This topic looks at some exceptions to the general thrust of music as being antithetical to Dhamma.
From Suttanipata Commentary (trans Bhikkhu Bodhi) p. 882, 883
III The Great Chapter (Mahāvagga)
And here, speaks only what is well spoken, not what is badly spoken: by this, speech devoid of the fault of divisiveness and conducive to harmony is indicated. Speaks only Dhamma, not non-Dhamma: by this, thoughtful speech that does not depart from the Dhamma and is devoid of the fault of idle chatter is indicated.1361 By the other two, pleasant and truthful speech are indicated, respectively devoid of harshness and lies. Possesses these four factors: He concludes that statement, explicitly show- ing those factors.
And particularly here, by asserting, [397] “When speech pos- sesses these four factors, it is well spoken,” he rejects, from the per- spective of the Dhamma, those who consider speech to be “well spoken” when it simply possesses such components as a proposi- tion and so forth, and has terms such as nouns and so forth, and when it is perfect with respect to gender, number, case, tense, and so forth.1362 For speech that may be complete with respect to its components and so forth, if it is divisive, etc., is still badly spoken, for it leads to harm for oneself and others. On the other hand, speech that possesses these four factors, even if it is included in 882
the languages of foreigners or in a song sung by a servant girl, is still well spoken, for it brings mundane and world-transcending well-being and happiness.
The example is given of a Sinhalese servant girl in Sīhaḷadīpa (Sri Lanka) who, while guarding the crops alongside the road, was singing a song in the Sinhala language about birth, old age, and death. Sixty bhikkhus who practiced insight meditation, traveling along the road, heard her while she was singing and attained arahantship right there. Similarly, a bhikkhu named Tissa, who had undertaken insight meditation, was traveling close to a lotus lake while a servant girl was plucking lotus flowers in the lake and singing this song:
“In the morning the red lotus, in full bloom,
is withered by the light of the sun.
Just so beings who have attained the human state
are crushed by the force of old age.”
When he heard her singing this song, he attained arahantship. In the period between buddhas, a certain man together with his seven sons had come out from a woods while a woman was threshing rice grains with a pestle and singing this song:
“This is fully crushed by old age;
this is enveloped by wilted skin and hide.
This is broken apart by death,
food to be devoured by death.
“This is an abode of worms,
full of various corpses.
This is a vessel of impurity;
this is like a plaintain trunk.” [398] Having heard this song, he and his sons attained enlighten- ment as paccekabuddhas. Examples are mentioned of others who, in similar ways, attained the plane of the noble ones.
post by Ven. Atulañāna The following is an excellent and informative post taken from the thread linked.
Dear Upāsaka,
It seems that there was an error when the copying of the manuscripts which lead to the opposite statements in the Khuddakapāṭha and commentary and the Dīgha-nikāya subbcommentary. In the past copying was done by one person reading and the other writing it by ear. This error is explained in the Abhinava-ṭikā and the error in the present day Khuddakapāṭha commentary is removed. (“Visūkabbhūtā dassanā cā”ti etena avisūkabhūtassa pana gītassa savanaṁ kadāci vaṭṭatīti dasseti. Tathā hi vuttaṁ Paramatthajotikāya Khuddakapāṭhaṭṭhakathāya “Dhammūpasaṁhitaṁpi cettha gītaṁ na vaṭṭati, gītūpasaṁhito pana Dhammo vaṭṭatī”ti (Khu·Pā·Aṭṭha· Pacchimapañcasikkhāpadavaṇṇanā) katthaci pana na-kāraviparīyāyena pāṭho dissati. - The phrase “Visūkabhūtā dassanā cā” suggests that listening to a song that is not visūka sometimes be permissible. This is clarified in the Paramatthajotikā, the commentary on the Khuddakapāṭha, where it is stated: ““Dhammūpasaṁhitaṁpi cettha gītaṁ na vaṭṭati, gītūpasaṁhito pana Dhammo vaṭṭati” (Khuddakapāṭha Commentary, Explanation of the Last Five Training Rules). In some instances, however, the text appears with the opposite meaning, where the negative particle is changed (na-kāraviparīyāyena).)
I quote the Abhinava-ṭikā of the dhīgha-nikāya as this is explained in more detail who is allowed to listen to these kinds of songs. It clearly states that this is for the people who have not taken the precepts. If someone has taken the precepts and listens to songs of this kind the precept will be broken. (I belive that some people may have misinterpreted the idea in the commentary, that the commentary is encouraging the people who have taken the precepts to listen to these kinds of songs. The subcommenatator had to explain this in detail). However, it does not encourage any form of akusala. (Yañca Sakkapañhasuttavaṇṇāyaṁ sevitabbāsevitabbasaddaṁ niddharantena “yaṁ pana atthaniśsitaṁ dhammanissitaṁ kumbhadāsigītaṁpi suṇantassa pasādo vā uppajjati, nibbidā vā saṇṭhāti, evarūpo saddo sevitabbo”ti (Dī·Ni·Aṭṭha·2.365) vuttaṁ, taṁ asamādānasikkhāpadassa sevitabbatāmattapariyāyena vuttaṁ. Samādānasikkhāpadassa hi evarūpaṁ suṇantassa sikkhāpadasaṁvaraṁ bhijjati gītasaddabhāvato”ti veditabbaṁ. - The explanation in the commentary on the Sakkapañhasutta regarding the sounds which should not be followed and not which states, “If, when hearing a sound that is dependent on meaning or dependent on the Dhamma—even if it is a song sung by a female slave (carrying pots)—faith arises or disenchantment is established, such a sound is to be cultivated” (Dīgha Nikāya Commentary 2.365), refers to sound which can be listened by a person who has taken precepts. The precepts will be broken for a person when these kinds of songs are listened because these are musical sounds. )
The Ruṇṇa Sutta which you have quoted here was preached because of the Chabbaggiya monks sang, danceed and laughed. These activities are akusala.
