1 00:00:00,060 --> 00:00:10,500 The next session today, a couple of reminders for those listening and also prosecutors asking questions. 2 00:00:10,500 --> 00:00:19,140 These pictures, a bunch of questions asked and we will then turn to these one by one disclaimer those seeking to remind us. 3 00:00:19,140 --> 00:00:30,480 I'll try to offer a little warning when you have this remaining as towards the end of your settlement and the one that we ask you to reconcile. 4 00:00:30,480 --> 00:00:38,750 So our first speaker this afternoon is Dr. So clearly still active on choral activities. 5 00:00:38,750 --> 00:00:50,190 Associate professor at the University of Ottawa, or just his direct response to the search and led workshops throughout Europe, 6 00:00:50,190 --> 00:01:03,720 Asia Cuba says she began searching for all U.S. forces on the U.S. a on certain types of activities in Taiwan. 7 00:01:03,720 --> 00:01:12,330 China's searches movies must be seen through specialist numbers as most countries themselves investing the essence with music. 8 00:01:12,330 --> 00:01:28,910 University of Michigan. And that. 9 00:01:28,910 --> 00:01:35,420 Greetings colleagues from around the world, and it's now 6:30 in the morning here. 10 00:01:35,420 --> 00:01:46,690 So please excuse me if I stumble over my words or or look really sleepy. 11 00:01:46,690 --> 00:01:53,440 Because restrictions related to the pandemic keep me from travelling to be with you all in Oxford. 12 00:01:53,440 --> 00:01:56,650 I decided to retreat to somewhere beautiful this weekend. 13 00:01:56,650 --> 00:02:05,470 So I'm speaking with you from Park City, Utah, where I am sequestered in a cabin in the woods for this weekend. 14 00:02:05,470 --> 00:02:13,990 I figured I might as well be somewhere beautiful while I taken all your presentations as word of introduction. 15 00:02:13,990 --> 00:02:20,410 I am an Associate Professor of music and director of choral activities at Utah Valley University. 16 00:02:20,410 --> 00:02:29,860 At the university, I oversee a choral programme for choirs, conduct the Review Chamber Choir and You Deep Green Tenor Bass Choir and teach, 17 00:02:29,860 --> 00:02:37,990 conducting vocal technique and lyric diction to singers in Italian, French, German and English repertoire. 18 00:02:37,990 --> 00:02:44,890 I'm also a published composer and arranger, as well as a regular guest conductor with choirs and orchestras around the world. 19 00:02:44,890 --> 00:02:52,210 And I speak fluent Mandarin Chinese and my research areas as an ethnomusicologist include Buddhist chant, 20 00:02:52,210 --> 00:03:02,380 Chinese folk songs and choral performance editions of oral traditions from around the world. 21 00:03:02,380 --> 00:03:12,280 Every year, thousands of Buddhists in the Mahayana tradition gather in Taiwanese temples for the liberation rites of water and land, 22 00:03:12,280 --> 00:03:21,920 or in Chinese Vijaya sung by an chaillu Pudo dodgy shumway or the abbreviated title Chaillu Fuckwit. 23 00:03:21,920 --> 00:03:31,100 This week long ceremony is centred around a highly structured programme of nearly continuous chanting throughout the day. 24 00:03:31,100 --> 00:03:40,210 There are eight shrine halls presenting independent liturgies, all chanted simultaneously. 25 00:03:40,210 --> 00:03:50,560 These locations are divided into two separate categories the inner shrine for Newton and the outer shrine time in the evening. 26 00:03:50,560 --> 00:03:55,690 The entire assembly combines four mass chanting on the final day of the assemblies. 27 00:03:55,690 --> 00:04:04,450 Recitation focuses on a boat burning ritual metaphorically sending the dead to heaven. 28 00:04:04,450 --> 00:04:17,010 At the invitation of this luncheon, Institute for Humanistic Buddhism, I recorded and transcribed chanting of the medicine, Buddha service or of. 29 00:04:17,010 --> 00:04:20,790 And produced a new English translation of its core text, 30 00:04:20,790 --> 00:04:31,740 The Sutra on the Vowels and Merits of the Medicine Master of Radiant Lapis Lazuli, or the only ruled by men converging. 31 00:04:31,740 --> 00:04:36,690 The product of this effort is a book I authored Chanting The Medicine to the Future. 32 00:04:36,690 --> 00:04:43,500 It's published by Air Editions. The primary publisher of critical editions of Music in North America. 