Skip to main content
Log in

Reciting, Chanting, and Singing: The Codification of Vocal Music in Buddhist Canon Law

  • Published:
Journal of Indian Philosophy Aims and scope Submit manuscript

Abstract

This article analyzes the treatment of music in Buddhist monastic life through the rules on music in Buddhist canon law (vinaya) within the six extant traditions, which are preserved in Chinese, Tibetan, Pāli, and fragmentary Sanskrit manuscripts. These texts distinguish and differentiate instrumental and vocal music, presenting song, dance, and instrumental music as a triad and further subdividing vocal music into reciting, chanting, and singing. The performance and consumption of singing is strictly prohibited. Regulations on chanting and recitation are mutually exclusive and context dependent. Chanting is required on two occasions: when one praises the Buddha’s virtues and when one performs the Tridaṇḍaka ritual. Chanting is prohibited on three other occasions: when one recites the Prātimokṣasūtra and other ordinary Buddhist texts, and when one preaches Dharma. These regulations demonstrate that text and context are decisive in determining what forms of vocal music are appropriate in Buddhist practice. The use of embellished chanting is reserved for performing rituals whose primary goal is to please divine recipients but must be prohibited when clear articulation is expected for educating the audience. Given that making or consuming vocal music is not a criminal offense, yet is strictly regulated, I argue that the establishment of Buddhist canon law was compelled by a pressing demand to demarcate and maintain a social boundary between the Buddhist monastic order and the lay community of adherents.

This is a preview of subscription content, log in via an institution to check access.

Access this article

Price excludes VAT (USA)
Tax calculation will be finalised during checkout.

Instant access to the full article PDF.

Similar content being viewed by others

Abbreviations

T:

Taishō shinshū daizōkyō 大正新脩大藏經. Edited by Takakusu Junjirō 高楠順次郎 and Watanabe 渡邊海旭. 100 vols. Tokyo: Taishō issaikyō kankōkai大正一切經刊行會, 1924–1935

KP:

Bka’ ‘gyur 甘珠爾對勘本. 108 vols. Pe cin: Krung go’i bod rig pa’i dpe skrun khang, 2006–2009

TP:

Bstan ‘gyur 丹珠爾對勘本. 120 vols. Pe cin: Krung go’i bod rig pa’i dpe skrun khang, 1994–2008

References

  • Apte, V. S. (1965). The practical sanskrit dictionary. Delhi: Motilal Banarsidass.

    Google Scholar 

  • Banerjee, A. (Ed.). (1977). Two Buddhist Vinaya texts in Sanskrit. Calcutta: The World Press Private Ltd.

    Google Scholar 

  • Buswell, R. E., & Lopez, D. S. (2014). The Princeton dictionary of Buddhism. Princeton: Princeton University Press.

    Google Scholar 

  • Canzio, R. (1978). Sakya Pandita’s treatise on music and its relevance to present-day tibetan liturgy. PhD Thesis. London: University of London.

  • Chen, P. Y. (1999). Morning and evening service: The practice of ritual, music, and doctrine in the Chinese buddhist monastic community. PhD thesis. Chicago: University of Chicago.

  • Chen, P. Y. (2001). Sound and emptiness: Music, philosophy, and the monastic practice of Buddhist doctrine. History of Religions, 41(1), 24–48.

    Article  Google Scholar 

  • Chen, P. Y. (2002). The contemporary practice of the Chinese Buddhist daily service: Two case studies of the traditional in the post-traditional world. Ethnomusicology, 46(2), 226–249.

    Article  Google Scholar 

  • Chen, P. Y. (2004a). Buddhist chant, devotional song, and commercial popular music: From ritual to rock mantra. Asian Music, 35(2), 266–286.

    Google Scholar 

  • Chen, P. Y. (2004b). The chant of the pure and the music of the popular: conceptual transformations in contemporary Chinese Buddhist chants. Asian Music, 35(2), 79–97.

    Google Scholar 

  • Clarke, S. (2009). Monks who have sex: Pārājika penance in Indian Buddhist monasticisms. Journal of Indian Philosophy, 37(1), 1–43.

