CHO-GA: Tantric and Ritual Music of Tibet - 1974 Unique early recordings from the Tibetan Tantric monasteries. Description from Album: An anthology of Buddhist chants and hymns recorded at Tibetan monasteries in Northern India and Nepal during the years 1969 and 1970, Represented here are the tantric monasteries of Gyuto and Gyumed, the three great Gelugpa monastic institutions of Drepung, Ganden and Sera, and the Namgyal Dratsang, the private monastery of the Dalai Lama. The ancient Tibetan metaphysical texts state that all sound is music, all music is mantra, and mantra is the essence of all sound. Through the use of ritual and mantric power, the Tibetans use sound to effect a specific change in the individual and the environment. Mantra is a pattern of sound or sound vibration that is based upon primordial sound structures. By their sheer inherent potency and disciplined execution, these concentrated essential energies bring about direct spiritual phenomenon. The tantric rituals often make use of elaborate hand gestures (mudra) which illustrate the teachings and evoke the mystical forves to which they correspond. Also employed are intonations of specific seed syllables (bija) which effect certain psychic centers of the body. Tantric practices utilize the powerful forces within us - the positive and negative, masculine and feminine, wrathful and peaceful - to transcend the illusion of duality, not through intellectual understanding, but through directly experiencing the Oneness of all. The sacred tantras, first introduced into Tibet from India around the Eighth Century, set forth a very severe but direct path towards the Awakening. These rigid practices were not intended for the masses. The powerful and potentially hazardous approach of the tantrics could lead to a disastrous end for thoses not initially prepared in the rites: thus it was kept hidden. The very secretive and esoteric nature of these teachings is demonstrated through the styles of the two tantric monasteries of Gyuto and Gyumed. Their unique vocal intonations mask the words of their recitations lest they should fall upon the ears of the uninitiated. As sound is considered inherently sacred, it should be made beautiful to be worthy of an offering. This, along with the necessity of secrecy, led to the development of a manner of chanting whereby single monks can produce overtones in their voice to form perfect chords. The styles of Gyuto and Gyumed differ soomewhat: the former, it is said, burns like fire, while the latter flows like water. An equally distinct style can be heard from the two lamas of the Namgyal Dratsang. These peaceful and serene chants are performed by the two prayer starters who are normally chosen for their superb vocal qualities. It is only in this exceptional time that we live in, an age of massive world changes, that the lamas have reversed their traditional practice of secrecy and have allowed certain chants to be heard. The single unifying and motivational force behind these rituals in the monks' strong desire to bring about peace, happiness, and higher states of consciousness, not only for themselves but for the merit and benefit of all sentient beings. May the publication of this record assist the monks in their humble effort. Grateful thanks are due to His Holiness the Dalai Lama and countless other lamas and monks whose kindness and understanding made these recordings possible. Also includes: Also included are many early photos of great Tibetan lamas and monks of the period. These were included with the album. The Album cover image description: Carved and painted Tibetan altar inset with Thangka of Medicine and Healing Buddha.
akdklimek