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Journal articles on the topic 'Music Music Mahayana Buddhism'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Kalyani, Kalyani. "Thathagata Buddha Songs: Buddhism as Religion and Cultural-Resistance among Dalit Women Singers of Uttar Pradesh." CASTE / A Global Journal on Social Exclusion 1, no. 2 (2020): 51–62. http://dx.doi.org/10.26812/caste.v1i2.184.

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This paper intends to understand music as a form of cultural expression that has enabled mobility to Dalit-Bahujan and their cultural production. This cultural production can be seen in the form of popular songs that are widely circulated among Dalits and is part of their religion, identity as well as cultural assertion. Thathagata Buddha songs, which this paper studies, has been specifically enabling for Dalit women as it gives them not only a sense of religiosity but it also opens them to the possibility of rationalizing their beliefs and practices. The paper will bring up an ethnographic ac

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12

Perris, Arnold. "Feeding the Hungry Ghosts: Some Observations on Buddhist Music and Buddhism from Both Sides of the Taiwan Strait." Ethnomusicology 30, no. 3 (1986): 428. http://dx.doi.org/10.2307/851588.

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13

Spyra, Piotr. "Religijne inspiracje w twórczości muzyków jazzowych." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 14, no. 2 (2017): 119. http://dx.doi.org/10.17951/l.2016.14.2.119.

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<p>The main purpose of the dissertation is an attempt to answer the question of how religion inspired and still inspires the works of jazz musicians. Some people think that jazz and religion have nothing in common or even that they are in opposition. The present article tries to show that this common way of thinking is not correct: jazz grew from religious music, and owing to its creative freedom (improvisation) it can be very a good way of expressing religious feelings. The thesis consists of two major parts. The first part contains an attempt to systematize the relationship between mus

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14

Ataso, Chalermpol, and Pratompong Na Champasakdi. "Influence of Spiritualistic Belief on Musical Performance in Traditional Ritual: Mahesak City Guardian Ceremony in Champasak." Asian Culture and History 11, no. 1 (2018): 23. http://dx.doi.org/10.5539/ach.v11n1p23.

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In early March, Mahesak city guardian ceremony is yearly held in Champasak, Lao People&rsquo;s Democratic Republic to commemorate the city guardian spirits that were previously believed to protect Lao ancestors from unexplainable natural phenomena. Since the melody of music was believed to mediate the communication between human-beings and invisible city guardians, the sound of Piphat ensemble has become the heart of Mahesak ceremony. Therefore, in this study, the details of significance and religious implication of Mahesak ceremonial music via the sound of Piphat were elucidated. The vari

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15

Wu, Jiayue Cecilia. "From Physical to Spiritual: Defining the practice of embodied sonic meditation." Organised Sound 25, no. 3 (2020): 307–20. http://dx.doi.org/10.1017/s1355771820000266.

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This article narrates my practice-based research in embodied sonic meditation, as a Digital Musical Instrument (DMI) designer, a vocalist, a composer, a media artist and a long-term meditation practitioner. I define the concept of ‘embodied sonic meditation’ in the context of electroacoustic sound art with the augmentation by music technology and human-centred design. I historically connect embodied sonic meditation to its roots in Tibetan Buddhism and several inspiring music compositional practices in the Western world from the second half of the twentieth century. I argue that physicality an

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16

Dyer, Jeffrey. "Popular Songs, Melodies from the Dead: Moving beyond Historicism with the Buddhist Ethics and Aesthetics of Pin Peat and Cambodian Hip Hop." Religions 11, no. 11 (2020): 625. http://dx.doi.org/10.3390/rel11110625.

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This article illustrates how the aesthetics of two types of Cambodian music—pin peat and Cambodian hip hop—enact Cambodian–Buddhist ethics and function as ritual practices through musicians’ recollections of deceased teachers’ musical legacies. Noting how prevalent historicist and secular epistemologies isolate Cambodian and, more broadly, Southeast Asian musical aesthetics from their ethical and ritual functions, I propose that analyses focusing on Buddhist ethics more closely translate the moral, religious, and ontological aspects inherent in playing and listening to Cambodian music. I detai

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17

Schofield, Paul. "Die Sieger and Die Wibelungen: How Parsifal is the Fifth Opera of Wagner’s Ring." Religion and the Arts 17, no. 3 (2013): 246–70. http://dx.doi.org/10.1163/15685292-12341272.