    Article  Google Scholar 

  • Clarke, S. (2017). Lost in tibet, found in Bhutan: The unique nature of the Mūlasarvāstivāda law code for nuns. Buddhism, Law & Society, 2, 197–290.

    Google Scholar 

  • Dalton, J. (2016). How Dhāraṇīs WERE proto-tantric: Liturgies, ritual manuals, and the origins of the tantras. In D. B. Gray (Ed.), Tantric traditions in transmission and translation (pp. 199–229). New York: Oxford University Press.

  • Dalton, J., & van Schaik, S. (2005). Catalogue of the Tibetan tantric manuscripts from dunhuang in the stein collection (Ebook). http://idp.bl.uk: IDP.

  • de la Vallée, L. (1962). Catalogue of the Tibetan Manuscripts from Tun-Huang in the India Office Library (entries 333 to 765). Oxford: Oxford University Press.

    Google Scholar 

  • Deegalle, M. (2003). Preacher as a poet: Poetic preaching as a monastic strategy in constituting Buddhist communities in Modern Sri Lanka and Thailand. In J. C. Holt, J. N. Kinnard & J. S. Walters (Eds.), Constituting communities: Theravāda Buddhism and the religious cultures of south and Southeast Asia (pp. 151–171). Albany: State University of New York Press.

  • Dutt, N. (1943). Gilgit manuscripts (Vol. III, Part 3). Calcutta: Srinagar.

  • Dutt, N. (1950). Gilgit manuscripts (Vol. III, Part 4). Calcutta: Srinagar.

  • Edgerton, F. (1993). Buddhist hybrid Sanskrit grammar and dictionary. Delhi: Motilal Banarsidass.

    Google Scholar 

  • Ellingson, T. (1974). Musical flight in Tibet. Asian Music, 5(2), 3–44.

    Article  Google Scholar 

  • Ellingson, T. (1979a). The mathematics of Tibetan Rol Mo. Ethnomusicology, 23(2), 225–243.

    Article  Google Scholar 

  • Ellingson, T. (1979b). ’Don rta dbyangs gsum: Tibetan chant and melodic categories. Asian Music, 10(2), 112–156.

    Article  Google Scholar 

  • Greene, P. D. (2004). The dhamma as sonic praxis: Paritta chant in Burmese Theravāda Buddhism. Asian Music, 35(2), 43–78.

    Google Scholar 

  • Greene, P., & Li, W. (2004). Introduction: Mindfulness and change in Buddhist musical traditions. Asian Music, 35(2), 1–16.

  • Guṇaprabha. (1981). Vinayasūtra of Bhadanta Guṇaprabha. Edited by Rāhula Sāṅkṛtyāyana. Bombay: Bharatiya Vidya Bhavan.

  • Horner, I. B. (1942). The book of the discipline: Suttavibhaṅga (Vol. 3). Oxford: The Pāli Text Society.

    Google Scholar 

  • Horner, I. B. (1949). The book of the discipline: Suttavibhaṅga (Vol. 1). Oxford: The Pāli Text Society.

    Google Scholar 

  • Horner, I. B. (1957). The book of the discipline: Cullavagga (Vol. 2). Oxford: The Pāli Text Society.

    Google Scholar 

  • Horner, I. B. (1963). The book of the discipline: Cullavagga (Vol. 5). Oxford: The Pāli Text Society.

    Google Scholar 

  • Johnson, E. H. (1939). The Tridaṇḍamālā of Aśvaghoṣa. The Journal of the Bihar and Orissa Research Society, 25, 11–14.

    Google Scholar 

  • Kaufmann, W. (1978). Tibetan Buddhist Chant: Musical notations and interpretations of a song book by the Bka’ brgyud pa and Sa skya pa Sects. Bloomington: Indiana University Press.

    Google Scholar 

  • Keister, J. (2004). The Shakuhachi as spiritual tool: A Japanese Buddhist Instrument in the West. Asian Music, 35(2), 99–131.

    Google Scholar 

  • Kun dga’ rgyal mtshan. (1988). Rol mo’i bstan bcos. Pe cin: Mi rigs dpe skrun khang.

