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New Zealand Expeditionary Force

The New Zealand Expeditionary Force (NZEF) was the title of the military forces sent from New Zealand to fight alongside other British Empire and Dominion troops during World War I (1914–1918) and World War II (1939–1945). Ultimately, the NZEF of World War I became known as the First New Zealand Expeditionary Force. The NZEF of World War II was known as the Second New Zealand Expeditionary Force (2NZEF).

The 2NZEF was led by General Bernard Freyberg.

1st New Zealand Expeditionary Force
The New Zealand Expeditionary Force (NZEF) was the title of the military forces sent from New Zealand to fight for Britain during World War I. Upon the outbreak of war, New Zealand immediately offered to provide two brigades—one of infantry and one of mounted troops—with a total of 8,500 men. As was the case with the Australian army the existing New Zealand army was a "territorial" force, designed for the defense of the home islands. It could not be deployed overseas. Hence, it was necessary to form a volunteer "expeditionary" force. The initial contingent of the NZEF, known as the "Main Body," sailed on 16 October 1914 for Australia and then joined with the Australian Imperial Force (AIF) in a convoy that sailed for Egypt on 1 November. The NZEF and AIF convoy was originally bound for Britain but diverted en route to Egypt because of the state of the training camps in England. As a result, the troops were dressed in woolen uniforms for the British climate. On 2 December the convoy reached Alexandria after passing through the Suez Canal. Disembarking the troops traveled by train for Cairo, bivouacking in tent camps within sight of the Pyramids.

The NZEF was commanded throughout the war by Major General Alexander Godley, a British Army officer who in 1910, on the recommendation of Lord Kitchener, had been appointed as the commander of the New Zealand Military Forces. After Godley departed with the NZEF in October 1914, Major General Alfred William Robin commanded the New Zealand Military Forces at home throughout the war as commandant, and was pivotal in ensuring the ongoing provision of reinforcements and support to the NZEF.

Major General George Napier Johnston CB CMG DSO (1867–1947) served with New Zealand forces during World War I as director of ordnance and commander of permanent artillery in the New Zealand Defence Force from the outset of World War I during 1914–1918.

New Zealand, like Australia, had a pre-war policy of compulsory military training, but, like Australia, New Zealand's Territorial Army could not be deployed overseas. Thus, the NZEF was initially composed solely of volunteers. Conscription was introduced on 1 August 1916 and by the end of the war 124,000 men—nearly half the eligible male population of 250,000—had served with the NZEF. Of these, about 100,000 had been sent overseas.

The NZEF was closely tied to the AIF for much of the war. When the Gallipoli campaign began, the New Zealand contingent was insufficient to complete a division of their own, so it was combined with the Australian 4th Infantry Brigade to form the New Zealand and Australian Division under the command of General Godley. This division, along with the Australian 1st Division, formed the famous Australian and New Zealand Army Corps (ANZAC) under the command of General William Birdwood.

After the end of the Gallipoli campaign, the NZEF formed its own infantry division, the New Zealand Division, which served on the Western Front for the rest of the war. General Godley was promoted to a corps command and given II ANZAC Corps, which contained the New Zealand Division. From 1916 until the formation of the Australian Corps in 1918 (made up of the five Australian divisions) there were always two "ANZAC" corps—I ANZAC Corps and II ANZAC Corps—despite the fact that there was only one New Zealand Division. During early 1916 the New Zealand Government supported the formation of an Australian and New Zealand Army, but this did not occur.

The mounted arm of the NZEF was the New Zealand Mounted Rifles Brigade. The brigade remained in Egypt and, combined with the 1st and 2nd Australian Light Horse Brigades, made up the ANZAC Mounted Division which served through the Sinai and Palestine campaign.

The New Zealand Expeditionary Force (later called the 1st NZEF) was finally disbanded on 31 December 1921.

New Zealand Expeditionary Force Order of Battle - 16 October 1914

 * New Zealand Infantry Brigade
 * Auckland Battalion: 4 Cos. raised from 3rd (Auckland), 6th (Hauraki), 15th (North Auckland), and 16th (Waikato) Territorial Regiments
 * Wellington Battalion: 4 Cos. raised from 7th (Wellington West Coast), 9th (Hawke's Bay), 11th (Taranaki), and 17th (Ruahine) Territorial Regiments
 * Canterbury Battalion: 4 Cos. raised from 1st (Canterbury), 2nd (South Canterbury), 12th (Nelson), and 13th (North Canterbury and Westland) Territorial Regiments
 * Otago Battalion: 4 Cos. raised from 4th (Otago), 8th (Southland), 10th (North Otago), and 14th (South Otago) Territorial Regiments
 * 1st New Zealand Infantry Brigade Signal Co. (3 Sections)
 * New Zealand Field Ambulance No. 1
 * New Zealand Mounted Rifles Brigade
 * Auckland Mounted Rifles: 3 raised from these territorial regiments: 3rd (Auckland) Mounted Rifles, 4th (Waikato) Mounted Rifles, and 11th (North Auckland) Mounted Rifles
 * Canterbury Mounted Rifles: 3 squadrons raised from these territorial regiments: 1st Mounted Rifles (Canterbury Yeomanry Cavalry), 8th (South Canterbury) Mounted Rifles, and 10th (Nelson) Mounted Rifles
 * Wellington Mounted Rifles: 3 squadrons raised from these territorial regiments: 2nd (Wellington West Coast) Mounted Rifles, 6th (Manawatu) Mounted Rifles, 9th (Wellington East Coast) Mounted Rifles
 * New Zealand Engineers Field Troop
 * New Zealand Mounted Signal Troop
 * New Zealand Mounted Rifles Field Ambulance
 * Divisional cavalry
 * Otago Mounted Rifles: 3 squadrons raised from these territorial regiments: 5th (Otago Hussars), 7th (Southland), 12th (Otago)
 * New Zealand Field Artillery Brigade
 * 1st Field Battery
 * 2nd Field Battery
 * 3rd Field Battery
 * 1st Brigade Ammunition Column

Formation
At the outbreak of World War II in September 1939, the New Zealand Government declared war on Germany. Within a few days, the government pronounced the assembly of what would be an Expeditionary Force, which become known as the 2nd New Zealand Expeditionary Force (2NZEF), for service in the war. After consulting with the British Government, it was decided to raise an infantry division. This, the 2nd New Zealand Division, would be commanded by Major-General Bernard Freyberg, a British Army officer who had spent his early years in New Zealand and won a Victoria Cross in the First World War, ending it as a brigadier general, who had offered his services to the New Zealand Government. Freyberg would also be the commander of the 2NZEF.

Service in Africa and Europe
The first echelon of 2NZEF Headquarters and a Brigade Group landed in Egypt in February 1940. The second echelon, also a Brigade Group, was diverted to Britain on Italy's entry into the war and did not reach Egypt until March 1941. The third echelon arrived in Egypt in September 1940 and concentration of the division was completed just before it was deployed to northern Greece in March 1941.

This force remained as part of the British Eighth Army to the end of World War II in 1945 during which it fought in the Battle of Greece (March–April 1941), the Battle of Crete (May), Operation Crusader (November–December), Minqar Qaim (June 1942), the First (July) and Second Battles of El Alamein (October–November), Libya and Tunisia (December–May 1943), the Sangro (October–December), the Battle of Monte Cassino (February–March 1944), the Central Italy (May–December), and the Adriatic Coast (April–May 1945).

Under the command of Major-General William Stevens, the 2NZEF began demobilising in late 1945, a process that was largely completed by mid-1946. Lt. Gen John C. H. Lee, Deputy Theater Commander of the Mediterranean Theater at this time, noted in his diary attending the termination ceremony of the New Zealand Force at Caserta, Italy on 3 September 1946.

Service in the Pacific
The 2NZEF also had a Pacific Section, which was initially responsible for the defence of Fiji. The basis for the Pacific Section was initially an infantry brigade—the 8th Infantry Brigade—which arrived on Viti Levu, the main island of Fiji, in November 1940. Following the entry of the Japanese Empire into the war, in early 1942, the 2NZEF contingent in Fiji was expanded to two brigades, and formally designated Pacific Section, 2NZEF. Under the command of Major General Owen Mead, the Pacific Section was withdrawn from Fiji back to New Zealand when the United States 37th Division took over defence responsibility.

