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Christian Turner
Christian Turner

Singing Bowls __HOT__

It is important to note that while Tibetan singing bowls are often used for these purposes, research is still needed to determine what impact they actually have. Proponents may suggest that they have these benefits, but that does not mean that they actually work. Some of the claims don't have a clear scientific basis.

Singing Bowls

Singing bowls can be used for meditation in a variety of ways. While meditating, you can gently tap on the sides of the bowl to produce gentle sounds and vibrations that you can focus on. You can incorporate repetitive motion into your meditation by slowly rubbing the mallet around the inside of the bowl in a clockwise direction.

Clean your singing bowl by wiping it down gently with a soft, slightly damp cloth. You can also use a non-acidic sanitizing cleanser to remove soiled spots. Avoid harsh cleansers and never put your bowl in the dishwasher.

Goldsby TL, Goldsby ME, McWalters M, Mills PJ. Effects of singing bowl sound meditation on mood, tension, and well-being: an observational study. J Evid Based Complementary Altern Med. 2017;22(3):401-406. doi:10.1177/2156587216668109

Struck bowls are used in some Buddhist religious practices to accompany periods of meditation and chanting. Struck and singing bowls are widely used for music making, meditation and relaxation, as well for personal spirituality. They have become popular with music therapists, sound healers and yoga practitioners.

Standing bells originated in China. An early form called nao took the shape of a stemmed goblet, mounted with rim uppermost, and struck on the outside with a mallet. The manufacture and use of bowls specifically for 'singing' is believed to be a modern phenomenon. Bowls that were capable of singing began to be imported to the West from around the early 1970s. Since then they have become a popular instrument in the US-originating new-age genre often marketed as 'Tibetan music'.

Standing bells are known by a wide variety of terms in English, and are sometimes referred to as bowls, basins, cups or gongs. Specific terms include resting bell,[1] prayer bowl,[2] Buddha bowl,[3] Himalayan bowl,[4] Tibetan bell,[4] rin gong,[2] bowl gong[3] and cup gong.[2] A bell that is capable of producing a sustained musical note may be known as a singing bowl[4][3] or Tibetan singing bowl.[4]

Some writers have suggested that the modern singing bowl developed from bowls originally used for food;[15] but others consider that to be unlikely, pointing out that there would be no reason for food bowls to be manufactured with thick rims and with great attention paid to their acoustic properties.[16][17]

Singing bowls may be partly filled with water,[20] allowing them to be tuned. A Chinese form known as a 'spouting bowl' has handles which, when rubbed with damp hands, causes water droplets to leap up as a result of standing waves known as Chladni patterns on the water surface.[20] Such bowls are said to have been manufactured from as early as the 5th century BCE.[23]

The vibrational behaviour of bowls has been simulated[24] and has been widely studied both under friction-induced puja excitation[25][5] and also after being struck.[5] In the former case, experiments indicate that bowls exhibit both radial and tangential motion, in concurrent stable and unstable modes.[5] The unstable mode rotates around the bowl at the same angular velocity as the puja, resulting in beating phenomena always being heard, even with a perfectly symmetrical bowl.[5] Rattling or chattering may occur, particularly with harder puja, lower contact forces[26] and greater angular velocity.[22] Research has also been carried out using loudspeaker-induced oscillation.[27] Studies have investigated the behaviour of bowls partly filled with water, the way in which the resonant response varies with temperature,[28] and the characteristics of drop-ejection from the liquid surface.[27] A BBC report of 2011[29] includes slow motion video from one of the studies.[27]

In the religious context, standing bells are primarily associated with Buddhist meditation and chanting, although they are also used in Taoist practices.[30] In Chinese Buddhist temples the chanting of prayers may be punctuated by the striking of a qing, typically a hammered bronze bowl between 10 and 15 cm (3.9 and 5.9 in) in diameter. The qing is usually paired with a muyu (wood block).[8] In Japanese temples, the rin is used along with a rei (a small hand bell), and two percussion instruments: an orugoru (a set of small gongs) and a kei (a stone or metal plate). The rin is also used in household worship.[7][31] Buddhist ritual makes no use of the 'singing' mode of bell operation.[32]

A 1968 reference mentions the 'celuring-set', said at the date of writing to have been a rare instrument found only in the central Javanese principalities. This consisted of a large ornate frame, on top of which was mounted a set of bronze half-coconut-shaped bowls which were struck with a small iron bar.[33]

