Music of Tibet
From Wikipedia, the free encyclopedia
 |
Please help improve this article or section by expanding it. Further information might be found on the talk page or at requests for expansion. This article has been tagged since January 2007. |
The music of Tibet reflects the cultural heritage of the trans-Himalayan region, centered in Tibet but also known wherever ethnic Tibetan groups are found in India, Bhutan, Nepal and further abroad. First and foremost Tibetan music is religious music, reflecting the profound influence of Tibetan Buddhism on the culture.
Contents |
[edit] Chanting
Tibetan music often involves chanting in Tibetan or Sanskrit, as an integral part of the religion. These chants are complex, often recitations of sacred texts or in celebration of various festivals. Yang chanting, performed without metrical timing, is accompanied by resonant drums and low, sustained syllables. Other styles include those unique to the various schools of Tibetan Buddhism, such as the classical music of the popular Gelugpa school, and the romantic music of the Nyingmapa, Sakyapa and Kagyupa schools.
Secular Tibetan music has been promoted by organizations like the Dalai Lama's Tibetan Institute of Performing Arts. This organization specialized in the lhamo, an operatic style, before branching out into other styles, including dance music like toeshey and nangma. Nangma is especially popular in the karaoke bars of the urban center of Tibet, Lhasa. Another form of popular music is the classical gar style, which is performed at rituals and ceremonies. Lu are a type of songs that feature glottal vibrations and high pitches. There are also epic bards who sing of Tibet's national hero Gesar.
[edit] Modern and popular
Tibetan music has had a profound effect on some styles of Western music, especially New Age. Composers like Philip Glass and Henry Eichheim are most well-known for their use of Tibetan elements in their music.[citation needed] The first such fusion was Tibetan Bells, a 1971 release by Nancy Hennings and Henry Wolff. The soundtrack to Kundun, by Philip Glass, has helped to popularize Tibetan music.
Foreign styles of popular music have also had a major impact within Tibet. Indian ghazal and filmi are very popular, as is rock and roll, an American style which has produced Tibetan performers like Rangzen Shonu. Since the relaxation of some laws in the 1980s, Tibetan pop, popularized by the likes of Yadong,[ Tenzin Choegyal], Jampa Tsering, 3-member group AJIA, 4-member group Gao Yuan Hong, 5-member group Gao Yuan Feng, and Dechen Shak-Dagsay are well-known, as are the sometimes politicized lyrics of nangma. Gaoyuan Hong in particular has introduced elements of Tibetan language rapping into their singles. The Lama Mani tradition - the telling of Buddhist parables through song -dates back to the 12th Century. The songs were performed by wandering storytellers who travelled from village to village, drawing on their own often humble origins to relate to people from all backgrounds. Vividly illustrated Buddhist thangka paintings depicted the narrative and helped the audience understand what was essentially a teaching.
[edit] See also
[edit] References
[edit] External links
| East Asian music |
|---|
|
China (Hong Kong - Taiwan - Tibet) -Japan - Korea (North - South) - Mongolia |
| Central Asian music |
|---|
|
Afghanistan | Badakhshan | Buryatia | Gansu | Inner Mongolia | Kazakhstan | Khakassia |
 |
This Tibet-related article is a stub. You can help Wikipedia by expanding it. |
 |
This Chinese music article is a stub. You can help Wikipedia by expanding it. |