The Pacific Section later became the 3rd Division, the main unit of the 2NZEF in the Pacific. After of period of training in New Zealand, it fought in the Solomon Islands campaign during 1943–1944, participating in the Battles of Vella Lavella, the Treasury Islands and the Green Islands, although never as a full division.

In early 1944, the New Zealand Government faced a manpower crisis caused by the demands of maintaining two divisions overseas while simultaneously maintaining agricultural and industrial production to meet the needs of the Allied countries. In order to cope with this crisis the New Zealand Government saw no option other than to disband one of the country's two infantry divisions. The decision to disband the 3rd Division was made after consulting with the British and United States Governments, who were of the view that the 2nd Division's contribution to the campaign in Italy was of greater importance than the 3rd Division's contribution in the Pacific.

The 3rd Division was withdrawn to New Caledonia in June 1944 and returned to New Zealand in August. The Division was rapidly downsized and was formally disbanded on 20 October 1944. About 4,000 veterans of the 3rd NZ Division were dispatched to Italy to reinforce the 2nd Division with the remaining men of the division returning to civilian employment.

3rd New Zealand Expeditionary Force
From 1950 onwards a division-sized force, reserves (Territorial Force) maintained by conscription, formed the principal striking force of the New Zealand Army. The division was alternatively known as 3NZEF. It disbanded in 1961.

title: New Zealand Expeditionary Force


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Talk:Colorado Plateau

Untitled
redirects: Colorado Plateaus Province, Colorado Plateau Province, Colorado Plateaus

Maveric you have done a magnificent job. Glad s/o here knows more about this thatn I do.

User:Pachiaammos May 12

 * Thanks! The absence of this article was a bit of a glaring omission for a very long time. But you filled that hole and I just followed behind you and added some more. This article is still far from done. --mav 05:26, 13 May 2004 (UTC)

Expansion
FYI - I'm expanding this article offline. I should have the expanded article ready to upload in a week. Any edits made to this article will be incorporated into my offline fork, but please try to put off major edits until after I upload the expanded version. :) --mav 05:14, 25 Jun 2005 (UTC)

 * Done for now. --mav

GOOD61.205.178.150 03:36, 2 March 2006 (UTC)

defining the plateau/consistency
A note about consistency: I'd say that if the plateau is, as traditionally defined, bounded on the east/northeast by the Rockies, then it is a bit incongruous to include San Juan Mtns Wilderness Areas in the protected areas section. They are, after all, part of the Rocky Mountains, and geologically as well as geographically not really part of the plateau. MojaveDesertRat 21:35, 2 January 2007 (UTC)

Desert Rat says just the beginning of what needs to be said here. I deleted the line calling the La Sal Mts part of the Rockies. The hallmark of Rocky Mts is that they were formed by, to put it in amateurish fashion, orogenic faulting and uplift. The La Sals are volcanic, with some role for salt domes or laccoliths or I don't know what. The Rockies are a huge thousands-miles-long phenomenon, while the La Sals are not part of it. They're their own little formation, related to the Abajos and the Henries, but not even part of them.

I didn't delete it yet but it is also wrong to call the San Juans any part of the Plateau. The Plateau ends where the San Juans start, and what a magnificent meeting of opposites it is. --Moabalan —Preceding unsigned comment added by 66.208.223.125 (talk) 16:37, 28 July 2009 (UTC)

Rate of Uplift and effect on Climate
Ruddiman and Kutzbach (and others) hypothesize that the uplift of this plateau and the Tibetan Plateau are implicated in the global cooling that started about 40 million years ago. A basic meteorology text (Moran and Morgan's Meteorology: The Atmosphere and the Science of Weather) cites this hypothesis along with the claim that about half of the uplift occurred between 10 and 5 million years ago. —Preceding unsigned comment added by Joepanzica (talk • contribs) 01:19, 6 January 2008 (UTC)

 * The article describes the Colorado Plateau in terms reminiscent of those used for Cratons, e.g. a terrane resistant to deformation which acts as a single block. Is the CP a craton?  If so, then this article could be improved by linking the two topics.66.235.38.214 (talk) 13:56, 31 October 2012 (UTC)
 * The following seemingly-mainstream site depicts the CP as an isolated block, of extra-thick crust (>45km):
 * http://facility.unavco.org/software/idv/display_images/Moho_GOCE_GEMMA_0pt5degree-US-NorAm-map-contour.png
 * Inexpertly, the CP resembles a craton; and if so, then the article could be improved by observing the same.66.235.38.214 (talk) 14:04, 31 October 2012 (UTC)

Use of "Anasazi"
While at Mesa Verde about a month ago, I was repeatedly informed that the term "Anasazi" is now considered offensive to the descendants of the Ancestral Puebloan people, almost akin to referring to the Inuit people as "Eskimoes." I changed "Anasazi" to "Ancestral Puebloan People," but it broke the link. Is there any way to make a change en masse that would apply to all mentions of "Anasazi"? —Preceding unsigned comment added by 198.243.62.172 (talk) 17:33, 8 October 2010 (UTC)

Major image changes
I did some major reorganizing and replacing of images. There was an image overload and many of them were of horrible quality. I replaced them all with high quality images and tried to get a good coverage of the features of the plateau. I know it could be better, so if anyone wants to replace any with something more relevant, feel free. Let's stick with high quality images and limit the number of images. Another gallery could be used instead of massive stacks. Andrew Z. Colvin • Talk 23:54, 16 February 2021 (UTC)

Light on inline citations
I dislike adding maintenance tags, but this article is awfully light on inline citations, particularly in the geologic history section. It should not be that hard to cite a lot of this to some of the excellent references at the foot of the article (e.g. Fillmore). --Kent G. Budge (talk) 20:54, 26 May 2022 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Colorado Plateau


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Murder of Jacob Wetterling

Jacob Erwin Wetterling (February17, 1978 – October22, 1989) was an American boy from St. Joseph, Minnesota, who was kidnapped from his hometown and murdered on October 22, 1989, at the age of 11. The identity of his abductor remained a mystery for nearly 27 years.

On September 1, 2016, the Minnesota Bureau of Criminal Apprehension (BCA) recovered human bones from a pasture near Paynesville, about 30 mi from the site of the abduction. On September 3, Wetterling's family announced that the bones were those of Jacob, and local law enforcement stated that the identity of the bones had been confirmed by dental records. The location was revealed by Danny Heinrich, a long-time person of interest in the abduction of another boy, 12-year-old Jared Scheierl, in the nearby town of Cold Spring. On September 6, 2016, Heinrich confessed to kidnapping and murdering Wetterling, as well as abducting and sexually assaulting Scheierl.

Kidnapping
On Sunday, October 22, 1989, just after 9:00 p.m. (CDT), Jacob Wetterling (11), his younger brother Trevor Wetterling (10), and a friend, Aaron Larson (11), were biking home from a convenience store in St. Joseph, Minnesota, where they had gone to rent a video. Danny Heinrich, wearing a stocking cap mask and armed with an unloaded revolver, came out of a driveway and ordered the boys to throw their bikes into a ditch and lie face down on the ground. He then asked each boy his age. Jacob's brother was told to run toward a nearby wooded area and not look back or else he would be shot. Heinrich then demanded to view the faces of the two remaining boys. He picked Jacob and told Aaron to run away, threatening him as he had Jacob's brother. This was the last time Jacob was seen alive by anyone other than his captor.

Investigation
On January 13, 1989, roughly nine months before the Wetterling abduction, 12-year-old Jared Scheierl was kidnapped, sexually assaulted, and physically threatened by an unknown adult man in Cold Spring, Minnesota. The victim's statement given on that night showed the modus operandi was similar to that of the Wetterling case: the perpetrator, who was later identified as Heinrich, used a gun and, upon releasing the boy, told him to run and not look back or else he would be shot. That incident occurred 10 mi from where he would later stop the Wetterling brothers and their friend.