33 00:04:43,500 --> 00:04:51,750 In this book, this book serves as Volume 13 in a series of recent researches in the oral traditions of music. 34 00:04:51,750 --> 00:05:02,130 It was published during the pandemic in 2020, and the book is already in Oxford University's Library Collection, as well as 67 libraries worldwide. 35 00:05:02,130 --> 00:05:08,410 Basically, wherever air are, Editions Oral Tradition Series is housed. 36 00:05:08,410 --> 00:05:16,270 So today I will provide a framework for the textual and musical elements inherent in the medicine 37 00:05:16,270 --> 00:05:24,730 to search for this and contextualise it within the overarching water and land ceremony. 38 00:05:24,730 --> 00:05:32,950 Topics I plan to cover include champs, leadership hierarchies, individual individuality through ornamentation, 39 00:05:32,950 --> 00:05:41,700 indeterminacy or impermanence through improvisation, musical form, metre and recitation styles. 40 00:05:41,700 --> 00:05:46,320 But first, I will also approach the oral tradition of suture reading through the lens of an 41 00:05:46,320 --> 00:05:55,370 ethnomusicologist concerned with the ethics and value of rotating oral tradition. 42 00:05:55,370 --> 00:06:02,630 Before I jump in to talk about the ethics surrounding transport corruption of Buddhist oral tradition, 43 00:06:02,630 --> 00:06:09,110 I would like to offer up gratitude to those who steward the faith community in which these chants find context. 44 00:06:09,110 --> 00:06:09,770 My foremost, 45 00:06:09,770 --> 00:06:19,910 thanks go to the foregoing Shan Temple and Institute for Humanistic Buddhism under the capable leadership of venerable neocon and Venerable Meal Fund. 46 00:06:19,910 --> 00:06:24,170 The foregoing China Institute for Humanistic Buddhism is making tremendous 47 00:06:24,170 --> 00:06:29,230 strides to foster and promote a network of international scholars of Buddhism. 48 00:06:29,230 --> 00:06:32,020 Without their kind hospitality, 49 00:06:32,020 --> 00:06:39,790 generous sharing of terrible resources and far reaching vision for the promulgation of humanistic Buddhism through culture, 50 00:06:39,790 --> 00:06:45,670 this project would never have gained traction. Their permission to twice record the medicine, 51 00:06:45,670 --> 00:06:55,330 but a service demonstrates their commitment to making the dogma more accessible by increasing convenience to scholars. 52 00:06:55,330 --> 00:07:05,400 I'm also grateful to chat instructor Venerable You Again for listening to me, chant back the entire service and for her detailed edits. 53 00:07:05,400 --> 00:07:08,670 Her insights into varying traditions based on different channels, 54 00:07:08,670 --> 00:07:14,240 instructors provided another layer of information that had not been readily apparent. 55 00:07:14,240 --> 00:07:23,510 And I am indebted to Dr. Ren of the Dharma Drum Mountain Institute of Liberal Arts for providing insights into chant as a non 56 00:07:23,510 --> 00:07:36,230 performative cultivation and for expanding my understanding of the diversity of Buddhist liturgy in the Chinese diaspora. 57 00:07:36,230 --> 00:07:44,870 I begin with a disclaimer, the Daodejing asserts the way that can be spoken is not the way. 58 00:07:44,870 --> 00:07:51,990 One might similarly argue that the oral tradition transcribed is no longer the oral tradition. 59 00:07:51,990 --> 00:07:58,620 Or likewise, that the Sutra translated is not the Sutra. 60 00:07:58,620 --> 00:08:00,480 Musical transcription. 61 00:08:00,480 --> 00:08:10,530 An English translation of a Chinese Buddhist liturgy is appropriation of religious culture into the domain of Western scholarship. 62 00:08:10,530 --> 00:08:16,630 Even with the enthusiastic permission and assistance of the set, the stewards is. 63 00:08:16,630 --> 00:08:26,650 Said culture, no written English version of Chinese chanting should be considered a substitute for the original experience. 64 00:08:26,650 --> 00:08:30,550 An audio recording is a richly informative primary source, 65 00:08:30,550 --> 00:08:37,830 but even a recording betrays the principle of non-attachment that is at the heart of Buddhist practise. 66 00:08:37,830 --> 00:08:42,670 Liturgy, the liturgy is never the same twice, nor should it be. 67 00:08:42,670 --> 00:08:48,130 Still, the best way to perceive this chance is to hear and see them firsthand. 