Songs and music have the potency to stir powerful emotions. If our emotions were food, they would be like the spices that make food even more flavorful. Music can give rise to emotions or intensify the flavor of emotions. There are a diversity of music genres, each of which may strike different chords within us, connecting with people in various ways. For example, celebratory songs often make us feel that our spirit is being uplifted, calling us to get up and dance. Love songs might invite us to feel a sentiment that often occurs in romantic relationships. Revolutionary songs inspire people to feel that they are part of a sacred mission to bring about change in society. Even secular versions of Christmas carols allow us to feel the spirit of the holiday season—a season of joy, festivity, and human connection.

Because of this innate power, many religious traditions have used songs and music to express spiritual feelings and emotions. You would be hard-pressed to find any tradition—from Hinduism to Christianity—that does not have some kind of sacred music. Some religious music has universal appeal. You do not have to be Christian to appreciate Gregorian chants, for example. Devotional Kirtans have become popular among many in the West as conduits for a kind of semi-spiritual sentiment. Tibetan Buddhism, meanwhile, incorporates a rich, living repertoire of song, music, dance, and other art forms. Ultimately, music serves as a powerful tool, capable of creating an opening in one’s consciousness—a doorway to profound devotion and spiritual awakening.

In many ways, songs and music are like food: many recipes are an acquired taste; an inexperienced palate doesn’t immediately know how to appreciate them. Although Indian cuisines are among the most delicious, someone who has never tasted India food might not like it at first. Yet, if they try it a few more times, they’ll soon become a fervent enthusiast. In the same way, a song might be powerful and moving in one culture, but might not resonate with someone from another until they have developed a taste for it.

Melody plays a crucial role in singing songs and chanting liturgy. When traditional melodies are used for prayers, Tibetans often find the tunes beautiful and emotionally resonant. However, when lamas teach traditional melodies for these liturgies to Westerners, some students struggle to learn them and may not feel a personal connection with the music. 

This has been a significant issue within many Western Tibetan Buddhist communities, with some sanghas opting to chant traditional sadhanas entirely in English, sometimes adopting new melodies to better resonate with Western practitioners. There are also sanghas who are trying to chant sadhanas in Tibetan with traditional melodies. I must admit that what they are doing is inspiring, considering it is not an easy task.

This is not an issue that can be solved overnight. On the one hand, there is a desire for Westerners to be able to chant these sadhanas in their own language, using melodies that are culturally familiar. That being said, some of the traditional melodies carry specific blessings and a sacred history tied to their original development. For example, chöd practice is often accompanied by music with a distinctive melody that is an almost indispensable part of the practice. One of the major draws of chöd among Tibetans is its melody, which transforms people’s experiences. These melodies were not composed by ordinary musicians but by spiritual masters themselves.

The Dakini’s Laughter is a famous chöd liturgy, revealed as a terma (hidden treasure text) by the esteemed master Jigme Lingpa (1730–98). The story goes that after committing the liturgy to writing, he contemplated how to compose a suitable melody. Inspired by a vulture circling in the sky above him, Jigme Lingpa conceived a portion of its unique chant tune. 

Another widely practiced chöd liturgy is Troma, revealed by the great terton Dudjom Lingpa (1835–1903), and which is known for its beautiful and evocative melody. Observing yogis chanting this text in the Himalayas, accompanied by traditional musical instruments, can transport the witness to a sacred realm, offering a profound sense of liberation from the shackles of ego. According to oral story, the melody for the Troma liturgy was composed by his daughter Lhajam Padma Sal, a yogini who was highly realized being.

As the Western Tibetan Buddhist community evolves, it will likely find its own solutions to these complex issues. We should recognize and respect that every sangha is different and must find its own way; some communities are rooted in tradition, while others embrace more contemporary approaches. 

The natural evolution of Buddhist forms is inevitable as the tradition migrate across cultures. When it traveled from India to East Asian countries such as China, its expression transformed over time—yet its core principles remained intact. The West remains a testing ground for its adaptation. Dharma teachers must, therefore, bear the responsibility of ensuring that the Dharma is accessible and relevant to Westerners and those who lack a native cultural connection with Buddhism.

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