Research Of Styles Between Tibetan Buddhism Music And Han Buddhism Music

Buddhist Music culture was formed in about5th century BC.Buddha, Shakya Muni, addressed Buddhism text in a "pure andelegant"style when he establishes Buddhism,which is the source ofBuddhist music. By the3rd century BC, with the dissemination ofBuddhism, Buddhist music begun to spread all over the world and wasintroduced into China around the Years of Yongping(58-75) in the reignof Empire Mingdi of the Eastern Han Dynasty(25-220). By culture,custom and other reasons, Buddhism derived lots of genres once it wasintroduced into China. Simultaneously, Buddhist music formed variousgenres in various places as well. It is under such historical backgroundthat Tibetan Buddhism and Han Buddhism Music were born. Doingresearch on comparison of these two different types of Buddhist musicwould be helpful to understand their differences and at the same timeprovide necessary theories for further study of cultural differencesbetween the Tibetans and Hans and the history of music,aesthetic andart appreciation. It would also help people who like Buddhism music tobetter understand Tibetan Buddhism and Han Buddhism music andprobably improve people’s music appreciation.Beginning by reviewing former studies, this thesis willcomprehensively analyze the historical background of introduction ofTibetan and Han Buddhism music into our country and explain thecurrent development status quo. Then the author will analyzedifferencies of styles between Tibetan Buddhism music and HanBuddhism music from various aspects like mode and style, rhythmcharacteristics and harmony texture, which followed by illustration ofconvergence of Tibetan Buddhism Music and Han Buddhism Music intoday’s temples FoLe and secular FoLe. At last, this thesis tries tomake feasible suggestions on the development of Tibetan, HanBuddhism Music from the perspective of learning the Western way ofexpression of multi-part music and raising creation standards of thetwo types Buddhist music——Tibetan Buddhism Music and HanBuddhism Music. The research would promote the protection andinheritance of Buddhist music which likes exotic flowers and is an important part of Chinese traditional culture. It would also play apositive role in purification of mind, enhancing influence of theBuddhist music and even construction of a harmonious society. Thisthesis has great theoretical and practical significance to protect, carryforward and promote the development of Tibetan Buddhism Music andHan Buddhism Music.This paper includes six parts.The first part is introduction, mainlyon the research background and significance and review of formerstudies. The second part, i.e. the first chapter, will study and analyzethe cultural background and status quo of Tibetan Buddhism and HanBuddhism Music. The third part, the second chapter of the paper,willcompare the styles of Tibetan Buddhism and Han Buddhism Music fromvarious aspects like mode and style, rhythm characteristics and harmonytexture.The forth part, chapter3,will research on the convergence ofTibetan Buddhism and Han Buddhism Music in today’s temples FoLeand secular FoLe. The fifth part, the forth chapter, would providesuggestions on the development of Tibetan, Chinese Buddhism Musicfrom the perspectives of learning the Western way of expression of themulti-part music and raising creation standards of the two typesBuddhist music——Tibetan Buddhism Music and Han BuddhismMusic. The last part will summarize and sum up this paper.