68 00:08:48,130 --> 00:08:56,260 Therefore, my first intent with this book is to provide scholars with a window of exposure that may provoke further investigation. 69 00:08:56,260 --> 00:08:57,220 To the best of my knowledge, 70 00:08:57,220 --> 00:09:06,980 this is the first publication in English or in Chinese to examine the complete musical content of the Medicine Buddha service. 71 00:09:06,980 --> 00:09:16,460 Even having made the trek to Taiwan, the uninitiated in a single visit would miss the many layers of meaning inherent in these physical, 72 00:09:16,460 --> 00:09:21,620 musical and textual religious expressions. 73 00:09:21,620 --> 00:09:27,020 For this reason, my second intent is to provide a resource with which Buddhists and non Buddhists 74 00:09:27,020 --> 00:09:33,720 alike may methodically analyse various components of Buddhist chanting in Taiwan. 75 00:09:33,720 --> 00:09:36,780 This transcription and English translation of the medicine, 76 00:09:36,780 --> 00:09:44,710 but the service marks the first time that most of the chants in this volume have been transcribed using Western musical staff notation. 77 00:09:44,710 --> 00:09:53,450 And while this form of transmission is new, I hope it retains their essence as the Maha virus, 78 00:09:53,450 --> 00:10:04,450 O'Connor Sutra assures us in all acts of singing, there is truth and every dance portrays reality. 79 00:10:04,450 --> 00:10:13,780 The purpose of my musical transcription is to provide a written record of the musical and textual elements of the medicine Buddha service. 80 00:10:13,780 --> 00:10:18,190 But the results is necessarily prescriptive. 81 00:10:18,190 --> 00:10:26,150 It represents a moment in time and is not intended to codify an authoritative version of this oral tradition. 82 00:10:26,150 --> 00:10:33,800 Oral tradition is fluid, and in true British fashion, its most reliable characteristic is that it is changeable. 83 00:10:33,800 --> 00:10:40,940 No two utterances of the liturgy will be the same, just as No two live musical performances will be the same. 84 00:10:40,940 --> 00:10:51,700 Amongst the main variables affecting the liturgy are the number of participants both monastic and lay. 85 00:10:51,700 --> 00:11:05,210 The participants musical skill, their literacy level, the venue, spatial considerations, geography, time of day and language. 86 00:11:05,210 --> 00:11:09,530 The particular moment in time notated in my audition spanned the course of two days, 87 00:11:09,530 --> 00:11:18,320 the 16 to 17 December in 2017, when I personally recorded two iterations of the medicine, but a service. 88 00:11:18,320 --> 00:11:22,580 These recordings took place at the Great Compassion Shrine that year, 89 00:11:22,580 --> 00:11:31,400 as you'll see written on stone at the top ad for Trent Monastery in the northeastern outskirts of Goshen, Taiwan. 90 00:11:31,400 --> 00:11:39,410 When during the water land ceremony, the shrine was renamed the Medicine Buddha Shrine, or Yeshua Time. 91 00:11:39,410 --> 00:11:47,330 This transcription reflects the joint chanting of forgotten Shan nuns and lay Buddhists. 92 00:11:47,330 --> 00:11:54,170 The monastics leading both services were all nuns, including one liturgy leader, one chance leader, 93 00:11:54,170 --> 00:12:01,580 five instrumentalists and approximately 10 additional nuns in training from the Buddhist college. 94 00:12:01,580 --> 00:12:04,850 With a different nun serving as the chant leader each day, 95 00:12:04,850 --> 00:12:10,880 the two iterations of the service gave a diversity of experience that clarified intended pronunciations, 96 00:12:10,880 --> 00:12:23,730 timing sequence and other musical considerations. The first day was led by venerable young Chen, who had taken monastic vows almost 40 years prior. 97 00:12:23,730 --> 00:12:26,910 The second day was literally led by venerable Jeonju, 98 00:12:26,910 --> 00:12:33,330 who had been a part of the four long standing monastic community for almost 30 years prior to this recording. 99 00:12:33,330 --> 00:12:39,870 So both nuns had decades of experience leading these chants. 100 00:12:39,870 --> 00:12:50,240 The transcription process was fraught with challenges and choices. For instance, the transcription assumes that those chanting did not go out of tune. 101 00:12:50,240 --> 00:12:58,430 It also assumes an aptitude for correct Chinese pronunciation. Human error is a normal part of religious practise. 