Person of interest
In May 2014, investigators confirmed that they were taking another look at a series of attempted and actual child molestations that had occurred in the Paynesville area in the two years preceding the Wetterling abduction. Between the summer of 1986 and the spring of 1987, five teenage boys were attacked, but no one was arrested. The authorities interviewed some of the victims again and worked with the Internet blogger who had brought the information to light. After months of research and interviews with some of the victims, investigators believed that these attacks were not random and that the culprit could be connected to the abduction of Wetterling, which occurred just 40 minutes from the other crime scenes.

Danny James Heinrich
In October 2015, Danny James Heinrich was publicly named as a person of interest in Jacob Wetterling's disappearance. He had been questioned by the FBI on December 16, 1989, and a DNA sample was taken, but he was not charged with a crime and was released. In 2015, Heinrich's DNA was matched to the DNA taken in the case of Jared Scheierl, who was abducted in nearby Cold Spring in January 1989 at the age of twelve. The statute of limitations had expired for the Cold Spring kidnapping, meaning Heinrich could not be arrested and charged with that crime. A search warrant was issued and child pornography was found in Heinrich's house, leading to his arrest on October 28, 2015.

Plea and discovery
Heinrich decided to cooperate with authorities as part of a plea bargain and, on September 1, 2016, led investigators to a burial site. Jacob's clothing and human remains were unearthed from a pasture near Paynesville, about 30 mi away from the Wetterling home and the abduction site and a short distance from where Heinrich was living in 1989. On September 3, the remains were confirmed through dental records to be Jacob's. His mother, Patty Wetterling, told television station KARE11, a local NBC affiliate, that the remains found were indeed Jacob's. She said: "All I can confirm is that Jacob has been found and our hearts are broken. I am not responding to any media yet as I have no words."

In the plea agreement, Heinrich agreed to plead guilty to one count of the 25 federal child pornography charges brought against him. In addition to revealing the location of the body and pleading guilty, he also agreed to testify as to the details of the Wetterling crime. At a hearing before Judge John Tunheim of the United States District Court for the District of Minnesota, Heinrich testified that he kidnapped and handcuffed the boy, drove him to a gravel pit near Paynesville, molested him, killed him and buried his body. Heinrich said that he was able to avoid police that night by listening to a police scanner. He said that he came back to the site a year later and moved the body after noticing that Wetterling's jacket had become exposed. During the court hearing, Heinrich also admitted to kidnapping and sexually assaulting Jared Scheierl earlier that year.

In exchange for Heinrich's plea, the prosecutors agreed not to charge him with Wetterling's murder. In accordance with the plea agreement, Heinrich was sentenced to the maximum prison term of 20 years for the child pornography charge. In addition, the plea deal will allow state authorities to seek his civil commitment as a sexual predator at the end of his federal prison term, which could prevent him from ever going free. In sentencing Heinrich, Judge Tunheim said:

"We won't pretend that this crime and sentence is about child pornography. It is also about changing the lives of so many children and parents, who prayed for Jacob's return, and also feared you coming out of the dark ... every child knows the story of Jacob Wetterling. You stole the innocence of children in small towns, in the cities of Minnesota and beyond."

Although Heinrich could be released in 17 years from the start of his prison sentence, Judge Tunheim told him that it was unlikely, as "this crime is so heinous, so brutal and awful that it is unlikely society will ever let you go free."

In January 2017, Heinrich was transferred to Federal Medical Center, Devens, a federal prison in Massachusetts, to serve his 20-year sentence.

Legacy
Four months after Wetterling's abduction, his parents, Jerry and Patty Wetterling, formed the Jacob Wetterling Foundation, an advocacy group for children's safety. In 1994, the federal Jacob Wetterling Act was passed and named for Jacob. It was the first law to institute a state sex-offender registry. The law has been amended several times, most famously by Megan's Law in 1996 and the Adam Walsh Child Protection and Safety Act in 2006.

In 2008, the foundation started by Jacob's parents became the Jacob Wetterling Resource Center. It carries on the work started by the Wetterling family "to educate the public about who takes children, how they do it and what each of us can do to stop it".

The Bridge of Hope, a crossing of the Mississippi River near St. Cloud, is named in Jacob's honor.

Connection between Heinrich and Duane Hart
After the arrest was made, media reported that according to a friend of the family both Heinrich and his brother were themselves sexually abused by a man then dating their mother, later convicted sex offender Duane Hart, when they were children. Hart has been described as a man who "would come along, if you were a single woman with kids, pretend he likes you and that would be it." Hart in turn had implicated Heinrich as early as 1991 regarding the Wetterling case when he told investigators Heinrich had asked him how to dispose of a body and that he had seen suspicious objects at his home. The information was apparently not followed up on at the time.

title: Murder of Jacob Wetterling


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Buddhist music

Buddhist music is music (Sanskrit: vàdita, saṅgīta) created for or inspired by Buddhism and includes numerous ritual and non-ritual musical forms. As a Buddhist art form, music has been used by Buddhists since the time of early Buddhism, as attested by artistic depictions in Indian sites like Sanchi. While certain early Buddhist sources contain negative attitudes to music, Mahayana sources tend to be much more positive to music, seeing it as a suitable offering to the Buddhas and as a skillful means to bring sentient beings to Buddhism.

Buddhist music retains a prominent place in many Buddhist traditions, and is usually used for ceremonial and devotional purposes. Buddhist music and chanting is often part of Buddhist rituals and festivals in which they may be seen as offerings to the Buddha.

Most Buddhist music includes chanting or singing, accompanied by instruments. The chanting is often of traditional texts which include: sutras, mantras, dharani, parittas, or verse compositions (such as gathas, stotras, and caryagitis). Buddhist instrumental music does exist, though it is less commonly heard in temples.

Examples of Buddhist musical traditions include the Newari Buddhist Gunlā Bājan, Tibetan Buddhist music, Japanese Buddhist Shōmyō, modern Indian Buddhist bhajans, and Cambodian Smot chanting. As there are many different traditions of Buddhist music and chanting, the musical instruments used vary widely, from solely relying on the human voice, to many types of classic instruments used in Asian music (such as the ancient Indian veena) as well as modern instruments (keyboards, guitars, etc).

In the modern academy, the study of Buddhist music, sometimes known as Buddhist musicology, has become its own field of academic research.

In doctrine and scriptures

In Buddhism, chanting is a traditional Buddhist devotional practice, as well as a means of enhancing and preparing the mind for silent meditation. It is a common part of formal group practice (in either a lay or monastic context). Some forms of Buddhism also use chanting for ritualistic, apotropaic or other magical purposes.

In Mahayana Buddhism, the offering of music is a traditional part of devotional offerings to the Buddhas (others include water, flowers, and light). The offering of music is thus considered to bring good merit. The idea of music as an offering to the Buddhas can be found in various Mahayana sutras. Common instruments included the veena, drums, and flutes (venu).

Furthermore, in some Mahayana sources, Buddhist music is considered to be a skillful means (upaya), a way to guide people to the Buddhist path and to teach them the Buddha's teachings. Some Mahayana sutras also depict the Pure Lands as filled with divine music.

In the early Buddhist sources
Various passages from the early Buddhist texts contain criticisms of musical performance directly from the Buddha. The main criticism is that music leads to sense desire and attachment, and is thus a hindrance to meditative concentration (samadhi), and to peace of mind. However, there are other passages in which the Buddha praises music and chanting.

Aside from textual sources, there are numerous depictions of musicians and musical instruments at ancient Indian Buddhist sites like Sanchi, and Amaravati, as well as at various Greco-Buddhist sites in Buddhist Gandhara, such as Chakhil-i-Ghoundi.

Against music
In the Ghitassara Sutta (Anguttara Nikaya 5.209), the Buddha admonishes Buddhist monks for reciting the teaching (Dhamma) in a musical way:

 * Monks, there are five dangers of reciting the Dhamma with a musical intonation. What five? Oneself gets attached to the sound, others get attached to the sound, householders are annoyed, saying, "Just as we sing, these sons of the Sakyan sing", the concentration of those who do not like the sound is destroyed, and later generations copy it. These, monks, are the five dangers of reciting the Dhamma with a musical intonation.