    Google Scholar 

  • Lévi, S. (1915). La recitation primitive de textes Bouddhiques. Journal Asiatique, 5, 401–447.

    Google Scholar 

  • Liu, C. L. (2013a). Noble or Evil: The Ṣaḍvārgika Monks Reconsidered. Acta Orientalia, 66(2), 179–195.

    Article  Google Scholar 

  • Liu, C. L. (2013b). Reciters and Chanters: Monastic Musicians in Buddhist Law Texts. Kenkyū nenpō 研究年報, 51, 255–270.

    Google Scholar 

  • Liu, C. L. (2017). Regulating the performing arts: Buddhist Canon Law on the performance and consumption of music in Tibet. Revue d’Etudes Tibétaines, 40, 55–91.

    Google Scholar 

  • Luo, H. (2007). The recensions of Guṇaprabha’s Vinayasūtra towards an editorial policy for the critical edition of the Sanskrit text. AION, 67.1–4, 171–186.

  • Luo, H. (2008a). Some remarks on vinaya master Guṇaprabha. South Asian Studies, 86, 69–74.

    Google Scholar 

  • Luo, H. (2008b). Lun Lüjing de xingzhi 論律經的性質. Zhongguo zangxue 中國藏學, 81, 200–204.

    Google Scholar 

  • Luo, H. (2009). A preliminary report on a newly identified Sanskrit manuscript of the Vinayasūtra from Tibet. In E. Steinkellner, D. Qing & H. Krasser (Eds.), Sanskrit manuscripts in China: Proceedings of a panel at the 2008 Beijing seminar on Tibetan studies (pp. 197–226). Beijing: China Tibetology Publishing House.

  • Morris, R. (Ed.). (1897). Aṅguttara nikāya, (Vol. 3). London: The Pāli Text Society.

    Google Scholar 

  • Nolot, E. (1991). Règles de discipline des nonnes bouddhistes: le Bhikṣun̲īvanaya de l’école Mahāsāṃghika-Lokottaravādin. Paris: Collège de France.

    Google Scholar 

  • Oldenburg, H. (1880). The vinaya Piṭakaṃ: Cullavagga (Vol. 2). London: Williams and Norgate.

    Google Scholar 

  • Oldenburg, H. (1882). The vinaya Piṭakaṃ: Suttavibhaṅga (Vol. 4). London: Williams and Norgate.

    Google Scholar 

  • Pachow, W. (1955). A comparative study of the Prātimokṣa: On the basis of its Chinese, Tibetan, Sanskrit, and Pāli Versions. Santiniketan. Reprinted in Delhi: Motilal Banarsidass Publishers, 2000; 2007.

  • Qu, D. C. (2004). Cong hanyi lüdian kan zaoqi yindu fojiao de yinyue guan 從漢譯佛典看早期印度佛教的音樂觀. In J. F. Yuan (Ed.), Diyijie zhonghan fojiao yinyue xueshu yantaohui lunwenji 第一屆中韓佛教音樂學術研討會論文集 (pp. 546–594). Beijing: Zongjiao chubanshe.

  • Rhys Davids, T. W., & Stede, W. (1923). The pali text society’s pali-engish dictionary, part V (P-Ph). London: The Pali Text Society.

    Google Scholar 

  • Roth, G. (1970). Bhikṣuṇī-vinaya: including Bhikṣuṇī-prakīrṇaka and a Summary of the Bhikṣu-prakīrṇaka of the Ārya-Mahāsāṃghika-Lokottaravādin. Patna: K. P. Jayaswal Research Institute. Second edition printed in 2005.

  • Rotman, A. (2008). Divine stories: Divyāvadāna. Boston: Wisdom Publications.

    Google Scholar 

  • Sasaki, S. (1991). Biku to gigaka 比丘と伎樂. Bukkyō shigaku kenkyū 仏教史学研究, 34(1), 1–24.

    Google Scholar 

  • Scheidegger, D. (1988). Tibetan ritual music: A general survey with special reference to the mindroling tradition. Rikon: Tibetan Institute.

    Google Scholar 

  • Schopen, G. (1992). On avoiding ghosts and social censure: monastic funerals in the Mūlasarvāstivāda-Vinaya. Journal of Indian Philosophy, 20, 1–39.