102 00:12:58,430 --> 00:13:08,060 Which is why I recorded the same service on two occasions with different leading rectors to identify the most reliable version at any point. 103 00:13:08,060 --> 00:13:17,450 My transcription reflects the strength of both recordings. The musical notation. 104 00:13:17,450 --> 00:13:22,220 Is thus a generic form of the melodies and rhythms. 105 00:13:22,220 --> 00:13:32,690 In a few instances, accidentals above the staff indicate pitch discrepancies amongst the chant gymnastics on a given day or on different days. 106 00:13:32,690 --> 00:13:39,770 One such example occurs in the initial incense praise notated here in Measure 17 and 18. 107 00:13:39,770 --> 00:13:47,240 For those non-musicians in the audience looking at this part right here, that's Measure 17 and Measure 18. 108 00:13:47,240 --> 00:13:55,340 You'll see these sharps or hashtags above the staff to indicate that the pitch has changed. 109 00:13:55,340 --> 00:14:05,300 I will recite this chant for you so you can experience the melody, and I think you will notice that this moment right here, 110 00:14:05,300 --> 00:14:10,220 that is an aberration to the typical collection of pitches in the musical mode. 111 00:14:10,220 --> 00:14:20,240 Let's see if you can hear the shift. Lou? 112 00:14:20,240 --> 00:14:31,030 You share oh, ha ha ha. 113 00:14:31,030 --> 00:15:17,360 Ow, ow, ow, ow, ow, ow, she he he he he agreed to. 114 00:15:17,360 --> 00:15:27,010 Oh oh, I'm sorry, it's 6:30 in the morning. 115 00:15:27,010 --> 00:15:37,930 I'm a little tired, but my voice is a little bit more in voice, but that that is the first minute of this, this chant. 116 00:15:37,930 --> 00:15:44,020 In the example of Measure, 17 right here was sung as a B sharp, 117 00:15:44,020 --> 00:15:52,660 an unusual incidence of chromatic ism that one might suspect indicates poor intonation rather than intended inflexion, 118 00:15:52,660 --> 00:16:01,630 except that multiple chant leaders sang it this way. However, the similar notes on beat for of Measure 17 and B, 119 00:16:01,630 --> 00:16:10,450 one of Measure 18 here were sung by one Chad leader as be natural and by another the following day as be sharp. 120 00:16:10,450 --> 00:16:15,220 It therefore seems that oral tradition has made room for variation. 121 00:16:15,220 --> 00:16:21,640 These measures may even demonstrate the ongoing value evolution of this oral tradition, 122 00:16:21,640 --> 00:16:29,830 and I think it's important to note that these moments right here that go outside of what we would call the pentatonic scale of five notes, 123 00:16:29,830 --> 00:16:34,570 five notes being the standard for the entire hour long ceremony. 124 00:16:34,570 --> 00:16:40,690 Suddenly here for about five seconds, we go outside of that pentatonic scale. 125 00:16:40,690 --> 00:16:45,910 And and so it's a moment that that causes a red flag or draw. 126 00:16:45,910 --> 00:16:55,850 It draws attention. And this, to me, shows the changing nature of the oral tradition. 127 00:16:55,850 --> 00:17:04,610 In musical oral tradition, individuality is inherent in the evidence evolving transformation of the melody over time, 128 00:17:04,610 --> 00:17:09,800 but often individual individuality is a central characteristic of the melody itself. 129 00:17:09,800 --> 00:17:16,850 This makes transcription of a melody with independent, individualised ornamentation in a very, very challenging. 130 00:17:16,850 --> 00:17:24,500 My transcription includes all predictably recurring ornamentation notated by means of grace notes. 131 00:17:24,500 --> 00:17:29,360 This does not mean that all small loads are sung every time they might be omitted altogether, 132 00:17:29,360 --> 00:17:39,370 chosen selectively or augmented ornamentation is improvised on an individual level and should not be dictated or regulated. 133 00:17:39,370 --> 00:17:46,330 The style, frequency and appropriateness of chant ornamentation varies considerably from temple to temple. 134 00:17:46,330 --> 00:17:50,800 My hope is that the ornaments from a given recording or transcription might serve as a 135 00:17:50,800 --> 00:17:55,900 hint for the kind of ornaments one might expect to hear at a folk junction monastery, 136 00:17:55,900 --> 00:18:08,660 as well as the moments in which one might expect to hear them. Here is a forgone sun chant at the conclusion of the Medicine Buddha service. 