Meanwhile, in the Sigalovada Sutta, a sutta addressed to laypersons, music is included as a negative sense desire: "There are these six drawbacks of frequenting festivals. You're always thinking: 'Where's the dancing? Where's the singing? Where's the music? Where are the stories? Where's the applause? Where are the kettledrums?'"Early Buddhist sources include the practice of uposatha, in which laypersons observe a set of eight precepts. The seventh of these states one should abstain from wordly entertainments, shows and music. The Uposatha Sutta asks Buddhists to reflect how noble disciples "have given up singing and dancing, the playing of musical instruments and the watching of entertainments, which are stumbling blocks to that which is wholesome."

The canonical Buddhist Vinayas (monastic codes) generally reject the use of musical chanting and singing for reciting the Buddhist scriptures, since it was seen as a sensuous distraction. They are prohibit monks and nuns from listening to or performing music since it is connected with sensual pleasure.

Positive passages

Certain passages in the early Buddhists are much more positive about music. Digha Nikaya sutta no. 21 (Sakka's Questions) and its Chinese parallel at DA 14, contains a passage in which a gandharva (a celestial musician) named Pañcaśikha sings some verses to the Buddha accompanied by a lute, and the Buddha approves of it. In the Dirgha Agama version, the Buddha listens and praises Pañcaśikha saying: "Good, Pañcaśikha, good! You're able to praise the Tathāgata with your clear voice and harmonious cymophane lute. The sound of both your lute and voice are neither long or short. Their compassion and gracefulness moves people's hearts. Your song is replete with many meanings and explains the bonds of desire, the religious life, the ascetic, and Nirvāṇa!"The Mahaparinibbana sutta states that before the death of the Buddha, "heavenly music played in the sky in honor of the Realized One. And heavenly choirs sang in the sky in honor of the Realized One." After the Buddha's death, laypeople venerated the Buddha "with dance and song and music and garlands and fragrances". In the Chinese version of the Mahaparanirvana sutra, the Buddha approves of devotional practices through music when he states "there are four kinds of people in the world who should be memorialized by building a shrine and providing incense, flowers, silk canopies, and music there". These four types of people are said to be: tathāgatas (Buddhas), pratyekabuddhas, sravakas (disciples) and noble wheel-turning kings.

The Mahāli Sutta (DN 6) mentions that through a certain samadhi, one may hear heavenly sounds from the deva realms.

Other sources, like the Jatakas, and Avadanas, contain various stories which depict music in a positive light. For example, in one story, a bird named Cittapatta sang songs to the past Buddha Vipassī, and he eventually gained a good rebirth and became a god, and then an arahant. Another story about a bird singing to a Buddha is found in the Theragāthā commentary (aṭṭhakathā), this time, the past Buddha Krakucchanda is featured. Similarly, when Sikhī Buddha died, a tree dwelling spirit offered flowers and instrumental music, and this contributed to his future nirvana (Therapadana 118).

In later sources
One Indian Buddhist figure who was well known as a musician was the 2nd century poet Aśvaghoṣa. Both Tibetan (Taranatha) and Chinese sources mention that he was also a great musician and traveled with a choir. Xuanzang (7th century) mentions that when he traveled to India, the music of Aśvaghoṣa was still remembered as having the power to impress upon people the truth of impermanence.

One of his musical hymns, the Gaṇḍīstotragāthā (Chinese: Kien-ch'ui-fan-tsan, Hymn on the Bell), has survived in Chinese transliteration and Tibetan translation (which also include some musical notation). Musical references are also quite common in the Buddhacarita, which indicates the author was knowledgeable about Indian music, its styles, instruments, notes, and so forth.

According to the Theravada commentary to the Long Discourses, the Dīgha-nikāya-aṭṭhakathā (Sumaṅgalavilāsinī), king Aśoka's consort Asandhimittā attained stream entry when she listened to a kalavīka bird's song and imagined that it was the sweet voice of the Buddha (DA ii.453). One Theravada commentary on the Subhāsita Sutta (Sn 3.3) contains a story about sixty monks who attained arahantship in Sri Lanka after hearing a slave woman sing a song about birth, old age, and death. According to the Theravada commentator Buddhaghosa, adapting songs to the Dhamma is proper. His Vinaya Commentary also mentions certain 'songs of sacred festivals' (sādhukīḷitagītaṃ) which sing of the qualities of the Three Jewels (Vinaya Commentary iv.925).

In the Theravada tradition, chanting of certain texts called parittas are considered to have the power to "avert illness or danger, to ward off the influence of malignant beings, to obtain protection and deliverance from evil, and to promote health, prosperity, welfare, and well-being." There are several reasons that chanting these texts have power. Firstly, they are considered to be an "act of truth" (saccakiriya). According to this theory, words which speak of the truth of the Dharma are considered to have magical power. Furthermore, parittas are also connected with morality (sila) and kindness (metta) and the very sound of their chanting is said to calm the mind.

In Mahayana sources

Mahayana sutras often contain positive depictions of music, which is often seen as a wholesome offering with which to venerate the Buddhas which can generate merit and prompt the blessings of the Buddhas. In several Mahayana sutras, music is found as a common offering given by humans or devas to the Buddha. Examples can be found in the Lotus Sutra and the Lankavatara Sutra. In the Lotus Sutra, music is found in various parts of the text as a common offering to the Buddha (along with other offerings such as flowers and incense). One example from chapter three states: "Śakra, the lord of devas, and Brahma, together with innumerable deva-putras also made offerings to the Buddha of their heavenly beautiful garments, heavenly māndārava flowers, and great māndārava flowers. Their heavenly garments floated and fluttered in the air, while in the sky the devas played hundreds of thousands of myriads of kinds of music together at one time."Furthermore, Lotus sutra chapter two states:"If someone employs persons to play music, striking drums or blowing horns or conch shells, playing pipes, flutes, zithers, harps, balloon guitars, cymbals and gongs, and if these many kinds of wonderful notes are intended wholly as an offering; or if one with a joyful mind sings a song in praise of the Buddha's virtue, even if it is just one small note, then all who do these things have attained the Buddha way."Chapter twenty four of the Lotus Sutra is named after a musical bodhisattva named Gadgadasvara (Wonderful Voice). This bodhisattva travels to our world and beautiful musical sounds follow him everywhere. The Buddha then explains that this bodhisattva "paid homage to the Buddha Meghadundubhisvararāja with a hundred thousand kinds of music and eighty-four thousand seven-jeweled bowls" for twelve thousand years. It is said that because of the roots of merit cultivated by this devotional practice, he attained rebirth in another Buddha's pure land and gained transcendent powers. In later sources, the bodhisattva Wonderful Voice (Jp. Myōon) became identified with Saraswati / Benzaiten.

The Lankavatara sutra also contains examples of using music to praise and venerate the Buddha. In the first chapter, Ravana and his attendants first greet Shakyamuni Buddha by singing verses of praise which were "gracefully accompanied by music, a lute studded with coral and cat's eye, slung at the side by means of priceless perfumed pale cloth and played with a sapphire plectrum, producing a melody ranging through all the notes of the scale." The Longer Sukhāvatīvyūha Sūtra also contains passages in which music is part of a set of devotional offerings for Buddhas and bodhisattvas. In one passage, a group of bodhisattvas is said to "play heavenly music and praise the virtues of the buddhas with hymns accompanied by wonderful sounds".

Apart from presenting music as an offering to the Buddha, some Mahayana sources also depict music as a skillful means employed by the Buddhas to impart the Buddha Dharma in their pure lands. The Golden Light Sutra also describes the bodhisattva-devi Saraswati (Benzaiten) as a goddess of music whose voice can lead beings to salvation. According to Fabio Rambelli, "here, Benzaiten's voice is not an offering, but a tool to induce beings to accept Buddhism."

