Temple Bell Research Articles

조선 세조 7년(1461) 사리분신(舍利分身) 상서의 출현과 역사적 의미

This thesis examines the Buddhist miracles associated with the sarira incarnation in the 7th year of the Joseon King Sejo's reign(1461), aiming to reassess their background and the historical significance. Despite the absence of mention in The Annals, the unfolding events and commemorative processes were uncovered through the analysis of materials such as NeungeomgyeongEonhae楞嚴經諺解 epilogues, the Heungcheonsa temple bell inscription, and Yeoraehyeonsang-gi如來現相記 produced in King Sejo's era. The 1461 sarira incarnation, linked to the Gyeongchanbeophoi led by Grand Prince Hyoryeong on May 13th for Hoeamsa temple's reconstruction, extended royal Buddhism's influence, enhancing the royal family's authority. After receiving the incarnated sarira within Gyeongbokgung Inner Palace (Hamwonjeon), King Sejo expanded the significance of the sarira incarnation through official worship until May 18th. Recognizing its political utility, he strategically used Buddhist miracles to elevate his rule, implementing measures like amnesty, NeungeomgyeongEonhae publication, and Heungcheonsa temple's Stupa and bell reconstruction. These commemorations aimed to make royal authority transcendent, rooted in familiar Buddhist faith to the people, portraying King Sejo as a benevolent ruler and “Dharma-King.” Despite Confucian politics, King Sejo bolstered Buddhism's role in state governance. The Buddhist miracle was crucial in his policy to transcendentalize royal authority. The emergence of the sarira incarnation in 1461 signaled the realization of the ideal of a transcendent absolute monarch.

The stylistic originality of Yurii Shevchenko’s instrumental works on the example of “ThreeUkrainian Songs” for string orchestra

Statement of the problem. The musical language of Ukrainian composers of the XX–XXI centuries is a complex and rather poorly studied field in modern musicology. This phenomenon raises many questions due to the diversity of styles, forms, and individual expressive systems of composers. Music for chamber ensemble vividly reflects the significant transformations in the artistic perception owned to our era. This musical context includes the work of the Ukrainian composer Yuriі Valentynovych Shevchenko (1953–2022), an outstanding figure in the national musical culture. The composer’s work is considered mainly in the journalistic discourse (Sushchenko, 2006; Cherdintseva, 2003, etc.). In recent scientific publications devoted to Shevchenko’s work, the authors (Aksiutina, 2022; Sadovenko, 2023; Tarasenko, 2008) focus on the analysis of the composer’s ballet music. The study by V. Stepurko (2023) helps to come closer to understanding the composer’s creative narratives: “... the author in his work aims to find the hidden philosophical depths of fairy-tale “worlds” as a sign and sound space. His works use various musical means of expression, but structured according to classical models, they are strikingly full of modern philosophical ideas, the search for humanistic postulates to solve the problems of humanity” (Stepurko, 2023: 132). However, a comprehensive musicological consideration of chamber and instrumental works remains outside the attention of researchers that determines the relevance of this publication. Objectives, methods, and novelty of the research. The purpose of this article is to reveal expressive means and stylistic features of Yu. Shevchenko’s chamber and instrumental music using the example of “Three Ukrainian Songs” for string orchestra. The named works have not yet been the subject of a special musicological analysis. The following methods were used in the study: historical, system-analytical, comparative, and hermeneutic, as well as a complex of specific musicological methods: structural-functional, semantic, musical-dramaturgical, timbre and textural analysis (for considering the musical form in its dynamics, the artistic expressiveness of harmonic, polyphonic, melodic and rhythmic means; when studying the orchestral score for revealing the specifics of the use of timbre colours of instruments). Research results and conclusion. In the process of implementing the symbolic program of the “Three Ukrainian Songs” for string orchestra, the principle of sound painting and the thematic meaning of rhythm get an important role. Audio-visual effects are achieved through the combination of timbres of various instruments and the use of special ways. The creation of sound perspective and the effect of spatiality are facilitated by polyphonic techniques of development and the combination of distant registers (also, in the first song, the temple bell effect arises due to synchronization of the propagation of sound vibrations). The game component, which is present in the third song, is realized through the “terrace” dynamics (f–p) and the “instant” register juxtaposition in parts of the I–II violins. To reproduce folklore intonations, to imitate the sound of folk instruments, the composer uses a variety of timbres of a string orchestra, in particular, orchestral pedals; characteristic rhythmic and melodic turns, sudden tonal shifts, original tonal plans, as well as various polyphonic techniques and the polyphonic-variation method of development. Using folklore material, Yu. Shevchenko complements each of the selected melodies with a harmonic texture, masterfully works with the vertical, and writes out each voice in a jewelled manner. In his interpretation of folk songs, genre features are emphasized: “Many Years” is a glorifying chant, “The Boat is Sailing” is a barcarolle, “Jenchichok-brenchichok”(“Reaper-Chirper”) is a scherzo. Meter and rhythm, register, and timbre solutions contribute to the highlighting of the characteristic genre features. The architectonics of the cycle carries a semantic load and contributes to the demonstration of the idea of the fluidity of life time: “Blessings of Life” (the idea of Part I) – “Immersion in the Process of Life” (Part II) – “Joy of Life” (Part III). So, the interpretive component of the cycle has a positive vector aimed at raising the emotional state of performers and listeners, as evidenced by the bright, “fiery” character of the treatment of the humorous folk song in the third, final, part of the cycle. The trends of form-making, the techniques of using harmony and polyphony laid down by the composer , as well as the conceptual solution of the cycle open wide prospects for the further development of Ukrainian chamber-instrumental music.

