Chants of Tibetan Buddhism As in all religions, chanting is an important way of praying or reciting sacred/holy words and it is also used to be awakened and enlightened. “In Buddhism, chanting is the traditional means of preparing the mind for meditation, and especially as part of a formal practice” (O’Brien n.p). The focus of Buddhism is to help others rather than yourself. First and foremost Tibetan music is religious music, reflecting the profound influence of Tibetan Buddhism on the culture. In Buddhism the majority of schools have some form of chanting associated with it, regardless of being Theravada or Mahayana. The basis for Theravada chants is the Pali Canon, while Mahayana and Vajrayana chants draw from a wider range of sources. Within Buddhism, chants come in many forms such as Sutras, Mantras, and Dharanis. In Mahayana “sutras in some way or another are the words of the Buddha or one of the Buddha’s disciples” (Obrien n.p), however, within Mahayana a large body of sutras were actually composed after the Buddha's lifetime. The Mahayana Buddhist regards the Lotus Sutra as one of the most important and influential sutras, or sacred scriptures, of Buddhism. A mantra, like a prayer is a short sequence of words or syllables that is often chanted repetitively. An example of a mantra would be the Om Mani Padme Hum. “Tibetan Buddhists believe that saying the mantra, Om Mani Padme Hum, out loud or silently to oneself, invokes the powerful benevolent attention and blessings of Chenrezig, the embodiment of compassion” ("Om Mani Padme Hum…”). A dharani is something like a mantra, although longer. “Dharanis are said to contain the essence of a teaching, and repetitive chanting of a dharani may evoke some beneficial power, such as protection or healing” (O’Brien n.p). Chanting a dharani can affect the mind of the chanter and it can also place the chanter into a state of meditation. “Dharanis are usually chanted in Sanskrit and sometimes the syllables have no definite meaning” (O’Brien n.p). It's the sound that matters. For mantras and dharanis, the sound of the chant is more important, than the meanings. It is “sacred sound that expresses the teachings of Buddha” (Tsukamoto n.p). In many Buddhist traditions the sounds are said to be the manifestations of the true nature of reality. When chanted with “great focus and mindfulness, mantras and dharanis can become a powerful group meditation” (O’Brien n.p). A Gatha is a Sanskrit term meaning "verse" or "hymn", and it is used to express in verse the important portion of the sutras. A gatha is to be chanted, sung, or recited and unlike mantras and dharanis, “what gathas say is more important than what they sound like” (O’Brien n.p). In music, overtone chanting is a type of singing in which the singer manipulates the resonances created as air travels from the lungs, past the vocal folds, and out the lips to produce a melody. Another name for overtone singing is throat singing and it is very popular among Tibetan Monks. “Tibetan Buddhist chanting is a sub-genre of throat singing, mainly practiced by Mongolian monks of Tibet, including Qinghai province Tibetan plateau area” (Deschênes n.p). Within Tibetan Buddhism, various ceremonies and prayers call for throat singing, and often with more than one monk chanting at a time. The Gyuto Monks of Tibet are masters of the deep harmonic overtone chanting. “The sound has been compared to the resonance of a drum and is believed to have a transformative effect, removing impurities and clearing the path to enlightenment” (Hai n.p). Within Tibetan Buddhism, chants primarily uses very low pitches and are referred to as Gymea, Gyuto, Yang, and Dhow. “Tibetan monks most often demonstrate multi-phonic chanting. The chants within Tibetan Buddhist chanting most often focus on the lower pitches sung in Tuvan throat singing” (Deschênes n.p). The best-known throat singers are Tibetan monks whose Buddhist chanting is now known worldwide. Their form of throat singing is shared at numerous ceremonies. “Several prayers also require this form of song. It is most often performed by more than one monk at a given time. Lu is another form of Tibetan Buddhist chant. “These songs are performed with glottal vibration and relatively high pitches, in direct contrast to most traditional Tibetan Buddhist music” (Deschênes n.p). A very strong tradition that is held within Tibetan Buddhism is the idea of oral tradition. Many things, including music, are based upon this very system. Tibetan Buddhists “often use techniques such as a mnemonic device in order to memorize music and pass it down to future generations” (Tsukamoto n.p). This differs greatly from traditional Western music, which relies more on strict instructions and written music. In Tibetan Buddhist tradition, “set notation systems may only be used by those who have mastered the oral tradition” (Tsukamoto n.p). Particularly in Tibet, “notation exists for the voice, percussion instruments, such as cymbals and drums, as well as trumpets and other instruments blown into in order to produce sound” (n.p). Brief melodies and psalmodies are the main types of music that are recited. Dbang is one specific type of chant that is said to be slow and somber, where each syllable is intertwined within each line of text. With every new ritual, “the dbang is somewhat altered in one way or another. Choruses often create and perform a certain sound depending on each individual monastery” (n.p). Another type of chanting in Tibetan music is called Yang chanting. It is always performed with the exclusion of metrical timing. It is accompanied by drums, and as with most other Tibetan Buddhist music, focuses on very low sounds and sustained syllables. Another form of Tibetan Buddhist chant is directly related to healing. These are most often sung at Cham, “an important ritual including dancing and elaborate, multi-colored costumes complete with masks, sacred music, and these healing chants” (Tsukamoto n.p). It is performed primarily by monks outside of their monasteries in order to include those who are not monks. The monks are often accompanied by a wide range of musical instruments in an ensemble setting. Music is a crucial aspect of the Tibetan Buddhist life. Many rituals revolving around music take place within it. Rituals very often and feature choruses, as well as ritual instrumental ensembles.

Works Cited O'Brien, Barbara. "Chanting A Basic of Buddhist Practice." About.com. N.p., n.d. Web. 09 May 2014. <http://buddhism.about.com/od/becomingabuddhist/a/Chanting.htm>.
Tsukamoto, Atsuko. "The Music of Tibetan Buddhism in Ladakh." JSTOR. International Council for Traditional Music, 1983. Web. 14 May 2014.<http://www.jstor.org/ stable/768646>.
Deschênes, Bruno. "Article - Throat-Singing." Article - Throat-Singing. All Music Guide, Web. 09 May 2014. http://www.music.ca/matsu_take_eng/9_AMG_Throat_Singing. html>.
Hai, Tran Quang. "TRANQUANGHAI's WORLD: Throat Singing by The Gyuto Monks of Tibet • Pure Sounds • Mandala Offering." TRANQUANGHAI's WORLD: Throat Singing by The Gyuto Monks of Tibet • Pure Sounds • Mandala Offering. 14 Jan. 2013. Web. 20 May 2014. <http://tranquanghaisworld.blogspot.com/2013/01/throat-singing-by-gyuto- monks-of-tibet.html>.
"Om Mani Padme Hum: The Meaning of the Mantra in Tibetan Buddhism." Om Mani Padme Hum: The Meaning of the Mantra in Tibetan Buddhism. 2 Nov. 2003. Web. 21 May 2014. <http://www.dharma-haven.org/tibetan/meaning-of-om- mani-padme-hung.htm#Mani>.