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Abstract Nineteenth-century German opera composer Richard Wagner was very knowledgeable about Buddhism and its teachings, at least for a European of that time, and he incorporated his knowledge of those teachings into his last five music dramas: The Ring of the Nibelung (a four-opera cycle) and his final opera, Parsifal. The Ring is traditionally performed separately from Parsifal, but this article explains how there is a basis to connect these five great works into one cycle, even to the extent where the performance of a five-opera cycle would one day become a reality. The basis for this conn

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18

BELIBOU, Alexandra. "Tibetan Sacred Dances." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 17–24. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.2.

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Entering the world of Tibetan spirituality, we observe a multitude of rituals that involve movement and music, used by the monks for various therapeutic and ritualic purposes. The history of Tibetan dance – the Cham tradition - runs in parallel with the history of Buddhism on this territory. Information on these rituals and dances is found in very few Tibetan documents, almost none in European works, and recently in several works printed in English. This can be explained by their oral transmission in special schools, as well as in secret initiations. As the title mentions, in this article, we

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19

Boreham, Dominic. "The Conceptual Framework of My Computer-Assisted Drawings: Reflections on Physics, Buddhism and Transactional Psychology." Leonardo 25, no. 2 (1992): 119. http://dx.doi.org/10.2307/1575699.

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20

Ho, I.-Lien. "Poem without Language: When a Writing Becomes Traceless." Leonardo 51, no. 1 (2018): 55–56. http://dx.doi.org/10.1162/leon_a_01551.

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What happens when a writing cannot perform its function of documentation and indication? In the installation performance Poem without Language, developed from the action score writing Chinese calligraphy on the surface of water, the multiple closed-circuit videos raise the question of “who” can occupy the position of the observer, challenging tunnel-vision perspectivism. Such an orchestra of gazes resonates with the spatial organization in Chinese ink landscape painting, which challenges the anthropocentric ordering of things; responds to Nam June Paik’s approach to media, which disrupts the h

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21

Tosa, Naoko, and Seigow Matsuoka. "ZENetic Computer: Exploring Japanese Culture." Leonardo 39, no. 3 (2006): 205–11. http://dx.doi.org/10.1162/leon.2006.39.3.205.

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The authors present ZENetic Computer as a means of cultural translation using scientific methods to represent essential aspects of Japanese culture. Using images—deriving from Buddhism and other Asian concepts, sansui (landscape) paintings, poetry and kimonos— that have not heretofore been the focus of computing, the authors project the style of communication developed by Zen schools over hundreds of years into an exotic computing world that users can explore. Through encounters with Zen koans and haiku, the user is constantly and sharply forced to confirm his or her selfawareness for purposes

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22

Tarnai, Tibor, and Koji Miyazaki. "Circle Packings and the Sacred Lotus." Leonardo 36, no. 2 (2003): 145–50. http://dx.doi.org/10.1162/002409403321554215.

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How must n non-overlapping equal circles be packed in a given circle so that the diameter of the circles will be as large as possible? This paper presents an account of this problem and its putative solutions and related configurations in lotus receptacles, classical Japanese mathematics (wasan) and traditional Japanese design. Particular emphasis is placed on the connection between the conjectural solutions of this discrete geometrical problem and the fruit arrangements in the receptacles of lotuses, because in most cases the actual fruit arrangements are identical to the mathematical solutio

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23

Ahmed, Syed Jamil. "The Ritual of Devol Māduā: Problematizing Dharma in the Ethnic Conflicts of Sri Lanka." New Theatre Quarterly 19, no. 4 (2003): 326–46. http://dx.doi.org/10.1017/s0266464x03000228.

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Western consciousness of Sri Lanka tends to be limited to bracketing the secessionist ‘Tamil Tigers’ among the ‘terrorist threats’ facing the world community. In truth, tensions between the Sinhalese and Tamil communities of Sri Lanka go back two millennia, and Syed Jamil Ahmed argues here that the conflict is reflected in the myths of origin of both communities and the rituals through which they are still re-enacted. He believes that one of these, the ritual of Devol Māduā, offers a possible resolution to the problematic relationship between religious and moral law, or dharma, and the pragmat

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24

Postiga, José Luís. "SOM E FÉ: DA PRÁTICA COMUNITÁRIA RELIGIOSA PARA A COMPLEXIDADE DO PENSAMENTO MUSICAL ERUDITO DO ÚLTIMO QUARTEL DO SÉC. XX." Cadernos de Educação Tecnologia e Sociedade 13, no. 1 (2020): 23. http://dx.doi.org/10.14571/brajets.v13.n1.23-40.