전남 도서지역의 팔경에 나타난 시각과 청각의 경관자원의 분포와 특성

The purpose of this study is to examine the distributions and characteristics of the visual and auditory resources of the eight great views in the Jeollanam-do island region. The eight sights of Gwangju Metropolitan city and Jeollanam-do were investigated, the types of islands, inland, and coastal regions were classified, and the distribution characteristics of visual and auditory elements according to the emotional expression of the five senses were considered. The appearance rate of visual elements of the eight great views shows a higher rate than auditory or other sensory elements. In the island area, the appearance rate of the visual element is the highest and the auditory aspect ratio is the lowest. The appearance ratio of visual elements in the island area is higher than that of the sun, moon/cloud/ship, and especially the sun and clouds are higher than inland and coastal areas. As for the appearance ratio of auditory elements, the sound of rain is the highest in the island area and the sound of the temple bell in the inland and coastal areas. Unlike inland areas, the sound of waves in the island and coastal areas, and the sound of chanteys in the coastal areas are prominent auditory elements.

Maria Zaitun: The Journey from a Novel to Razak Abdul Aziz’s Opera

The aim of this article is to analyze Western and Asian cross-cultural trends in music on the example of compositions by Razak Abdul Aziz (Abdul Aziz Razak) and Maria Zaitun’s opera. The main idea of Maria Zaitun’s opera is to explore the aesthetic cross-cultural issues and musical elements, as well as to redefine the role of the modern composer in the multiracial society of the 21st century. As a Malaysian composer, Razak is particularly interested in combining together various different musical practices in order to create composition combining contemporary techniques with his own personal style. Razak obtained his idea from a few short novels by Fatimah Busu titled “Perkembalian Seorang Maria Zaitun,” which was then transformed into an operatic work titled “Maria Zaitun’s Opera,” a chamber opera for 8 singers with 6 violins, 3 violas, 3 cellos, 2 double-basses, harps, 2 pianos, celesta, glockenspiel, vibraphone, xylophone, marimba and a set of drums. Additional percussion instruments include triangle, temple bell, bell tree, finger cymbals, hand cymbals, suspended cymbals, Malay gongs, tam-tam, glass chime, sand blocks, slapstick, wood block, temple blocks gedung, snare drum, tambourine, tom-toms and bass drum. There are eight types of choral sonorities: namely, 1st soprano, 2nd soprano, 3rd soprano, 1st alto, 2nd alto, 1st tenor, 2nd tenor and bass. Razak made a study of every page contained in Fatima Busu’s short novels in order to choose which sentences from the number are to be included into the libretto of his work. Keywords: Razak Abdul Aziz, Fatimah Busu, Short Novels “Perkembalian Seorang Maria Zaitun,” cross-cultural issues, libretto.

