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Monks playing dungchen, Tibetan long trumpets, from the roof of the Medical College, Lhasa, 1938 Street musician playing a dramyin, Shigatse, Tibet, 1993. The music of Tibet reflects the cultural heritage of the trans-Himalayan region centered in Tibet, but also known wherever ethnic Tibetan groups are found in Nepal, Bhutan, India and further abroad.
The film celebrates traditional Tibetan folk music while depicting the past fifty years of Chinese rule in Tibet, including Ngawang's experience as a political prisoner. The film premiered at the 2009 Sundance Film Festival, [2] [3] where it won the Special Jury Prize for World Cinema. It opened in theatres on September 24, 2010 in New York City.
The dramyin or dranyen (Tibetan: སྒྲ་སྙན་, Wylie: sgra-snyan; Dzongkha: dramnyen; Chinese: 扎木聂; pinyin: zhamunie) [1] is a traditional Himalayan folk music lute with six strings, used primarily as an accompaniment to singing in the Drukpa Buddhist culture and society in Bhutan, as well as in Tibet, Ladakh, Sikkim and Himalayan West Bengal.
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Kurdish music — BM 30 SL 2028; Pakistan — BM 30 SL 2029; Reissued by Rounder as Anthology of World Music: The Music of Pakistan, CD 5147. [15] [16] Review by Peter Row in Ethnomusicology 25, #3 (September 1981), pp. 559-561, JSTOR 851578. Review by David Henderson in Yearbook for Traditional Music 36 (2004), pp. 193-194, JSTOR 20058813.
A typical Tibetan Buddhist ritual orchestra consists of a gyaling, dungchen, kangling, dungkar (conch shells), drillbu (handbells), silnyen (vertical cymbals), and most importantly, chanting. Together, the music creates a state of mind to invite or summon deities.
Nangma (Tibetan: ནང་མ་; Chinese: 囊玛) is a genre of Tibetan dance music closely related to Toeshey (སྟོད་གཞས་). The word Nangma derives from the Persian word نغمه Naghma meaning melody. Both a band and a nightclub have been named after it.
Music of Tibet [1] is a historic recording, made by world religion scholar Huston Smith in 1967. [2] While traveling in India, Smith was staying at the Gyuto Monastery. While listening to the monks chanting, he realized that each monk was producing multiple overtones for each note, creating a chord from a single voice.