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When faced with the artistic-musical concepts developed in the second half of the twentieth century, it is common to observe them from the perspective of the scientific advances they have promoted or resulted from, the abstract organizations in which they are based, the aesthetic principles they create or and almost always fall within the individuality of the interpretation present in the creative act and its representativeness, regardless of the support in which it presents itself. Paradoxically, some of the main classical musical works written in the last quarter of the twentieth century res

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25

Sonika. "RAINBOW OF COLOURS – THE PAHARI MINIATURE PAINTING”." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3534.

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Indian miniatures are in the art world a class by themselves. ‘Miniature’ generally refers to a painting or illumination, small in size, meticulous in detailing and delicate in brushwork1. Indian Miniature Painting has a long history of over thousand years and presents a comprehensive record of the religious and emotional feelings of the Indian people. These paintings show the Indian genius in its pure form. Its inspiration is rooted in the people’s hearts, keeping close to their poetry, music and drama. The great merit of this art is the exquisite delicacy of drawing with decorative details.

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26

WIMALARATANA, WIJITAPURE. "Promotion of Cultural Tourism in Sri Lanka with Special Reference to the North Central Province." Journal of Asian Business and Economic Studies 217 (July 1, 2013): 15–41. http://dx.doi.org/10.24311/jabes/2013.217.01.

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Sri Lanka is an island in the Indian Ocean located to the south of India and separated from Indian subcontinent by a small straight. The island has been one of the major tourist attractions since antiquity. End of the protracted civil war is a blessing for the recent surge of tourist arrival and the rapid expansion of tourism facilities on the island. Although small, the island is rich in religious and cultural diversity with an immense attraction to the tourist. Buddhism is the main religion of the overwhelming majority of people even though Hinduism, Christianity and Islam are practiced side

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27

Dwiyanti, Revi, and Agus Suherman. "Unsur Budaya Dalam Cerita Film Cakra Buana Karya Sutradara Massimo Burhanuddin." LOKABASA 10, no. 2 (2019): 204–13. http://dx.doi.org/10.17509/jlb.v10i2.21361.

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This research is motivated by the lack of research on film that uses Sundanese language and cultural settings. This study aims to describe the cultural elements that exist in the Cakra Buana film story. The method used in this research is descriptive analysis with document study techniques in the form of artwork. The data source in this study is the story of the film Cakra Buana by director Massimo Burhanuddin. The results of the study include 7 cultural elements, including: language, this film uses Sundanese language and undak usuk basa, knowledge systems are divided based on knowledge about

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28

"Medieval Buddhism and Music." Studies in Japanese Literature and Culture 3 (March 31, 2020): 113–25. http://dx.doi.org/10.7221/sjlc03.113.0.

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29

Cupchik, Jeffrey W. "Buddhism as Performing Art: Visualizing Music in the Tibetan Sacred Ritual Music Liturgies." Yale Journal of Music & Religion 1, no. 1 (2015). http://dx.doi.org/10.17132/2377-231x.1010.

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30

Pongpindan, Alfriyani. "Islam Khas Indonesia: Metodologi Dakwah Islam Nusantara." LENTERA 3, no. 2 (2019). http://dx.doi.org/10.21093/lentera.v3i2.1678.

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At present there is a tendency for Islam to be synonymous with Arabic culture so that being a true Muslim one must become an Arab Muslim represented in the form of, for example, veils, rather short pants, robes, and so on. Muslims should become Muslims who are truly indigenous according to the culture of Indonesia which is very rich and diverse. Basically humans cannot be separated from their culture because that is their identity from generation to generation to embrace Islam does not necessarily leave the characteristic of local culture that has been inherited by their ancestors. Islam in In

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31

Švambarytė, Dalia. "On the Chinese Concept of “Wild Words and Fancy Language” and its Interpretation in Japan." Acta Orientalia Vilnensia 5 (December 1, 2004). http://dx.doi.org/10.15388/aov.2004.18234.