유구불교와 고려불교와의 관계

琉球의 시대구분은 크게 부락 · 부족시대, 패총시대를 시작으로 구스쿠시대, 三山시대, 中山에 의한 통일시대로 나눈다. 1429년 尙巴志에 의해 통일된 유구는 그 후 불교를 통치 수단으로 하여 안정된 시대를 지속하게 된다. 그러나 1609년에 사츠마의 침공으로 일본에 사절단을 파견하면서 일본의 감시체제에 있다가 1879년에는 일본에 병합되었다. 유구와 한반도와의 관계로, 유구는 고려시대부터 한반도에 여러 차례 사신을 파견해 불교경전과 대장경, 고려범종 등을 구하고자 하였다. 역사적 흔적으로는 고려의 삼별초가 몽고에 끝까지 항쟁하다가 제주도에서 패배하고 건너가 정착한 곳이 유구이며, 그들이 유구왕국 개국에도 영향을 미쳤다는 설이 있다. 이러한 한반도와 유구에 대한 역사적 뒷받침의 근거는 유구왕국 正殿에 걸린 만국진량의 종에 적힌 글에서 중국과 일본에 앞서 한반도(삼한)를 가장 먼저 호명한 것에서 알 수 있다. 또 1982년 오키나와의 우라소에성(浦添城)에서 발굴된 유물과 기와 등에서도 고려 불교와 관련된 결정적 흔적이 발견되었다. 그러므로 본 논문에서는 유구 불교를 중심으로 유구의 불교사상과 고려와의 관계에 초점을 맞추어 고찰하였다.

Even the best guess is not as good as a measurement

Eric Temple Bell's “obvious is the most dangerous word” is as applicable to medicine as it is to mathematics. Sometimes what appears to be obvious to experts in a specific field of medicine is far from obvious to clinicians in other specialties. Providing solid evidence for the “obvious” not only serves an educational role but also improves the standard of care. For example, it is obvious to a venous specialist that venous reflux time should be measured using duplex ultrasound with spectral Doppler tracing. The current definition of reflux is based on the critical value of its duration. A millisecond difference in duration can result in one image interpreted as “normal” and another as having an incompetent valve. However, this definition of reflux is not so obvious for specialists in other areas of medicine. Why not just use much cheaper ultrasound equipment, even if it lacks measurement ability? Can't one watch the color Doppler or listen to a hand-held Doppler with acoustic output and guess if the time of the venous flow reversal exceeds its critical value? Some health care providers may argue that their estimates are as good as a spectral Doppler measurement. This is a dangerous assumption for there are multiple examples when such guesses are used to justify unnecessary procedures. Comparison of hand-held acoustic Doppler with point-of-care portable color Doppler ultrasound in the assessment of venous reflux diseaseJournal of Vascular Surgery: Venous and Lymphatic DisordersVol. 8Issue 5PreviewDiagnostic-quality portable color Doppler ultrasound (PCD) offers convenient point-of-care venous reflux disease (VRD) diagnosis. Philips Lumify (Philips N.V., Best, The Netherlands), a high-fidelity broadband linear array transducer (4-12 MHz frequency), connects through a web-enabled smartphone or tablet to cloud software and offers B-mode and color Doppler imaging without pulsed wave Doppler capability. The aims of the study were to compare hand-held acoustic Doppler (HHD) vs PCD diagnostic performance using conventional duplex ultrasound (DUP) as the “gold standard” for VRD assessment, to assess effects of body mass index (BMI) and disease severity on diagnostic performance of HHD and PCD, and to determine whether PCD offers any diagnostic improvement over HHD in VRD assessment. Full-Text PDF

Originating in emptiness, present everywhere : representations of Song Dynasty (960-1279) Buddhist bells in their Inscriptions

This article explores the literary genre of Buddhist bell inscriptions in Song Dynasty China and discusses them in the broader context of Song 'bell culture.' These inscriptions were written to commemorate the casting of a temple bell – an event of major significance for both the temple and the surrounding community – and therefore tended to be commissioned from famous writers and influential officials. Close reading of these inscriptions reveals that the prevailing image of Buddhist bells was shaped by both Song academic interest in bells as the preferred musical instruments of ancient rulers and a firm belief that tolling bells helped to advance Buddhist teaching. Some authors even insisted that the bell itself embodied the Buddhist principle of emptiness.

