Tibetan Sacred Ritual Music

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Tibetan Sacrosanct Custom Music. Woven artwork of Holy Music. Tibetan Sacrosanct Custom Music.

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Slide 1

Tibetan Sacred Ritual Music Tapestry of Sacred Music

Slide 2

Tibetan Sacred Ritual Music Tibetan Ritual Music is for the most part percussive Rolmo (on a level plane played cymbals), Silnyen (vertically played cymbals) and Nga (drums) joined by fundamental melodic lines of " Gya Lings" which are twofold reed shawms   whose tone are more likened to the solemn tone of cor anglais than the brilliant tone of oboes." The Doong (Conch Shells) is likewise blown. The percussive quality is more critical than the melodic in light of the fact that the custom music speak to the "Lion's Roar" to which the Buddhist Teachings are looked at. Conch Rolmo Silnyen

Slide 3

For the Gya Ling music, there is a lead player and the second player takes after the lead player as far as the fingerings (there are no documentations when playing). Consequently there is a brief moment delay in the second player's note when the note/fingering changes, and this delivers an enhancement created by the two Gya Ling players. Additionally the scale is modular and not tonal and may sound somewhat off key to a Western prepared artist. The same number of the notes are long single notes, the lead player adorns these long notes with periodic mordents and again the second player mirrors with a brief instant contrast and the exceptional Gya Ling split second conflicting impact can be heard all the more noticeably.

Slide 4

For specific Rituals particularly to Wrathful Bodhisattvas and Protectors of the Teachings, the Doong Chen (similar to Swiss long horns fit as a fiddle and sound) and the Kang Ling (copying the sound of awful wild creatures, for example, jackals) are added to make an unpleasant environment and nearness. Particularly for customs to the Protectors of the Teachings, there are extraordinary low rambling "yangs" or sung serenades that has included sounds like "yayi yaya" and "waya" after every syllable to prolong certain vital syllables. You will have the capacity to hear these amid the execution of the Namsay Chayang which incorporates ceremonies to the Protectors of the Teachings. Kang Ling Doong Chen

Slide 5

In the Sakyapa Tradition, there are for the most part three fundamental sorts of sacrosanct music:  Chod Rol (offering/quiet music after the 8 offerings are offered to Buddhas and Bodhisattvas),  Drak Rol (conjuring music amid strengthening services) and  Chen Den (complex summon music which could keep going the length of 30 minutes reporting the nearness of Buddhas and Bodhisattvas and Protectors amid such customs). The sub-customs of Sakyapa Tradition which are Sakyapa , Ngorpa and Tsarpa have their own styles of Chod Rol , Drak Rol and Chen Den for a similar custom.

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Today's program is performed by Jamchen Lhakhang which speaks to the Tsarpa sub-custom of Sakyapa Tradition. The stylized processional music is played when the most noteworthy positioning Teacher is welcome to the execution territory of the custom. He is escorted in front, by two sweet Gya Lings and his company takes after behind Him. The custom friars are typically in the custom execution zone anticipating the entry of the Teacher. The Teacher enters and takes His higher seat.

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The Dorje Loppon (Vajra Master) and Om Dzed (serenade pioneer) and the music pioneer and different ministers then sit down. The music pioneer for the Sakyapa and Tsharpa sub-customs is the fundamental Rol Mo cymbal player however for the Ngorpa sub-convention is the principle Sil Nyen cymbal player. The Om Dzed drives the droning in a profound rambling voice and takes droning bearing from the Dorje Loppon by and large and now and again from the Rinpoche. He will likewise all in all additionally play the Nga (drum) particularly in those ceremonies where the rhythms with every syllable presented as in customs to the Protectors of the Teachings. The music pioneer (for this situation who plays the Rolmo) leads in correspondence with the Dorje Loppon and gives melodic course of beginning, rhythms and endings, with marginally overstated signals with his arms and cymbal.

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Tibetan holy music is passed around repetition and imitative learning. The old ace artist demonstrates the youthful devotee artist how a specific instrument is played and the follower mirrors it. This is like Eastern oral custom music, for example, the Indonesian Gamelan conventions of Solo and Dogjakarta. One fascinating component of the Gya Ling is that the sound is created utilizing ceaseless "roundabout relaxing". This strategy is accessible in the Western twofold reed blowing custom however is occasionally required in Western music. This "roundabout breathing" is polished by blowing through a straw into a glass of water and one is taking in air in the meantime extinguishing through the mouth. The Gya Ling players do this "roundabout breathing" AT ALL TIMES!!!

Slide 9

In today's program the Naga Puja basically has Chod Rol played after specific arrangements of offerings. Taking after that, the fundamental execution of the Namtoesay Chayang will highlight the Chod Rol and related Chen Dens for the principle Nam Tho Say Bodhisattva and the related Protectors of the Teachings. There will be numerous "yangs" amid the offertory droning to the Protectors of the Teachings. Toward the finish of the custom execution, the Highest positioning Teacher or Rinpoche withdraws. The stately processional music is played. He is escorted in front, by two pleasant Gya Lings and his company takes after behind Him. The End

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The End Singapore Buddha Sasana Society Sakya Tenphel Ling

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