137 00:18:08,660 --> 00:18:15,980 This is a side by side comparison of a simplified version of a simplified version and an ornamented version. 138 00:18:15,980 --> 00:18:20,930 These two versions might be charted simultaneously by different attendees. 139 00:18:20,930 --> 00:18:27,610 I will recite six measures of each to demonstrate the difference. Hmm. 140 00:18:27,610 --> 00:18:36,470 Hmm, hmm. There she is. 141 00:18:36,470 --> 00:18:43,760 Uh huh. Yeah. 142 00:18:43,760 --> 00:18:51,800 That's the simplified version and ornamented version. And there are many kinds of ornamental versions, but this represents one. 143 00:18:51,800 --> 00:19:07,280 So it would sound like this. So uh, she he he's uh huh. 144 00:19:07,280 --> 00:19:14,220 Yeah. And I hope you can notice some of the differences. 145 00:19:14,220 --> 00:19:31,820 Well, Grace notes turns even triplet terms that represent represented more ornamented style. 146 00:19:31,820 --> 00:19:37,590 In general, where nuns at Buddhist monasteries in Taiwan serve as the chant leader. 147 00:19:37,590 --> 00:19:41,970 They tend to choose lower musical keys than monks do. 148 00:19:41,970 --> 00:19:51,840 In my experience, Chant Leaders Chant Leader nuns often choose keys so low that the melody is nearly impossible for most people to sing comfortably. 149 00:19:51,840 --> 00:19:55,590 Many times, the majority of those chanting will simply drop out for a note, 150 00:19:55,590 --> 00:20:01,020 a syllable or phrase because the pitch is simply too low for them to fill it. 151 00:20:01,020 --> 00:20:08,550 Men rarely jump up the octave in unison with the women when the melody gets too low to sing. 152 00:20:08,550 --> 00:20:14,320 And women never jump up an octave for comfort if the pitches are too low. 153 00:20:14,320 --> 00:20:19,420 This psychological aversion to producing high notes is ubiquitous, 154 00:20:19,420 --> 00:20:28,480 and Taiwanese nuns are generally of the impression that men can sing in their high registers more comfortably than women can in theirs. 155 00:20:28,480 --> 00:20:34,810 As an aside, amongst teachers of singing worldwide, this opinion is not generally accepted. 156 00:20:34,810 --> 00:20:35,230 In fact, 157 00:20:35,230 --> 00:20:45,400 it's generally accepted in the singing community that women have an easier time naturally negotiating the registers shifts in their voice than men do. 158 00:20:45,400 --> 00:20:59,180 And I think most people are familiar with that idea of the adolescent boy going through their voice change and how uncomfortable that can be. 159 00:20:59,180 --> 00:21:03,860 The indeterminate nature of the musical expression should steer the chanting away 160 00:21:03,860 --> 00:21:09,440 from a spirit of performance and toward a cultivation of a meditative mind. 161 00:21:09,440 --> 00:21:15,680 Thus, while transcription of Song Chant is a resource or framework for organising pitch and rhythm, 162 00:21:15,680 --> 00:21:22,100 the changeable nature of those pitches and rhythms should be represented in any song reading of Sutra. 163 00:21:22,100 --> 00:21:29,180 This can be done through collective improvisation variations in key ad hoc to be set by the chant leader, 164 00:21:29,180 --> 00:21:36,920 soloist, etc. truly know two recitations of the native medicine, but a service are exactly the same. 165 00:21:36,920 --> 00:21:44,000 And yet they are similar enough that monastics and the assembly of regularly attending devotees 166 00:21:44,000 --> 00:21:51,380 would be able to predictably stay together as a cohesive unit of expression for at least two hours, 167 00:21:51,380 --> 00:21:56,690 with only the visual aid of the sutra text and no visual reminders of pitch or rhythm. 168 00:21:56,690 --> 00:22:08,750 This is a remarkable feat. To begin to speak of form or structure of such a recitation. 169 00:22:08,750 --> 00:22:09,440 Oh, I'm sorry. 170 00:22:09,440 --> 00:22:21,990 I will next dive into an analysis of the musical elements of suture recitation in this tradition, including form, metre and recitation styles. 171 00:22:21,990 --> 00:22:28,260 To begin to speak of form or structure of the future recitation, drink the water in that ceremony, 172 00:22:28,260 --> 00:22:34,800 it is helpful to first understand the complexity and scope of the full ceremony. 