Heart Sutra Different Languages

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  • Huichan
    Member
    • Jan 2022
    • 231

    Heart Sutra Different Languages

    I've been studying the Heart Sutra a lot recently and decided to learn it in Mandarin Chinese, as I would rather chant it in a language I'm familiar with, when chanting by myself (switching between English and Chinese). When trying to learn it, the chants I've heard in Chinese are in a different style to Japenese, a bit more melodic (can also find a lot of people singing it in Chinese as well). Out of interest, I also listened to it in Korean, which was more in the same melodic style as the Chinese way of chanting too. Just wondering why this is? Is it just because of natural differences in languages make it sound better in those languages like that?

    Would be interested to hear if there was a difference in other languages as well. Obviously, we are influenced by the Japanese way, so it influences how we chant in English but I'm guessing those who follow the Chan tradition would be influenced more by the Chinese way of chanting?

    These are just my observations and there also may be cases where they are chanted in the same style too.

    Sorry to run long or if this is posted in the incorrect section.

    Gassho
    Ross
    stlah
    慧禅 | Huìchán | Ross
  • Jundo
    Treeleaf Founder and Priest
    • Apr 2006
    • 40858

    #2
    Hi Ross,

    I am not a musicologist, although I am a translator of languages ...

    The message of the Heart Sutra is beyond yet holds all languages and any languages, all melodies and any melody, the Melody of the Whole World perhaps.

    Gassho, J

    STlah
    Last edited by Jundo; 04-01-2022, 02:11 AM.
    ALL OF LIFE IS OUR TEMPLE

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    • Jundo
      Treeleaf Founder and Priest
      • Apr 2006
      • 40858

      #3
      Some of our many Heart Sutras that we have met over the years ...

      BeatBox ...



      Gospel ... Buddha meets Beethoven ...



      A Japanese Flamenco ... watch at the link ...

      #武藤昭平 「般若心経 (般若波羅蜜多心経)」弾き語り〈マリアッチ般若心経〉2017/12/4 at 渋谷SHIFTY2018/02/21 築地本願寺銀座サロンにて、武藤昭平さんが講師で登壇されます♪前の講義で「般若心経」の解説してくださったりとか、弾き語りも披露してくださっています♪「六字大明咒」も、きっと次の...



      A Tibetan dance thing ...



      ... and many more ...

      Gassho, J

      STlah
      Last edited by Jundo; 03-31-2022, 01:43 PM.
      ALL OF LIFE IS OUR TEMPLE

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      • Huichan
        Member
        • Jan 2022
        • 231

        #4
        Hi Jundo

        I understand that the method is not important and it's about the message and I also came across lots of different variations in all languages. I suppose my question is more about enquiring about how the traditions have developed and wanting to know how it is generally done in temples and monastories out of my own curiosity. I'm not a person who thinks traditions should be kept for the sake of it but I also do want to respect traditions where I can.

        Gassho
        Ross
        stlah
        慧禅 | Huìchán | Ross

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        • Jundo
          Treeleaf Founder and Priest
          • Apr 2006
          • 40858

          #5
          Originally posted by Ross
          Hi Jundo

          I understand that the method is not important and it's about the message and I also came across lots of different variations in all languages. I suppose my question is more about enquiring about how the traditions have developed and wanting to know how it is generally done in temples and monastories out of my own curiosity. I'm not a person who thinks traditions should be kept for the sake of it but I also do want to respect traditions where I can.

          Gassho
          Ross
          stlah
          I am not a musicologist, but there is a chance that the Japanese chants represent something closer to the Chinese chants of an earlier time, which gradually became more musical. Even this modern recitation by Chinese priests (go about 5 minutes in) seems rather monotonal, although they put in one little lilting phrase in their chanting pattern.



          See page 18 here, on early Chinese chant "recitation with an even beat" ...

          Publisher's URL: https://www.areditions.com/rr/rrotm/otm008.html Liturgical chants, the most pervasive traditional elements in religious life, provide a sense of historical continuity for Chinese Buddhists. The rituals currently practiced by Chinese Buddhist monastic communities date from the North and South Dynasties (AD 220¿589). Today a huge repertory of Chinese Buddhist chants exists, with various styles, techniques, and functions. These chants, along with their corresponding rites, have to be reenacted every day, every month, or every year. Liturgies thus constitute the core of religious experience for monastic communities, and they serve to embody the ideals of monastic practice, such as spirituality and communal harmony. A common feature shared by all Chinese Buddhist liturgies is that their ritual process has no verbal command. Instead, instrumental cues and chanting style, which divide ritual passages and dictate actions, lead the participants as they engage in liturgical performance. Several types of liturgical books provide written guidelines for performing congregational Buddhist chants, but none includes melodic notation; rhythm and instrumental operations are the only prescribed musical elements. The melodies are thus conveyed from generation to generation through oral transmission, and this process greatly strengthens the sense of unity among Chinese Buddhists despite local and temporal variations in practice.This volume is intended to serve a broad audience: the general reader, Buddhist monastic members, Chinese Buddhists, music scholars, and Buddhist scholars. It presents Chinese Buddhist chants of various liturgies, styles, functions, and techniques in the course of three chapters. Chapter 1 provides fundamental information about the chant tradition, including early chant categories, contemporary liturgies, instruments, notation, performance, and modern conceptual transformations; chapter 2 explicates the musical attributes and ritual functions of chants through a detailed commentary on nine contemporary stylistic forms of Chinese Buddhist liturgical chants; and chapter 3 explores the liturgy of the daily service in conjunction with a complete facsimile, demonstrating the liturgical logic and religious sentiment of Chinese Buddhism. Audio recordings that supplement the historical and analytical discussions are provided on an accompanying compact disc set.


          Japan also developed a more melodic kind of chanting, very popular in Soto Zen: "Baika" is a lovely type of Buddhist religious hymm singing. My Dharma Granpa, Rempo Niwa Zenji, the former Abbot of Eiheiji, was a big Baika fellow. Here is an example:

          Professor-Mestre de Baika (música budista), Testuyû Yasuda Sensei, abade do templo Shoinji em Chiba, Japão, canta a música "Sanbô Gowasan" (Canção dos Três T...


          Gassho, J

          STLah
          ALL OF LIFE IS OUR TEMPLE

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          • Huichan
            Member
            • Jan 2022
            • 231

            #6
            thanks
            慧禅 | Huìchán | Ross

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