In the Longer Sukhāvatīvyūha Sūtra, the pure land of Buddha Amitabha (Sukhavati) is filled with magical music which arises from the Bodhi tree of Amitabha, from jeweled trees (ratnavṛkṣa) and from instruments that play by themselves. In the Longer Sukhāvatīvyūha, Amitabha's bodhi tree produces "innumerable exquisite Dharma sounds", "which spread far and wide, pervading all the other buddha lands in the ten directions". The sutra further states: "Those who hear the sounds attain penetrating insight into dharmas and dwell in the stage of non-retrogression. Until they attain buddhahood, their senses of hearing will remain clear and sharp and they will not suffer from any pain or sickness... Again, in that land, there are thousands of varieties of spontaneous music, which are all, without exception, sounds of the Dharma. They are clear and serene, full of depth and resonance, delicate, and harmonious; they are the most excellent sounds in all the worlds of the ten directions."Furthermore, according to Rambelli, the sutra presents this divine music "not only an adornment of the Pure Land, but a veritable manifestation of the Buddha Amida endowed with the power to lead beings to the Land of Bliss."

Philosophy of music in the Sutra of Kinnara King Druma
Perhaps the most detailed Mahayana philosophy of music is found in the Sutra of the Questions by Druma, King of the Kinnara (*Druma-kiṃnara-rāja-paripṛcchā), which was first translated by Lokakṣema (Taisho no. 624), and then again translated by Kumārajīva in the fifth century (Taisho no. 624).

Various passages in the sutra describe numerous performances of heavenly music, most of them performed by King Druma, the vīnā playing king of the kinnaras (Skt. Kiṃnara), and his retinue of musicians (which include devas, kinnaras and gandharvas). In some passages, the Buddha himself preaches through song. Druma's music is presented as so powerful that it can be heard all over the universe, it drives all the devas in the desire realm to come see the Buddha and makes all those present (except a few high level bodhisattvas), start dancing spontaneously.

Druma also plays a song about emptiness which leads eight thousand bodhisattvas to attain the patience of the non-arising of all dharmas. When asked where this beautiful song came from, Druma explains his philosophy of music, which is encapsulated in the following passage:"All sounds emerge from empty space. Sound has the nature of emptiness: when you finish hearing it, it disappears; after it disappears, it abides in emptiness. Therefore, all dharmas, whether they are taught or not, are emptiness. All dharmas are like sound. If one teaches the dharmas through sound, the dharmas cannot be attained in sound itself. Dharmas themselves cannot be said; what is called speech is only sound. Therefore, sound is originally non-abiding anywhere [i.e., is non-substantial], thus it is not real and solid, and its reality only lies in its name. If so, and paradoxically, its reality is indestructible, has no origin and thus is not subject to extinction, therefore it is pure, immaculate, and incorruptible, like light and the mind; it is all-surpassing and beyond signs – that is, sound is the condition of enlightenment; when a bodhisattva is in that condition, he has attained the endurance of the non-origination of dharmas […] All discourses are only sound/voice; one produces these sounds simply because one wants to talk about something else than voice. This endurance of the non-origination of dharmas cannot be explained nor heard. Why? Because its meaning is unattainable, that is, absent." According to Rambelli, the gist of this passage is that all Buddhist sutras, teachings and also music "are simply voiced sounds or signifiers; their signifieds are not inherent in those sounds and are nowhere to be found (they are unattainable)...In more technical terms, music, like language, is not a symbol of anything (meaning is ontologically distinct and separate from sound); rather, music is both an index and an icon (a faithful reproduction) of emptiness – in other words, music is a concrete example, in our experiential field, of emptiness." Rambelli also notes that Druma's instrument, the veena, is made of beryl (vaiḍūrya), which is a transparent light green stone. Transparency is also a metaphor for emptiness in Indian sources. Hence, Druma is singing about emptiness with an instrument that also symbolizes emptiness.

The Buddha confirms that Druma is highly advanced in his use of music as a skillful means and that through music he can lead countless beings to omniscience. At another part of the sutra, the Buddha manifests seven giant trees which emit light and music all over the universe and then himself produces a song accompanied by music which clarifies all the doubts of the bodhisattvas. The Buddha also explains to the kinnaras that they do not need to abandon their musical arts to practice the path, because their musical sounds protect the Dharma.

According to Rambelli, this sutra was influential in Japanese Buddhism, where it was used to defend the activities of Buddhist musicians and performing artists not just as an offering, but as a kind of self-cultivation.

In Vajrayana Buddhism
The Indian Buddhist tantric literature includes music, song and dance as common ritual offerings to tantric deities.

The use of singing and dancing as a spiritual practice is promoted in various Buddhist tantras, for example, singing and dancing is an important practice in the Hevajra Tantra, which states:"If songs are sung from bliss, they are supreme vajra-songs. When bliss arises, dance for the sake of liberation, dancing the adamantine postures with full awareness...The songs are mantra and the dance is meditation; therefore a practitioner of yoga must ever always sing and dance."The Hevajra Tantra further states that this is to be performed "with mindfulness, distracted, meditating with impassioned mind, in a state of unwavering awareness." Similarly, the Sarvabuddhasamāyoga Tantra (Union of all the Buddhas Tantra) states:"The excellent song of the manifestations of the Buddha, for those knowing these mudras, is the excellent cause of perfection, accomplishes all the esoteric acts, continually brings all the physical necessities, and thus all the forms of increase of goods. So, having sun the songs with six varieties of tunes, sing the divinity's song."An inscription from Gaya also shows that during the Tantric age, sophisticated styles of song and dance offerings were made in Buddhist temples with the support of Indian royalty.

Indian Buddhist mahasiddhas and yogis were known to sing tantric songs, variously called Dohā, Vajragīti, and Caryāgīti. Indian Vajrayana sources state that these songs, along with music and dance, were part of tantric Buddhist feasts (ganachakras, esoteric gatherings and celebrations). These Carya songs contained esoteric instructions on the Vajrayana Buddhist view and practice. Many esoteric references were communicated through coded language. Many of these songs survive in Tibetan translation. One collection by Viraprakasa has songs from the eighty four mahasiddhas, and is known as Vajra Songs: The Heart Realizations of the Eighty-four Mahasiddhas. A similar genre of tantric Buddhist songs have survived in the proto-Bengali–Assamese Charyapadas.

One famous tantric Buddhist musician was the Mahāsiddha Vīṇāpa (the vina player), one of the 84 mahasiddhas. He was known for using the playing of the vina as a form of spiritual practice (sadhana). According to the Buddhist sources, his guru Buddhapa taught Vinapa to meditate as follows: "meditate upon the sound of your instrument free of all distinction between the sound struck and the mental impression; cease all mental interference with the sound, all conceptualization and all critical and judgemental thought, so that you contemplate only pure sound." After practicing this method for nine years, Vinapa is said to have attained the realization of Mahamudra. In one song by Vinapa, he says "practicing the unborn, unstruck sound, I, Vinapa, lost my self."

Tibetan Buddhists also composed their own prayers and "vajra songs" as well as developing new musical forms, like Tibetan overtone singing ("throat singing"). Some Tibetan Buddhist traditions, like the Chod tradition of Machik Labdrön (1055–1153), still include the singing of songs with instrumental accompaniment as part of their ritual practices. One contemporary figure known for his yogic songs is Khenpo Tsultrim Gyamtso. According to Ari Goldfield and Rose Taylor, "Singing Dharma songs is an extraodinarily skillful and enjoyable Buddhist practice technique that Rinpoche has introduced to his students in a variety of ways: Rinpoche himself sings regularly; he has given illuminating explanations of the profound songs of the great masters; has composed many of his own songs; and has instructed and encouraged students to translate these songs into their own languages and sing them in their own national and cultural melodies."

In East Asian Buddhism
Buddhist music is a central feature of East Asian Buddhism, where it is seen as an important offering to the Buddhas, as a skillful means of teaching Buddhism and also as a kind of meditation.

In his Nanhai Ji Gui Zhuan (Commentaries on Dharma from the South Sea), the Chinese Tang dynasty monk Yi Jing (635-713) presented six merits of Buddhist chanting: "1) understanding Buddha's great virtue better; 2) becoming well versed in Buddhist sutras; 3) purifying organ of speech; 4) improving the thoracic cavity; 5) inducing calm and confidence in the multitude; and 6) longevity."