173 00:22:34,800 --> 00:22:38,640 This is the temple's schedule of recitation activities for the full week, 174 00:22:38,640 --> 00:22:45,480 including which Sutra is to be recited in each of the outer shrines at all times of the day. 175 00:22:45,480 --> 00:22:49,890 I have highlighted the medicine Buddhist Sutra Recitation schedule. 176 00:22:49,890 --> 00:22:55,290 You will see that it begins at 5:30 a.m. on day one of the ceremony, 177 00:22:55,290 --> 00:23:00,450 which is why maybe this chanting for me this early in the morning is actually quite appropriate. 178 00:23:00,450 --> 00:23:05,400 Half of the sutra is recited, followed by a morning meal. 179 00:23:05,400 --> 00:23:12,120 After eating, the second half of the sutra is recited, which concludes at 9:30 a.m. 180 00:23:12,120 --> 00:23:19,840 At this point, there is a 20 minute break and then the cycle starts over again. 181 00:23:19,840 --> 00:23:31,540 At Fogelson Monastery, the medicine Buddhist Sutra is uttered in six sections three in part one and three in part to cheer marked in 182 00:23:31,540 --> 00:23:41,320 blue with the medicine Buddhist recitation here marked in yellow serving as a sort of return elo or chorus. 183 00:23:41,320 --> 00:23:50,290 Before and after the course, sutra sections are introductory and concluding chants here bracketed in lavender. 184 00:23:50,290 --> 00:23:59,860 Thus, the overall musical form mirrors that of the text and can be represented schematically as ABC in part one and a prime, 185 00:23:59,860 --> 00:24:11,230 be prime and see prime in part two. This prime label refers to the same musical material, but with different texts. 186 00:24:11,230 --> 00:24:19,540 This blue yellow alteration alternation between suture reading and fixed melody chance gives variation 187 00:24:19,540 --> 00:24:25,420 that keeps the mind focussed through what would otherwise be a very long recitation because in total, 188 00:24:25,420 --> 00:24:36,320 the duration of this service is about an hour per part or two hours total. 189 00:24:36,320 --> 00:24:49,070 Metre refers to a hierarchy of beats or pulse metre in unison, melodic chanting consists simply of a steady, steady pulse regulated by the rector, 190 00:24:49,070 --> 00:24:58,300 and in Chinese we call it rector, the winner with monastics playing Dharma instrument dharma percussion instruments. 191 00:24:58,300 --> 00:25:13,290 Here is an excerpt of the steady pulse of chanting. 192 00:25:13,290 --> 00:26:06,050 N.A. n.a. n.a. n.a. n.a. n.a. n.a. n.a. n.a. n.a. n.a. n.a. n.a. n.a. 193 00:26:06,050 --> 00:26:13,040 Most chants begin with a regular pulse while the rector delivers the first syllables and defines the key. 194 00:26:13,040 --> 00:26:18,320 Once the assembly joins in, the pulse begins as the percussion starts. 195 00:26:18,320 --> 00:26:24,490 At this point, the pulse remained steady until further notice. 196 00:26:24,490 --> 00:26:33,580 In free chance, there's a steady, undifferentiated pulse with no hierarchy of beats and updates, sutra syllables fall on each pulse without exception. 197 00:26:33,580 --> 00:26:37,810 And there is no flexibility for additional rhythmic delivery of the text. 198 00:26:37,810 --> 00:26:47,170 Macro rhythms do sometimes occur when particularly creative centres incorporate recurring motives or patterns in their improvised melodies. 199 00:26:47,170 --> 00:26:51,730 Such patterns might compromise for I might comprise four or eight notes, 200 00:26:51,730 --> 00:26:58,940 for example, giving a sense of quadruple time or for so we get one two three four. 201 00:26:58,940 --> 00:27:10,780 Like Sudoku or Jean Chen Trend Zhou Yongkang Rondon's, I'll find one two three four. 202 00:27:10,780 --> 00:27:21,460 Others chant other cheddars, create melodies that rise and fall with the sentence structure, which also often results in groups of four syllables. 203 00:27:21,460 --> 00:27:26,170 This sentence structure is usually comprised of eight syllables divided into two sets of four, 204 00:27:26,170 --> 00:27:30,820 but occasionally creates groups of five, seven or nine syllables. 205 00:27:30,820 --> 00:27:37,870 When this happens, there is a metric shift which can feel asymmetrical amidst the mostly four syllable phrases. 