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ri-bo ral-ba'i / chug-ter 'khrog-pa'i - lay and religious music of Tibet [entries|archive|friends|userinfo]
lay and religious music of Tibet

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ri-bo ral-ba'i / chug-ter 'khrog-pa'i [Apr. 23rd, 2010|12:44 am]
lay and religious music of Tibet
rol_gzhas
[ex_dorje_se]
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Tsongkhapa had two styles of chanting at different times in his life, based on visions he had, in which protectors chanted to him in these ways. The two are called the mountain-cracking voice (ri-bo ral-ba’i skad) and the ocean-rolling voice (chu-gter 'khrog-pa’i skad). Both styles are with an extremely base voice, with the former being a flat monotone and the later undulating and producing overtones. The three main Gelug monasteries (gdan-sa gsum) near Lhasa – Sera (Se-ra dGon-pa), Drepung (‘Bras-spung dGon-pa), and Ganden (dGa’- ldan dGon-pa) – all use the ocean-rolling voice. Up until the time of the Fifteenth Ganden Tripa (dGa’-ldan Khri-pa, Ganden Throne-holder), Panchen Sonam-dragpa (Pan-chen bSod-nams grags-pa) (1478-1554), both Gyumay and Gyuto used the mountain-cracking voice. Gyumay has continued this style, while Gyuto adapted the ocean-rolling voice through the influence of Panchen Sonam-dragpa.
(Berzin, "A Brief History of Gyumay and Gyuto Lower and Upper Tantric Colleges", 1991)
http://www.berzinarchives.com/web/en/archives/study/history_buddhism/buddhism_tibet/gelug/brief_history_gyumay_gyuto_tantric_college.html
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