Heng Sure writes that "Buddhist music, like all things Buddhist, aims to nurture both wisdom and blessings"..."when music is used to praise the Triple Jewel and the Bodhisattvas, it creates blessings and merit." He also argues that Buddhist musical chanting (as opposed to mundane music which is often about sensuality and courtship) can aid one in developing the meditative quality of samadhi. Because of this, Buddhist music is seen as exempt from the precept that states monks and nuns must avoid music. Furthermore, Heng Sure also writes that "we can use music to praise the Triple Jewel and the Bodhisattvas; we use it to teach principle, to gather in and harmonize the conscious awareness of an audience, to accompany sutra text, to restate sutra text in verse. In the end as in the beginning, music is magic. Whether one can use it or not depends on your samadhi."

Heng Sure also cites the Shurangama Sutra which states that listening to sounds with the ear is the most effective method for awakening, since "the substance of the teaching resides purely in sound." Thus, also sounds are part of the mundane world, "hearing them clearly and discriminating them accurately remains our best avenue for awakening here in the world. Someone on the Bodhisattva Path stays within the world, and by letting go the habit of loving or hating sounds, cultivates stillness right within the movement of the busy marketplace."

According to John Daido Loori, the Japanese Zen master Dōgen also defended chanting and Zen liturgy as an important practice. According to Dōgen, the sounds and words of the sutras are metaphors which point to the ultimate, but they are also non-dual with ultimate reality itself. The Shobogenzo states, "seeing forms with the whole body-and-mind, hearing sounds with the whole body-and-mind, one understands them intimately". As such, if we practice Buddhist liturgy by chanting and listening with one's "whole body-and-mind", one eliminates the space between the self and the chants. In this way, developing an intimate practice of chanting can be a skillful means to allow the practitioner to transcend all conceptions of self and other and to experience the non-dual ultimate truth.

Types of Buddhist music
Most forms of Buddhist music is vocal music and religious chanting, often accompanied by musical instruments. A Buddhist chant is a form of musical verse or recitation, in some ways analogous to the religious musics and hymns of other faiths.

There are numerous traditions of Buddhist chanting, singing, and music in all three major schools of Buddhism: Theravada, East Asian Buddhism, and Himalayan Vajrayana.

The basis for most Theravada chants is the Pali Canon, though there are traditions which use more recent compositions. The Mahayana and Vajrayana traditions draw from a wider range of sources, like the Mahayana texts, the Buddhist tantric literature and other sources.

East Asian Buddhism
East Asian Buddhist music is known as fanbai in Chinese and includes numerous genres. Ancient Chinese musical theory held that good music brought harmony to the world and Confucian thinking held that music was useful for self cultivation. In Chinese Buddhism, these positive views of music combined with the Mahayana Buddhist views of music as a meritorious offering and a skillful means.

According to Trân Van Khê, East Asian Buddhist music is mainly ritualistic vocal music, mostly the chanting of traditional dharanis and sutras like the Heart Sutra, Lotus Sutra, or the Amitabha sutras. However, instrumental music is sometimes heard during special ceremonies, such as funerals. Rituals in which Buddhist music may be heard include repentance ceremonies and rites like the Liberation Rite of Water and Land.

Instruments which are found in East Asian Buddhist music include: biwa, oboe (ken), transverse flute (sao), mouth organ, ceremonial drums (like the taiko, or the Vietnamese trong nhac), gongs, bells, erhu, yangqin, the Vietnamese bow lute, and the tap pyong so (Korean).

Chinese Buddhist music

The first Chinese Buddhist music appeared in the Three Kingdoms period and consisted of sutra recitation (zhuandu) and Buddhist chants (fanbai) which drew on Buddhist stories from the scriptures and were set to Chinese music. The first well known figure to promote Buddhist music in China was the translator Zhi Qian, who complied Sung Chants for Sakra Accompanied by Qin Music (Dishi yuerenban zheqin gebai). Most of this early Buddhist music were solemn chants and had no instrumental accompaniment.

Buddhist music was developed and promoted by Emperor Wu of Liang, who himself composed pieces of Buddhist music, introduced the genre to his court and promoted large scale Dharma assemblies which included music and chanting. During the Six Dynasties period, Buddhist music flourished. The Tale of the Luoyang Temple describes the Jingle Temple at Luoyang thus: "even in the six cloisters, female musicians were installed. Their singing echoed around the rafters. The sleeves of the dancers gently fluttered. The music of zithers and flutes resounded loud and clear, enchanting the hearers. When the temple's thousand images of Buddha were paraded through the streets clouds of incense hung like a dense fog, the sacred music shook Heaven and Earth, the players ranced and danced, all was a festival."

Buddhist music rose to further prominence in Buddhist temples during the Sui and Tang dynasties when it became widely influential on Chinese culture. This flowering of Buddhist music led to the development of new genres like shuochang storytelling and bianwen storytelling.

There were three main forms of Tang Buddhist music: hymns recited in temples for ritual services, proselytizing music used in popular preaching to laypeople (sujiang) and popular Buddhist songs (foqu) used in celebrations and temple activities.

Popular forms of Buddhist music were influenced by Central Asian music of the Western regions and also drew on local Chinese folk and popular music traditions. Buddhist music played a key role in Chinese Buddhist efforts to proselytize to laypersons. Popular preaching (sujiang) drew on local folk culture, stories, and music and this genre became very popular among the masses. Soon specialized venues called bianchang developed as well as troupes of performers (yinsheng) who specialized in popular Buddhist music. Temples often had their own yinsheng groups and even the imperial court had their own groups of Buddhist musicians. These court Buddhist musicians famously took part in a very large ceremony during the funeral of Xuanzang.

Popular Tang Buddhist songs (foqu) which were used for worship and for large celebrations are recorded in various sources including Record of the Jiegu, the Tang Huiyao and Cheng Yang's Yue-shu and include titles such as Maitreya Foqu (Mile Foqu), Suryaprabha Foqu (Riguang Foqu) and Tathagata Foqu (Rulai Foqu). These songs remained influential into the Song dynasty period.

Buddhist music and chants remain an important part of the practice of contemporary Chinese Mahayana Buddhism. The American Buddhist monk Heng Sure describes the contemporary practice of chanting in Chinese Buddhist monasteries as follows:"Buddhist monasteries are musical environments. These new monks and nuns in the Mahayana tradition would on that day and every day, spend a minimum of two and a half hours in the Buddha Hall chanting, and on holidays or sessions, the ceremonies can last for twelve hours, sometimes for twenty-one days. The regular liturgical chanting starts at 4:00 AM with half an hour of mantras and Dharanis, then includes chanting of sutras, praises, Buddha's names, invocations, repentances, dedications, blessings, and protection verses. The tunes and music modes are in some cases 1400 years old. They are healing, and when sung with a sincere heart, have the power to bring the mind to single-pointed clarity and stillness."

Korean Buddhist music
Korean Buddhist musical chanting is called pomp'ae (Beompae). There are two main styles chissori (grand elaborated style) and the hossori (simple style). The chanted text may be in Chinese, Sanskrit or in Korean, depending on the style.

Korean musical chanting which is accompanied by dance is called chak pop. There are three types: na bi ch'um, the dance of the butterflies; para ch'um, the dance of the cymbals; and pop go ch'um, the ceremonial drum dance.

Furthermore, some forms of instrumental music are inspired by Buddhism, including the famous Yongsan hoe sang.

Japanese traditions
Japanese Buddhism includes various traditions of chanting, sutra recitation (dokyō) and Buddhist music. The vocal element is generally the most important element of Japanese Buddhist music. Chanting of the names of the Buddha (especially popular is the nembutsu), and of specific sutras (such as parts of the Lotus Sutra) is a central practice in various traditions of Japanese Buddhism. This may be accompanied by drumming, standing bells, or other instruments. Each school of Japanese Buddhism has its own style of chanting and musical instrumentation which is used in different rituals and annual observations.