    Article  Google Scholar 

  • Schopen, G. (1996). The lay ownership of monasteries and the role of the monk in Mūlasarvāstivādin Monasticism. Journal of the International Association of Buddhist Studies, 19(1), 81–126.

    Google Scholar 

  • Schopen, G. (1998). Marking time in Buddhist monasteries: On calendars, clocks, and some liturgical practices. In Paul Harrison & Gregory Schopen (Eds.), Sūryacandrāya: Essays in honor of Akira Yuyama on the occasion of His 65th birthday (pp. 157–179). Swisttal-Odendorf: Indica et Tibetica Verlag.

    Google Scholar 

  • Silk, J. (2008). Managing Monks: Administrators and administrative roles in Indian Buddhist Monasticism. Oxford: Oxford University Press.

    Book  Google Scholar 

  • van Schaik, S., & Doney, L. (2007). The prayer, the priest and the Tsenpo: An early Buddhist narrative from dunhuang. Journal of the International Association of Buddhist Studies, 30(1-2), 175–217.

    Google Scholar 

  • Vandor, I. (1976). La Musique du Bouddhisme Tibétain. Paris: Buchet/Chastel.

    Google Scholar 

  • Wang, K. W., & He, J. P. (2001). Hanwen fojing zhong de yinyue shiliao 漢文佛經中的音樂史料. Chengdu: Bashu shushe.

    Google Scholar 

  • Wei, L. (1992). The duality of the sacred and the Secular in Chinese Buddhist Music: An introduction. Yearbook for Traditional Music, 24, 81–90.

    Article  Google Scholar 

  • Widdess, R. (2004). Caryā and Cacā: Change and continuity in Newar Buddhist ritual song. Asian Music, 35(2), 7–41.

    Google Scholar 

  • Woodward, F. L., & Hare, E. M. (1934). The book of the gradual sayings (Anguttara-Nikāya) or more-numbered Suttas (Vol. III). Oxford: Pali Text Society. First printed in 1934.

  • Yangbenjia. (2012). Dunhuang zangwen xiejuan Genbensapoduobu lüshe yanjiu 敦煌藏文寫卷《根本薩婆多部律攝》研究. Beijing: Minzu chubanshe.

    Google Scholar 

  • Yijing. (1896). A record of the Buddhist religions as practised in India and the Malay Archipelago, trans. Takakusu J. Oxford: The Clarendon Press.

    Google Scholar 

  • Yijing. (1995). Nanhai jigui neifa zhuan jiaozhu 南海寄歸內法傳校注, annotated by Wang B. W.. Zhonghua shuju: Beijing.

    Google Scholar 

  • Yijing. (2000). Buddhist Monastic Traditions of Southern Asia: A Record of the Inner Law Sent Home from the South Seas. Translated by Li Rongxi. Berkeley: Numata Center for Buddhist Translation and Research.

  • Yinshun. (1981). Shuoyiqieyou bu weizhu de lunshu he lunshi zhi yanjiu 說一切有部為主的論書和論師之研究. Taipei: Huiri jiangtang.

    Google Scholar 

  • Yinshun. (2002). Yuanshi fojiao shengdian zhi jicheng 原始佛教聖典之集成. Zhubei: Zhengwen chubanshe.

    Google Scholar 

  • Zhang, Y. S. (2004). Bod rgya tshig mdzod chen mo. Beijing: Mi rigs dpe skrun khang.

    Google Scholar 

Download references

Author information

Authors and Affiliations

Authors

Corresponding author

Correspondence to Cuilan Liu.

Rights and permissions

Reprints and permissions

About this article

Check for updates. Verify currency and authenticity via CrossMark

Cite this article

Liu, C. Reciting, Chanting, and Singing: The Codification of Vocal Music in Buddhist Canon Law. J Indian Philos 46, 713–752 (2018). https://doi.org/10.1007/s10781-018-9360-8

Download citation

  • Published:

  • Issue Date:

  • DOI: https://doi.org/10.1007/s10781-018-9360-8

Keywords

Navigation