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The Japanese concept of the term “kyōgen kigo” or “kyōgen kigyo”, which in English means “wild words and fancy language”, has influenced Japanese literary thought to a considerable degree. The originally Buddhist term that became popular in China and then in Japan was coined by the Tang dynasty’s poet Bai Juyi, who first spoke disapprovingly and then contemptuously about novels or any kind of fiction from both the Buddhist and the Confucian standpoints. This article is a discussion of the metamorphosis in the meaning of this term “kyōgen kigo” in Japan.By kyōgen kigo Bai Juyi meant to criticiz

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32

Antoshko, Marina. "THEATRICAL LIFE IN CHINA." Young Scientist 11, no. 87 (2020). http://dx.doi.org/10.32839/2304-5809/2020-11-87-71.

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Based on the study of the problem of Chinese theater and musical art of the country, the original culture of the people is revealed. The problem of studying the worldview system of ancient China as the basis for the emergence of musical tradition has interested many scholars, because it influenced the cultural life of the East. Philosophical views influenced both theatrical life and the musical art of the country. Thus, China's cultural traditions were based on ancient Chinese philosophies: Confucianism, Taoism, and Buddhism. Special attention was paid to education, especially aesthetics, in C

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33

Reedy, Chandra L. "Preserving Intangible Aspects of Cultural Materials: Bonpo Ritual Crafts of Amdo, Eastern Tibet." MRS Proceedings 1047 (2007). http://dx.doi.org/10.1557/proc-1047-y02-03.

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AbstractAncient and historic products of past technologies exist in the form of material culture and archaeological finds, available for materials analysis. Technical studies and analytical work, coupled with the study of historical texts and archival documents, can help in reconstructing past technologies. But the act of making an object is, by its very nature, also an intangible part of human heritage. Production of material culture may be accompanied by specific rituals, social behaviors and relationships, music, knowledge gained from oral histories, meanings, intents, beliefs, and reasonin

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34

Pegrum, Mark. "Pop Goes the Spiritual." M/C Journal 4, no. 2 (2001). http://dx.doi.org/10.5204/mcj.1904.

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Kylie Minogue, her interviewer tells us in the October 2000 issue of Sky Magazine, is a "fatalist": meaning she "believe[s] everything happens for a reason" (Minogue "Kylie" 20). And what kind of reason would that be? Well, the Australian singer gives us a few clues in her interview of the previous month with Attitude, which she liberally peppers with references to her personal beliefs (Minogue "Special K" 43-46). When asked why she shouldn't be on top all the time, she explains: "It's yin and yang. It's all in the balance." A Taoist – or at any rate Chinese – perspective then? Yet, when asked

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35

Stevens, Carolyn Shannon. "Cute But Relaxed: Ten Years of Rilakkuma in Precarious Japan." M/C Journal 17, no. 2 (2014). http://dx.doi.org/10.5204/mcj.783.

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Introduction Japan has long been cited as a major source of cute (kawaii) culture as it has spread around the world, as encapsulated in Christine R. Yano’s phrase ‘Pink Globalization’. This essay charts recent developments in Japanese society through the cute character Rilakkuma, a character produced by San-X (a competitor to Sanrio, which produces the famed Hello Kitty). His name means ‘relaxed bear’, and Rilakkuma and friends are featured in comics, games and other products, called kyarakutā shōhin (also kyarakutā guzzu, which both mean ‘character goods’). Rilakkuma is pictured relaxing, sle

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36

Neilsen Glenn, Lorri. "The Loseable World: Resonance, Creativity, and Resilience." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.600.

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[Editors’ note: this lyric essay was presented as the keynote address at Edith Cowan University’s CREATEC symposium on the theme Catastrophe and Creativity in November 2012, and represents excerpts from the author’s publication Threading Light: Explorations in Loss and Poetry. Regina, SK: Hagios Press, 2011. Reproduced with the author’s permission].Essay and verse and anecdote are the ways I have chosen to apprentice myself to loss, grief, faith, memory, and the stories we use to tie and untie them. Cat’s cradle, Celtic lines, bends and hitches are familiar: however, when I write about loss, I

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