Sounds and sound preferences in Han Buddhist temples

This study recorded various sounds heard in Han Buddhist temples and analysed their acoustic parameters. Subsequently, it investigated the factors that influence sound preferences in these temples using a questionnaire survey. The results indicate that the physical acoustic and psychoacoustic parameters of various sounds correspond to the roles they play at the temple. Buddhism-related man-made sounds dominate the sound environment in temples. In addition, signal and soundmark are prevalent. In the case of sound preferences, natural sounds are preferred, and age and religious beliefs have a significant effect on the respondents' preference for the sound of a temple bell. Signal and Buddhism-related man-made sounds are affected by a variety of respondent demographic characteristics, while Buddhism-unrelated man-made sounds and keynote sounds are rarely affected by these characteristics. The education level of the respondents affects their preferences for various types of sound, and the respondents' evaluations of Buddhism and acoustic environment are related to their preferences for Buddhism-related man-made sounds, soundmarks, and keynote sounds. Among the assessed physical acoustic and psychoacoustic parameters, only sharpness is closely correlated with sound preference in Han Buddhist temples.

The Creative Quest into Temple Bell Sonorities: Works of Musique Concrète by Toshiro Mayuzumi

Toshiro Mayuzumi (1929–1997) is acknowledged as an important composer in Japan, being a pioneer in the history of Japan’s electroacoustic music, and having created Japan’s earliest works of musique concrète and electronic music. Mayuzumi started composing works based on the concept of Japan’s traditional ‘sound culture’ in the late 1950s. At around the time when he started to hold a deep interest in Japanese ‘sound culture’, he was actively pursuing the acoustic analysis of the sound of Buddhist temple bells, as well as the experimental synthesis of electronic sounds similar to the sound of temple bells. Based on this experience, Mayuzumi created works of musique concrète using the sound of temple bells as raw material. In this study, we shall focus on Mayuzumi’s works of musique concrète that use temple bell sounds as material, and discuss Mayuzumi’s strong interest in Japan’s traditional ‘sound culture’, as well as its relationship with the musical concept ‘musique concrète’ which inherently has its origin in the Western world.

『新古今集』の慈円の歌にみえる「野寺の鐘」について

『新古今集』の慈円の歌にみえる「野寺の鐘」について

Study of Similarity between Stone Bell sound in Maneo temple and normal bell sound

Study of Similarity between Stone Bell sound in Maneo temple and normal bell sound

Study of Similarity between Stone Bell sound in Maneo temple and normal bell sound

Study of Similarity between Stone Bell sound in Maneo temple and normal bell sound

Difference between real and numerically simulated sounds of a Japanese temple bell

Difference between real and numerically simulated sounds of a Japanese temple bell

A study of the Inscription Analysis and the Duty for the Event of Making for the Buddhist temple bell of Buddhist temple bell in the Joseon Dynasty

A study of the Inscription Analysis and the Duty for the Event of Making for the Buddhist temple bell of Buddhist temple bell in the Joseon Dynasty

Digilog book for temple bell tolling experience based on interactive augmented reality

We first present the concept of the Digilog Book, an augmented paper book that provides additional multimedia content stimulating readers’ five senses using augmented reality (AR) technologies. We also develop a prototype to show the usefulness and effectiveness of the book. The Digilog book has the following characteristics: AR content descriptions for updatable multisensory AR contents; enhanced experience with multisensory feedback; and interactive experience with computerized vision-based manual input methods. As an example of an entertaining and interactive Digilog Book, this paper presents a “temple bell experience” book and its implementation details. Informal user observation and interviews were conducted to verify the feasibility of the prototype book. As a result, this case study of the Digilog book can be useful in guiding the design and implementation of other Digilog applications, including posters, pictures, newspapers, and sign boards.

Influences of the shapes of a temple bell's parts on acoustic characteristics

The relationships between the various shapes in a Buddhist temple bell and the corresponding acoustic characteristics are clarified mainly by Finite Element Method (FEM) analysis. First, we show that the cross-sectional shapes of the “komazume” (lower part, which is slightly thicker than the rest of the bell) have high correlations to the vibration modes as well as to the vibration positions. As a result, the komazume has a large influence on the bell’s acoustic characteristics. The beat sound is another important factor in the bell’s overall sound, but its origin has not yet been fully clarified. Since the beat sound is assumed to be generated by the bell’s formal or material asymmetrical factors, the influences of a few formal asymmetrical factors on the beat sound are investigated. First, the beat sound obtained by simulation using miniaturized bells is confirmed to closely match the experimental results. Then, it is shown that the “doza” (part where the bell is struck), which functions as a formal asymmetrical factor when the bell vibrates, is highly related to the beat sound. It is also clarified that the “obi” (perpendicular stripe pattern on the bell’s surface) also slightly influences the beat sound.