One important tradition of Japanese Buddhist choral music is Shomyo (声明, lit. "bright voice"), which dates from the 12th century. This is a monophonal musical style performed by Buddhist monks which is especially important in the Tendai, Obaku, and Shingon sects. Shomyo was influenced by Chinese Buddhist chanting which was introduced to Japan in the 8th century. Shomyo is most often a melismatic singing unaccompanied by instrumentation, though sometimes percussion instruments (drums, clappers, gongs, bells or cymbals) may be used. One of the first performances of shomyo was in 752, when hundreds of monks at Todaiji performed hymns like Praise of the Tathagata (Nyoraibai), Falling Flowers (Sange), Sanskrit Sound (Bonnon), and Sounding Staff (Shakujo). One important classic collection of Shomyo chants is the Gyosan Shomyo Rok hanjo, compiled by Kekan (a disciple of Ryōnin) in 1173. It includes chants in Sanskrit, Chinese and Japanese, and it remains a major source of chants for the Tendai school.

A rarer tradition of shomyo is performed by a solitary monk accompanied by a biwa (the Japanese short necked lute). There are two main styles of Shomyo: ryokyoku and rikkyoku, described as difficult and easy to remember, respectively.

Another genre of Japanese Buddhist music is Kōshiki (講式), a kind of ritual narrative music which originated in the Tendai school and spread to other Buddhist traditions, such as Zen Buddhism. Eventually all Japanese Buddhist schools had kōshiki repertoires. Japanese chanted poetry shigin (詩吟) is also another form of Buddhist music found in Japan. Other forms include hyobyaku (pronouncement of intention), saimon (offertory declaration), and wasan (Japanese Hymns).

The Meiji period (1868–1912) saw much innovation in Japanese Buddhist music. Japanese Buddhists modernized many of their music, often borrowing from Western musical styles. Traditional styles like shomyo were still preserved however and are still heard in Japanese Buddhist temples today. In the 2000s, Japanese clergy also began to adopt traditional Buddhist texts to modern musical genres like rock and pop music. Modern technology like vocaloids, robots, and keyboards have also been used to promote Buddhist chanting and many of these new musical compositions have spread through the internet.

Honkyoku
Honkyoku (本曲) are the pieces of shakuhachi or hocchiku music originally played by wandering Japanese Zen monks called Komuso. Komuso temples were abolished in 1871, but their honkyoku music remains popular in modern Japan. Komuso played honkyoku as a meditative practice and for alms as early as the 13th century. In the 18th century, a Komuso named Kinko Kurosawa of the Zen Fuke sect was commissioned to travel throughout Japan and collect these musical pieces. The results of several years of travel and compilation were thirty-six pieces known as the Kinko-Ryu Honkyoku.

Nepalese Buddhism

The music of Nepalese Buddhism reflects native Nepalese, Tibetan and Indian musical traditions. Newar Buddhism includes a rich musical tradition which has been subject to numerous ethnographic studies. Newar musical genres include dhāpā, cācā, and bājans. Dāphā is the oldest surviving devotional musical genre of Nepal, having originated in the 17th century. It is an important role of many Newar men to practice with a local musical group.

Bhajans (bājans) are popular among both Buddhists and Hindus in Nepal, and they are performed by amateurs as well as by trained musicians. These are three main types of Buddhist bājans found in Nepalese Buddhism: mu dhimay bājans, gumlā bājans and gyānmālā bājans. Dhimay Bājan is a popular form performed by Newar farmers, who often worship both Buddhist and Hindu deities. It is performed by one or more drummers using an oversized drum (dhimay).

Gunlā Bājan is another popular genre which is commonly found during various religious processions and during the holy month of Gumlā. It is commonly practiced by groups who meet at the Svayambhū stūpa hill and circumambulate the stūpa, also visiting other sites in town. The ensembles use the small nāykhī and the larger dhā drums as well as cymbals, and woodwinds and brass instruments are also sometimes added.

The most recent style is a modern bhajan style called gyānmālā bājan which Newar Buddhists adopted from modern Indian bhajans. This style uses the Indian harmonium and tabla, and sometimes other less traditional instruments like keyboards or guitars. The Gyānmālā Bhajan society is one popular Buddhist group which is influential in the development of this modern Newari language tradition. In the 20th century, numerous Newari Buddhist authors composed new bhajans in Newari, some of them focus on teaching the Dharma, and others have a more devotional Indian bhakti style.

Bengali Buddhism
The earliest known Bengali songs are the Buddhist Charyapadas (Songs of realization, c. 900–1100 CE) of the medieval tantric mystics.

The Baul tradition, while not a Buddhist tradition per se, still makes use of some of the Bengali Buddhist Sahaja tradition's Carya songs.

The devotional Buddhist music of Bengali Buddhists is often called Buddha-samkirtan or Buddha kirtan. It is a common practice among the Barua Buddhists of Bangladesh.

Himalayan and Tibetan Buddhist music

The Indo-Tibetan Buddhist tradition (found in Tibet, Bhutan, some north Indian states, and in the Tibetan diaspora) includes numerous musical elements, and vocal chanting accompanied by various instruments is a central feature of Himalayan Buddhism. The main distinction is between the musical traditions practiced by monastics in Buddhist monasteries and the musical traditions practiced by laypersons.

The singing of popular songs (mostly called glu) by Buddhist laypersons of the Himalayan regions is widespread. Most are secular, but chos-glu (dharma songs) are also sung. Sometimes this may be accompanied by a few instruments like the dra-nyen lute, the chiwang fiddle; and the duct flute (gling-bu). The term mgur meanwhile, refers specifically to devotional Buddhist songs, which have been traditionally used to teach Buddhism.

One of the most famous songwriter of these was the great yogi Milarepa, and his Hundred Thousand Songs remains popular today. Another influential Tibetan songwriter and musician was Gotsangpa Gonpo Dorje (1189–1258). He was originally a travelling performance artist, a pakshi, who became an influential lama and founded the Upper Druk (stod 'brug) lineage of the Drukpa Kagyu school.

There are also other traditions of musicians, including mendicant musicians, and epic storytellers (Sgrung-mkhan, who often focus on the Epic of King Gesar) and the Manipa (who sing mgur and mantras, including the famous Mani mantra).

Musical chanting, most often in Tibetan, is an integral part of Tibetan Buddhism. These chants may be simple or complex recitations of sacred texts for various occasions. Chanting accompanied by a melody (dbyangs) is often used as part of Tibetan Buddhist rituals, ceremonies, festivals, and sadhanas. Instruments like small hand drums (damaru), hand bells, and trumpets are often used in certain tantric practices. Musical instruments used in Tibetan Buddhist music include horns, cymbals, rgya-gling (oboe), gandi (wooden gong), dung dkar (conch trumpet), Mongolian yat-ga (Mongolian zither) and dra-nyen (lute).

Individual schools, and even individual monasteries, maintain their own chant traditions. Tibetan Buddhism developed its own musical notation system and manuscripts depicting this system have survived in use until the present day.

Tibetan monks are also noted for their skill at throat-singing or overtone singing. This is a specialized form of singing in which the singer can sound like he is producing separate notes simultaneously. The Cham dance is another Tibetan Buddhist performance art that includes music.

Music in Theravada Buddhism
In the Theravada tradition, chanting is usually done in Pali, sometimes with vernacular translations interspersed. The intonation and style of the chant varies by tradition, with some preferring a more monotone chant and others a more melodic chanting. A common type of chanting in Theravada is pirit (paritta, "protection") chanting, which is one of the oldest forms of Buddhist chanting. Among the most popular Theravada paritta chants are: Tisarana (The Three Refuges), Pancasila (The Five Precepts), Upajjhatthana (The Five Remembrances), Metta Sutta (Discourse on Loving Kindness), and Mangala Sutta (Discourse on Blessings).

Sinhalese Theravada Buddhism has various musical traditions. Some Theravada communities practice a type of religious service called poya hewisi which is accompanied by drumming. The Tooth Relic Temple is the site of one popular tradition of devotional music which make extensive use of drumming. This tradition can be traced back to the 18th century when several new musical forms arose, including prashasti ('praise songs').

There are also modern traditions of lay Buddhist instrumental ensembles called hevisi which make musical offerings (shabda puja) at Buddhist temples. Music (as well as dance and theater) is a central part of Sinhalese temple processions (perahera), such as the popular Kandy Esala Perahera.