Bowls that were capable of singing began to be imported to the West from around the early 1970s. The musicians Henry Wolff and Nancy Hennings have been credited with the singing bowl's introduction for musical purposes in their 1972 new-age album Tibetan Bells (although they gave no details of the bowls used in the recording).[34] This was the first in what would become a series of five related releases: Tibetan Bells II (1978), Yamantaka with Mickey Hart (1983), Tibetan Bells III (1988), and Tibetan Bells IV (1991).[35] The albums are based on the concept of taking a spiritual journey, with the music as a guide.[35]

Wolff and Hennings' seminal recording was followed by the development of a unique style of American singing bowl music called 'Tibetan music'.[36] This has remained very popular in the US with many recordings being marketed as World music or New-age music since the introduction of those terms in the 1980s.[37] 'Tibetan singing bowls' have as a result become a prominent visual and musical symbol of Tibet,[36] to the extent that the most prevalent modern representation of Tibet within the US is that of bowls played by Americans.[38]

Standing bells/bowls are called for in several contemporary classical music scores, including Philipe Leroux's Les Uns (2001);[5] John Cage / Lou Harrison's Double Music (1941);[5] Messiaen's Oiseaux exotiques (1955/6);[5] Taverner's Total Eclipse (1999);[5] Tan Dun Opera's Marco Polo (1995);[5] Joyce Bee Tuan Koh's Lè (1997);[5] and Robert Paterson's Eating Variations (2006). In Japan they are also used in kabuki theatre.[6]

The usual manufacturing technique for standing bells was to cast the molten metal followed by hand-hammering into the required shape.[32] Modern bells/bowls may be made in that way, but may also be shaped by machine-lathing.

Singing bowls have been around for thousands of years, and they are a common fixture in sound healing practices. From Himalayan singing bowls to crystal singing bowls, these instruments create enchanting sounds that can accompany a variety of rituals and practices.

As sound therapist and meditation teacher Sara Auster tells mbg, there are a number of kinds, namely Himalayan singing bowls (also called "Tibetan singing bowls" or "metal singing bowls"), made from metal, and crystal singing bowls, made from silica sand.

She notes that while the exact history of singing bowls is unclear, they have certainly been around for thousands of years. Today, you'll find them in spiritual centers, yoga studios, sound baths, and more.

According to reiki master and sound healer Susy Schieffelin, these bowls are popular in sound healing because their unique vibrations "have the capacity to shift energy, clear blockages, and restore the mind, body, and spirit to a balanced state," she explains, adding other instruments (and even singing and chanting) are also used in sound healing "to create healing frequencies that can have a relaxing and restorative effect."

As Auster adds, the beautiful sounds created by singing bowls are both meditative and relaxing and can elicit a parasympathetic response in the body. "Waves made by striking or singing the bowls produce harmonics that can move you into different brainwave states," she adds.

According to both Auster and Schieffelin, there is a theory that singing bowls stimulate alpha and theta brain waves1. "These waves are associated with deep, meditative and peaceful states that are highly conducive to healing," Auster notes, adding their sounds can also slow the heart and respiratory rate, which creates a therapeutic and restorative effect.

Auster notes that in a small 2016 study by integrative health research psychologist Tamara Goldsby, Ph.D., participants who attended singing bowl meditations and sound baths reported a reduction in pain1 following these ceremonies. However, more research is needed.

If that seems too good to be true, Goldsby's research did indeed find that participants' feelings of spiritual well-being increased significantly following the study. The researchers write, "Tibetan singing bowl meditation may be a feasible low-cost, low-technology intervention for reducing feelings of tension, anxiety, and depression, and increasing spiritual well-being."

Auster explains that working with singing bowls requires a degree of intentionality and mindfulness, as well as consistency, "to gain a better sense of the sounds you and your instrument are capable of producing together."

You can start your singing bowl journey by attending a sound bath guided by a sound healer. If you like what you hear, both Auster and Schieffelin offer online trainings to help get you started facilitating your own sound bathing journey.

"If you feel called to work with crystal bowls," Schieffelin notes, "studying with a qualified teacher and becoming part of a supportive community of sound healers can have a profound impact on helping you feel empowered, confident, supported, and successful on your path." 041b061a72


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