Poetic Entomology: Insects in Japanese Haiku

The dragonfly can't quite land on that blade of grass. -Bash6 (First three poems translated by R. Hass) Butterfly sleeping on the temple bell. -Buson Irecently was told a story about my twoyear-old cousin Ryan following ants down the steps of his house, through the lawn, and back to their colony. He watched them and offered them sugar because they were hungry. I am willing to bet, if allowed, he would have soon, with a stick or his finger, tried to look inside this new world. I suspect that for most of us it was an experience like this, early travels down the trails of small lives, that led us to science and to our questions of how and why. From these same encounters there is, however, another direction of study. Although we busily count antenna 1 segments with microscopes, the poet, with words, can bring a moment's smallest details into focus. Japanese haiku poets in particular seem to have had a special and lasting fondness for insects. In literally thousands of haiku, we find glimpses of insects illuminated by the careful observations of these poets. Japan has had four great forefathers of haiku; Matsuo Bash6 (1644-1694), Yosa Buson (1716-1783), Kobayashi Issa (17621826), and Shiki (1867-1902), all of whom wrote often about insects. Most of the insect poems ofBash6, Buson, and Shiki were about the culturally significant singing insects; cicadas, crickets, grasshoppers, and fireflies (singing with their light) as well as the showy butterflies and dragonflies.

Acoustics of Bonsho (Japanese temple bell) : Modal analysis by FEM

Acoustics of Bonsho (Japanese temple bell) : Modal analysis by FEM

Modular Elliptic Curves and Fermat's Last Theorem

When Andrew John Wiles was 10 years old, he read Eric Temple Bell’s The Last Problem and was so impressed by it that he decided that he would be the first person to prove Fermat’s Last Theorem. This theorem states that there are no nonzero integers a, b, c, n with n > 2 such that an + bn = cn. The object of this paper is to prove that all semistable elliptic curves over the set of rational numbers are modular. Fermat’s Last Theorem follows as a corollary by virtue of previous work by Frey, Serre and Ribet.

The Existential Doubt of Tillich and the Great Doubt of Hakuin

Doubt plays a prominent role in theology of Paul Tillich and in thought of eighteenth-century Zen master Hakuin, revitalizer of Rinzai sect in Japan. The role of doubt in their writings is based on their own personal experiences. Tillich's excruciating experiences as a young, idealistic, patriotic chaplin during World War I transformed his vision to the paradox of faith without God. 1 Late in his life, Tillich experienced doubt about efficacy of his work, doubt concerning deservedness of his success, and uncertainty over his own salvation.2 In first volume of his Systematic Theology, Tillich writes, Every theologian is committed and alienated; he is always in faith and in doubt.3 Although it is unusual to find a Zen master giving a personal account of his own spiritual struggle, Hakuin recounts his experience as a twenty-four-year-old monk: Night and day I did not sleep; I forgot both to eat and rest. Suddenly a great doubt manifested itself before me. was as though I were frozen solid in midst of an ice sheet extending tens of thousands of miles. A purity filled my breast and I could neither go forward nor retreat. To all intents and purposes I was out of my mind and Mu alone remained. Although I sat in Lecture Hall and listened to Master's lecture, it was as though I were hearing a discussion from a distance outside hall. At times it felt as though I were floating through air.4 This condition lasted for several days. Then sound of temple bell transformed him. It was as if a sheet of ice had been smashed or a jade tower had fallen with a crash.5 Hakuin's doubt terminated with this experience, whereas Tillich remained in a condition of doubt throughout his life. Tillich distinguishes between three types of doubt: skeptical, methodological, and existential. Tillich rejects skeptical and methodological doubts; however, it will be demonstrated that Hakuin accepts methodological and existential forms of doubt. The skeptical type of doubt, for Tillich, is an attitude taken toward all human beliefs; it can include everything from sense experience to religious beliefs. It is an attitude of actually rejecting any certainty.6 This atti