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• W55919339 abstract "What do Loreena McKennitt, Martin Luther, and St. Gregory the Great have in common? Their music is part of the liturgical treasury of Shasta Abbey, a Soto Zen monastic community in northern California founded in 1970. I suggest that it was inevitable that Buddhist scriptural texts would be combined with Western chants and hymn tunes; and in this article I would like to share how one Buddhist tradition has successfully blended Buddhist scriptural texts with Western chants and hymn tunes for daily use in the liturgies and ceremonies in our Western Soto Zen monastic community. A key figure in this development was Rev. Master Jiyu-Kennett,* born near Hastings in Sussex, England, on New Year's Day, 1924. Baptized into the Church of England as Peggy Teresa Nancy Kennett, she grew up in World War II London. At an early age she showed great musical ability; she earned a Bachelor of Music degree from Durham University (UK), with concentrations in early music (Western plainsong) and composition, and a Fellowship by Double Licentiate of Trinity College of Music (London). Building on these studies, she spent many years as an organist in the Anglican Church, and taught music in a Catholic boarding school at Westminster. Early in life she had found in Buddhist teaching something meaningful that drew her into involvement with the London Buddhist Society. It was through this involvement that she met her teacher, the Venerable Keido Chisan Koho Zenji, Chief Abbot of Soji-ji, when he came to London as part of a world tour that included meeting with President Eisenhower in Washington. At his invitation she went to Japan in 1962 to become his disciple. first woman to train at Sojiji, one of the two major training monasteries of the Soto Zen tradition in Japan, Rev. Kennett came to the United States in 1969, establishing Shasta Abbey in Northern California in 1970, and Throssel Hole Buddhist Abbey in northern England in 1972. She founded the Order of Buddhist Contemplatives in 1978, and served as Head of the Order and Abbess of Shasta Abbey until her death in 1996. Her musical compositions prior to becoming a monk included several motets and songs, a cantata, two operettas, and a string quartet; yet already in 1961, she won an international contest for a Buddhist Wesak celebratory anthem. Her entry, Welcome, Joyous Wesak Day, with music written in a style that would allow it to be completely at home in an Anglican hymnal, is now sung throughout the Buddhist world. After she became a monk Rev. Kennett's musical legacy may be described quite simply: she translated the key scriptures of the Soto Zen Buddhist tradition into accessible, metrical English, and set them to plainchant. At the time she did so, these were unusual practices. general practice was to leave them untranslated or to set them to single-beat, monotone accompaniments as was done in Japan - or both. When she was still Peggy Kennett, Rev. Kennett observed, The composer really starts to compose when he throws away his textbooks and . . . creates something in which the form is almost accidental yet inseparable from and inevitable to the music, for form is the result of creation and not creation the result of form. l She set out to bring the heart of Zen teaching to the West. What she created is an altogether accessible Buddhist liturgy built on the rich treasury of chants and hymn tunes that are the religious music of the West. She set ten major Buddhist scriptures to Anglican chant, scriptures that our monastic community sings regularly - several of them at least once a day. Similarly, she set twelve major litanies to Anglican chant, as well as numerous offertories, mantras, dedications, and the Homages that, much like the familiar Amen, close each of our recitations of scripture. She wrote or set to music sixty-two hymns that we sing throughout our liturgical year.2 Building on the foundation she laid for us, we continue to create new Buddhist hymns and chants, either setting scriptures and text to hymn tunes of the past and the present or creating our own music in the forms that are rooted in the very familiar religious music of the West. …" @default.
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• W55919339 date "2009-04-01" @default.
• W55919339 modified "2023-09-23" @default.
• W55919339 title "Adapting Western Chants and Hymn Tunes to Buddhist Texts: Unlocking Scriptures, Opening Hearts" @default.
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