206 00:27:37,870 --> 00:27:44,560 One example of this is the listing of the 12 Yakuza generals in section six of the Medicine Buddhist Sutra. 207 00:27:44,560 --> 00:27:51,230 Each of the 12 generals has five syllables to his name, which creates the feeling of 12 measures of five four. 208 00:27:51,230 --> 00:27:55,690 In other circumstances, the list of names might be made up of differing numbers of syllables, 209 00:27:55,690 --> 00:28:03,160 creating the sensation of constantly changing metres, which in itself is another kind of macro rhythm. 210 00:28:03,160 --> 00:28:11,350 Here are the five syllables sound like this gong P Lord John Fogerty, Lord John Michie, 211 00:28:11,350 --> 00:28:23,500 Lord John one two three four five one two three four five Which is would feel like a break from this that four syllabic pulse. 212 00:28:23,500 --> 00:28:27,670 There are two musical styles of recitation in the medicine Buddhist service. 213 00:28:27,670 --> 00:28:41,230 This is my last topic. Five Chant Free Chant Excuse Me and fixed melody chant in Free Chant, which features a regular rhythm and an improvised melody. 214 00:28:41,230 --> 00:28:48,460 It's used for sutra recitation and the opening sutra opening verse during free chant passages. 215 00:28:48,460 --> 00:28:57,040 Assembly members pronounce each syllable at the same time, following a pulse kept by a percussion instrument as they chant these improvised individual 216 00:28:57,040 --> 00:29:02,320 melodies based on a timescale outlined by the rector at the outset of the chant. 217 00:29:02,320 --> 00:29:25,750 Here's a bit of the whole story here in long, frequent passages, the director typically begins the chanting with a set melody, 218 00:29:25,750 --> 00:29:31,870 which outlines the collection of pitches that form the key and then fades into the larger sea of sound. 219 00:29:31,870 --> 00:29:41,230 As the improvising assembly joins in at the conclusion of the passage, the rector vocally reasserts themselves by leading the assembly in a retardant. 220 00:29:41,230 --> 00:29:48,160 That's a musical term for slowing down, essentially bringing the steady pulse to a halting stop and then initiates a credential 221 00:29:48,160 --> 00:29:53,950 melody that indicates the final resting pitch at the end of the section of text. 222 00:29:53,950 --> 00:29:58,810 The rector's opening and closing musical phrases serve as a transitional function, 223 00:29:58,810 --> 00:30:06,550 and they generally occur on the first and last three syllables of a given audio of text. 224 00:30:06,550 --> 00:30:13,900 In Fixed Chant, the non sutra text of the ceremony are recited in fixed chant melody chant of excuse me, 225 00:30:13,900 --> 00:30:41,850 the non sutra text of the ceremony are recited and fixed melody chant, where the assembly members chant an established melody in unison like this? 226 00:30:41,850 --> 00:30:49,530 Miles, for passages in the second style, you will note the inclusion of ornamentation, 227 00:30:49,530 --> 00:30:58,590 drunk scene such as note bending or drawing in scoops, slides and neighbouring grace notes despite being pre-determined. 228 00:30:58,590 --> 00:31:07,590 These melodies can vary in small ways based on the lineage of the oral tradition under which the tensely leader learnt them so as free passages. 229 00:31:07,590 --> 00:31:19,060 The Assembly follows the Raptors lead. Sharon is particularly famous for its monastics, progressive and free use of ornamentation. 230 00:31:19,060 --> 00:31:19,810 Conversely, 231 00:31:19,810 --> 00:31:36,520 more musically conservative have support unadorned melodies and conclusion as musicologist by studying music and its social and cultural contexts, 232 00:31:36,520 --> 00:31:45,790 Ethnomusicology examines music as a social process in order to understand not only what it is, but what it means to its practitioners. 233 00:31:45,790 --> 00:31:47,740 My field is highly interdisciplinary, 234 00:31:47,740 --> 00:31:56,140 so I am grateful for this opportunity to share my research with this impressive array of international Buddhist scholars. 235 00:31:56,140 --> 00:32:04,790 If perhaps my interest in the musical recitation of Sutra interacts with your work, I would particularly love to hear from you. 236 00:32:04,790 --> 00:32:13,950 And I look forward to learning from each of you and in the remaining presentations. Thank you so much.