Further, there are stories of Arahantas in our Buddha’s time where they paid respect to the previous Buddhas by music (sadda-pūjā).
After the Parinibbāna of the Buddha named Atthadassī, it is mentioned in the Ekāsaniya Thera Apadāna that a deity king named Varuṇa, gathered all his musical instruments along with his retinue and went to the Bodhi tree of that Buddha. There, he performed a grand offering to the Bodhi tree through instrumental music, dance, and song. From that time onward, he experienced happiness within the realms of gods and humans throughout the cycle of saṃsāra, until he finally entered the Buddha’s dispensation, renounced the world, and attained arahantship. (Therāpadānapāḷi (paṭhamo bhāgo) Ekāsaniyattheraapadānaṃ-Mahāparivāravaggo 31-39)
It is mentioned in the Ekasaṅkhiyatthera Apadāna that great merit was gained by worshiping the Bodhi tree of Vipassī Buddha through the offering by blowing the conch shell. (Therāpadānapāḷi (dutiyo bhāgo) Ekasaṅkhiyattheraapadānaṃ – Ekavihārivagga 13-25).
In the Buddhupaṭṭhākatthera Apadāna, it is stated that offering by blowing the conch shell to Vipassī Buddha and attending to him daily brought immense blessings… (Therāpadānapāḷi (paṭhamo bhāgo) Buddhupaṭṭhākattheraapadānaṃ – Sudhāvaggo 56-60).
Even these offerings made them accumulate wholesome kamma; by seeing their resultants, he always encouraged the practice of dhamma (paṭipatti-pūjā). We can see this in the Mahāparinibbāna sutta (DN 16) where the deities were offering him with flowers, songs and music.
“26. The Pair of Sal Trees
Then the Buddha said to Ānanda, “Come, Ānanda, let’s go to the far shore of the Golden River, and on to the sal forest of the Mallas at Upavattana near Kusinārā.” Known today as Kushinagar, it is a popular site for pilgrims, with many ancient stupas, Buddha images, and a peaceful park for meditation.
“Yes, sir,” Ānanda replied. And that’s where they went. Then the Buddha addressed Ānanda, “Please, Ānanda, set up a cot for me between the twin sal trees, with my head to the north. I am tired and will lie down.”
“Yes, sir,” replied Ānanda, and did as he was asked. And then the Buddha laid down in the lion’s posture—on the right side, placing one foot on top of the other—mindful and aware. Normally when the Buddha lies down, his mind is focused on getting up. But now he knows that he will not rise again.
Now at that time the twin sal trees were in full blossom with flowers out of season. They sprinkled and bestrewed the Realized One’s body in honor of the Realized One. And the flowers of the heavenly Flame Tree fell from the sky, and they too sprinkled and bestrewed the Realized One’s body in honor of the Realized One. And heavenly sandalwood powder fell from the sky, and it too sprinkled and bestrewed the Realized One’s body in honor of the Realized One. And heavenly music played in midair in honor of the Realized One. And heavenly choirs sang in midair in honor of the Realized One.
Then the Buddha pointed out to Ānanda what was happening, adding: “That’s not the full extent of how the Realized One is honored, respected, revered, venerated, and esteemed. Any monk or nun or male or female lay follower who practices in line with the teachings, practicing properly, living in line with the teachings—they honor, respect, revere, venerate, and esteem the Realized One with the highest honor. So Ānanda, you should train like this: ‘We shall practice in line with the teachings, practicing properly, living in line with the teaching.’” This kind of narrative elevation is characteristic of the Buddha’s teaching. He did not try to deny or eliminate any belief in the miraculous, or in the power of devotion, but rather to show that such things were of limited worth compared with practice.
We must understand by refering to many contexts. Just one or two will not do. Never in these explanations are the commentary encouraging the practitioners to conduct Akusala.
Atulañāna
I want to do sadda puja. Is it appropriate for me to play calming music without lyrics in front of a Buddha image or statue? If I do it at public places, some people might misunderstand, but can I do it at home? Or would it be better to do other forms of puja?
I think doing Buddha puja by practicing the Dhamma is the best. One can say to himself, “I will honor the Blessed one by meditating for 1 hour” and meditate. It’s probably better than just meditating for 1 hour without the intent to honor the Blessed One.
I am amazed, Bhante. It is great that you can defend the Commentary. But the Buddha never said: “Monks, I allow you to listen to music that is made from Dhamma.” Hence any suggestion that this is alright is going beyond the Buddha’s decision, following one’s own logic and desires.
Now suppose that the Commentary is right. It does not, nevertheless, answer the limits related to your theory:
To what extent can this be put into practise?
Suppose a monk is donated Spotify account (a music streaming service) and then listens to “Dhamma” hip hop or rock’n’roll songs that were made carefully according to Dhamma. He will understand the lyrics and take it as his Dhamma learning. That is 100% alright, Bhante?
Suppose that I or a friend of mine will think: let’s write some lyrics carefully according to Dhamma, so that lay people and monks can listen to Dhamma in form of rap (hip-hop). The these songs will be played in monasteries during uposatha and other times. Is that also 100% alright?
If you are sure with your theory, you’ll agree without hesitation. As for me, I reserve to trust what the Buddha said: songs are an expression of wailing, a Stream Enterer will take them that way.
I love apologetics. The more you know scriptures, the more engaging is to protect any idea (within the 5 precepts) you ever want to put forth. In Myanmar they have a joke on this: “If you know Vinaya, you can kill a chicken.” ဝိနည်းတတ် ကျက်သတ်။
