The Historical Heritage And Acoustic Features Of Tibetan Buddhism Instrument Research

Through a summary of current research can be seen that domestic and foreign experts and scholars to study Tibetan Buddhism instruments are mostly concentrated in the history of traceability, presentation of shape and playing method, using in rituals music at present. By the academic achievements of experts and scholars are continuously available, it can be found that the evidence time of origin of the instrument continues to exact and adequate. The description of specifications shape and playing techniques for instruments are more scientific and specific. The discourse of using and functional significance of instrument has become even more accurately and logical. However, when we are researching instruments, we can not talk about single shape without history. It is no sense to study single history without the sound shape and the functional significance. The scholars began to increasingly focus on joint research, the research methods and are no longer limited to instruments, religion or music historiography. We do the research integrated with music history, music archeology, music literature, ethnomusicology, music acoustics and many other disciplines. This article will summarize the results of previous studies on the basis, define the relevant concepts of the Tibetan Buddhism instruments. All kinds of Tibetan Buddhism musical instruments are classified according to the type of acoustic characteristics. Analysis of the acoustic characteristics of each instrument and obtaine the data from field investigation. Combined with the acoustic characteristics of various types of musical instruments and the aesthetics experience, analyze the concrete application of instruments of Tibetan Buddhism in ritual music.This article is divided into five chapters. The first chapter outlines the main contents, significance and research status at home and abroad for the content of this paper. The second chapter describes the interpretation of Tibetan Buddhism and instruments relevant circumstances. The third chapter describes the history of various types of Tibetan Buddhism musical and reasoning the origin time and the spread paths. The fourth chapter analyzes the acoustics of the Tibetan Buddhist musical. There are Tibetan Buddhist monastery music examples at the end of chapters. The last chapter is the conclusion part of the paper, it summarized the main contents of the paper, the difficulties encountered when writing papers, deficiencies of the paper and the future endeavors of the author.