yu yue xue xin lun. Zhong yang min zu da xue chu ban she, 2007.

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Bukkyō to ongaku. Sakuyō Gakuen Shuppanbu, 1999.

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Osho. Ancient music in the pines: In zen mind suddenly stops :the way of effortless effort. Osho Media International, 2009.

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Haḷadaṇakara, Babanarāva. Milanotsuka do tānūpare: Jayapura evaṃ Āgarā gāyakī ke saundaryatattva. Vidyānidhi Prakāśana, 2001.

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Haḷadaṇakara, Babanarāva. Juḷū pāhaṇāre dona tambore: Āgrā, Jayapūra gāyakī. Rājahãsa Prakāśana, 1992.

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Uta ni hisomu Bukkyō no kokoro. Kokusho Kankōkai, 2009.

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Book chapters on the topic "Music Music Mahayana Buddhism"

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Day, Kiku. "Zen Buddhism and Music: Spiritual Shakuhachi Tours to Japan." In The Changing World Religion Map. Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9376-6_147.

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"Music, Ambiguity, Buddhism: A Composer’s Perspective." In Contemporary Music. Routledge, 2016. http://dx.doi.org/10.4324/9781315573885-24.

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Lowe, Bethany. "‘In the heard, only the heard …’:music, consciousness, and Buddhism." In Music and ConsciousnessPhilosophical, Psychological, and Cultural Perspectives. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:oso/9780199553792.003.0043.

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Clark, Walter Aaron. "Encore." In Los Romeros. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041907.003.0017.

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The Romeros have had an enormous impact on the world of the guitar and of classical music in general. Their spiritual views do not fit into conventional categories, though they feel comfortable with a blend of Eastern and Western traditions, especially Buddhism and Catholicism. The saga of their family is a remarkable one, and their road to success has featured many unexpected twists and turns. Along the way, their music has touched the lives of countless thousands of people, and their legacy endures.
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Clark, Walter Aaron. "The Romero Technique." In Los Romeros. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041907.003.0013.

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The Romeros have excelled not only as performers but also as influential and sought-after teachers, especially Celedonio, Celin, Pepe, and Celino. Celin and Pepe in particular have taught at colleges and universities throughout Southern California and given master classes around the world. The Romero technique is inseparable from a broader philosophy of music and life, and it can be explained in terms of the Noble Eightfold Path of traditional Buddhism: Right understanding, thought, speech (sound), action, livelihood, effort, mindfulness, and concentration. Their unique approach has produced a large number of successful performers over the decades, including Christopher Parkening and the Los Angeles Guitar Quartet.
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Atkins, Joseph B. "The Musician and Philosopher." In Harry Dean Stanton. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180106.003.0012.

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This chapter explores Harry Dean Stanton's music and philosophy of life, both very important in understanding him. Music had always been important, an inheritance from his family. His role as the guitar-playing Tramp in Cool Hand Luke (1967) introduced him to many moviegoers both as an actor and a musician. After decades on screen, he confessed to musician and close friend Jamie James that he had a dream of leading a band. He realized that dream in bands that performed everything from old standards to Mexican ballads at venues such as The Mint and The Troubadour. Sometimes both musician and philosopher were on stage, as when Harry Dean asked an incredulous James to stop playing and allow silence to work its magic. Harry Dean had early on rejected the Christian fundamentalism of rural Kentucky and turned toward the teachings of Zen Buddhism, ancient philosophers like Lao Tzu, and modern-day thinkers like Jiddu Krishnamurti, Alan Watts, and Eckhart Tolle. Alex Cox saw "utter mishmash" in Harry Dean's frequent philosophical musings, but others like Ed Begley Jr. said Harry Dean changed their lives by helping them focus more on the present than on the past or the future.
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"Glossary Bo idiophone, cymbal Dang idiophone, small brass gong suspended in a wooden frame Dao the transcendent eternal Cosmic Way Daozang Taoist canon Di aerophone, horizontal flute Difang yun regional chants Dujiang chief cantor Fangshi man of magical techniques Faqi ritual instruments Fujiang assistant cantor Gaogong fashi chief Taoist or master of exalted merit Gongchi notational system Gu membranophone, drum Guan aerophone, reeded pipe He process of uniting the yin and yang Huoju daoshi non-celibate Taoist priests Jinian fashi rituals celebrating the birthdays of various gods, deities, and past Taoist masters Luo idiophone, gong Moyu idiophone shaped like a fish, made of wood Qi the primordial energy Qing idiophone in the shape of a large bowl, usually made of brass Quanzhen Perfect Realization Quanzhen zhenyun Orthodox Quanzhen chants Sandong three-part classification of historical documents used in the Taoist canon Sanjiao heyi Three religions (Taoism, Buddhism, Confucianism) into one Sanqing The Three Pure Ones, highest of the Taoist gods Shougu membranophone, hand-held drum Suona aerophore, oboe Taiping Dao The Way of Great Peace Tan Taoist altar Tian ren he yi human in/as universe Tianshi Dao The Way of the Heavenly Masters Wushi shaman and spirit-medium Wuwei Taoist philosophical idea of non-interference Xiudao fashi daily morning and evening offices Yangyun chants praising the virtues and power of the gods Yanyue court banquet music." In Tradition & Change Performance. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-15.

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Conference papers on the topic "Music Music Mahayana Buddhism"

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Kersalé, Patrick. "At the Origin of the Khmer Melodic Percussion Ensembles or “From Spoken to Gestured Language”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-5.

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Frescoes representing melodic percussion orchestras have recently appeared in the central sanctuary of the Angkor Wat temple. They prefigure two orchestras existing today in Cambodia: the pin peat and the kantoam ming. These two ensembles are respectively related to Theravada Buddhism ceremonies and funerary rituals in the Siem Reap area. They represent a revolution in the field of music because of their acoustic richness and their sound power, supplanting the old Angkorian string orchestras. This project analyzes in detail the composition of the fresco sets and establishes a link with the str
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