Outside of Sri Lanka, one musical form of traditional Buddhist chanting found in Cambodian Buddhism is called Smot.

Myanmar
Myanmar is home to a broad genre of contemporary Buddhist music called dhamma thachin (ဓမ္မသီချင်း) or dhamma tay (ဓမ္မတေး, lit. 'Dhamma songs'), composed in the twentieth to twenty-first centuries. These songs draw on religious themes, and are commonly broadcast in Buddhist monasteries, and during religious festivals and donation feasts.

Popular recording artists of this genre include Soe Sandar Tun and Mandalay Thein Zaw. From a lyrical perspective, this genre can be subdivided into songs that extol the Buddha and Buddhism, and songs that exhort listeners to follow Buddhist teachings. Some compositions use traditional Burmese instruments and vocal stylings associated with the Mahāgīta, a genre of Burmese classical music.

Western Buddhism
Some contemporary Western Buddhists have adopted the various chanting and musical traditions from Asian Buddhism. Some Western Buddhists also sing about Buddhism in Western Buddhist genres, like punk, metal or folk.

Examples of Western Buddhist musicians who perform Buddhist music include Tina Turner, who has released music based on Japanese Nichiren Buddhist chanting, Lee Mirabai Harrington, who sings "Buddhist kirtan" influenced by Indian kirtan styles, the Buddhist monk Heng Sure, who has released several albums of "American Buddhist Folk Songs" and the punk band The Deathless.

Contemporary music genres
There are also several contemporary musicians which have been labeled "Buddhist music" and who make use of modern musical technology. They include popular singers like the Chinese-Malaysian Imee Ooi, the Tibetan singer Dechen Shak-Dagsay, the Japanese priest Kanho Yakushiji, and the Nepalese singer Ani Choying Drolma.

Some contemporary Buddhists have adopted specific styles like Hip hop (MC Happiness), and Metal (The Firstborn).

Influence outside of Buddhism
There are also a number of New Age and experimental musical forms which are related to or draw on Buddhism, some with understanding of the words, others merely based on repetition. A large number of these schools tend to be syncretic and incorporate Buddhist influences along with music of other traditions, like Hinduism. The first "New Age music" album, Music for Zen Meditation, draws on Buddhist themes.

While not strictly a variation of Buddhist chanting in itself, Japanese shigin (詩吟) is a form of chanted poetry that reflects several principles of Zen Buddhism. It is sung in the seiza position, and participants are encouraged to sing from the gut - the Zen locus of power. Shigin and related practices are often sung at Buddhist ceremonies and quasi-religious gatherings in Japan.

In 2009, the Beyond Singing Project produced an album combining Buddhist chants and Christian choral music. Tina Turner and Dechen Shak-Dagsay were involved.

Notable Buddhist musicians

 * Ven. Bibiladeniye Mahanama Thero
 * Ani Choying Dolma
 * Alan Dawa Dolma
 * David Bowie
 * Kinko Kurosawa
 * Imee Ooi
 * Eliane Radigue
 * Tokyo Kosei Wind Orchestra
 * Adam Yauch
 * Duncan Sheik
 * Sergiu Celibidache
 * Premasiri Khemadasa
 * Dinesh Subasinghe]
 * Victor Ratnayake
 * Leonard Cohen
 * Michael Jordan Touchdown Pass
 * Kanho Yakushiji
 * Tan Dun
 * David Earl (composer)
 * Timothy Lissimore
 * Justin Merritt
 * John Cage
 * Li Na
 * Faye Wong
 * Chyi Yu

title: Buddhist music


text:
Ten High

Ten High is a brand of American whiskey first introduced in the 1930s by Hiram Walker & Sons, now produced by the Barton Brands division of the Sazerac Company. The name Ten High refers to a barrel storage location at least ten ricks high, as barrels in the upper part of the aging warehouse mature faster. Although the brand name evoked this storage method, the manufacturer did not actually promise that the brand was from barrels aged in such locations.

History
The brand was originally produced by Hiram Walker & Sons (a company owned by Harry C. Hatch at the time) at a distillery in Peoria, Illinois, starting shortly after the end of Prohibition in 1933. It was a major brand (and the leading brand of Illinois-made bourbon) until the late 1960s when the American whiskey market went through a particularly difficult period. The Peoria distillery stopped distilling operations in 1973 and closed completely in 1981. After the Peoria distillery closed, production moved first to Heaven Hill and later to Barton, both based in Bardstown, Kentucky. The Sazerac Company acquired Barton, including the Ten High brand, in 2009.

From the early 1980s until the late 2000s, Ten High was a straight Bourbon whiskey. Starting in 2009, the brand switched to being labelled "Bourbon – a blend", a designation for a product that is 51 percent straight Bourbon, with the remainder neutral spirits.

title: Ten High


text:
Oxycodone/paracetamol

Oxycodone/paracetamol, sold under the brand name Percocet among others, is a fixed-dose combination of the opioid oxycodone with paracetamol (acetaminophen), used to treat moderate to severe pain.

In 2021, it was the 75th most commonly prescribed medication in the United States, with more than 8million prescriptions.

History
The United States Food and Drug Administration (FDA) first approved Percocet in 1976, under application ANDA 085106.

Implicated in deaths
In June 2009, an FDA advisory panel recommended that Percocet, Vicodin, and every other combination of acetaminophen with narcotic analgesics be limited in their sales because of their contributions to an alleged 400 acetaminophen-related deaths in the U.S. each year, that were attributed to acetaminophen overdose and associated liver damage.

In December 2009, the Canadian Medical Association Journal reported a study finding a fivefold increase in oxycodone-related deaths in Ontario (mostly accidental) between 1991 and 2007 that led to a doubling of all opioid-related deaths in Ontario over the same period.

In March 2017, US President Donald Trump initiated the Opioid and Drug Abuse Commission. In July 2017, a draft report was published.

title: Oxycodone/paracetamol


text:
Wikipedia:Articles for deletion/Cottage rental

This page is an archive of the discussion surrounding the proposed deletion of the page entitled Cottage rental.

This page is kept as an historic record.

The result of the debate was to delete the article.

non-encyclopedic. Mikkalai 06:46, 12 May 2004 (UTC)

 * Delete. This is not an important phenomenon. Everything else happens over the internet, including groceries and cannibalism. JFW | T@lk  11:07, 12 May 2004 (UTC)
 * Delete. Agree. This started as an advert and has now been competently NPOVd, but I can't see how to make a good stub out of it, let alone an article. Happy to be proved wrong. Andrewa 00:53, 13 May 2004 (UTC)
 * Keep. It may not be important but it is a topic and a factually correct one. List of Pages needing attention Burgundavia 07:04, May 13, 2004 (UTC)
 * Delete. With all due respect, a lot of factually correct articles wind up getting deleted.  "Factually correct" doesn't always equal "encyclopedic."  This doesn't even come close to being useful, let alone encyclopedic. - Lucky 6.9 22:20, 13 May 2004 (UTC)
 * The only definition I have at hand for encyclopedic is as such: broad in scope or content; "encyclopedic knowledge", from here. IMHO, this is the beginning of a topic that *is* encyclopedic. Rental of cottages is broad in scope (lots of people do it) and content(there are many ways/places/times/ideas about cottage rental). Now, to play devils advocate, the topic is tiny, and fairly esoteric. But as many people have pointed out in the past, hard drive space is cheap. This article is not vanity or factually wrong so is basically harmless IMHO. I hope you understand my position better. Burgundavia 07:40, May 15, 2004 (UTC)
 * I think we also need articles on Car Rental, Video Rental and Beach Chair Rental to be fair and comprehensive. Plus Suit Hire and Wedding Dress Hire of course. Alternatively, a Delete would be good. -- EuroTom 13:57, 15 May 2004 (UTC)
 * Delete. Insignificant. Takes a clause out of everyday conversations and attempts to make an encyclopedic article out of it. Not buying it. -- Stevietheman 17:11, 15 May 2004 (UTC)
 * Redirect to Self-catering :p The Land 19:50, 17 May 2004 (UTC)
 * Delete. What a foolish topic for an encyclopedia article.Denni 17:04, 2004 May 18 (UTC)

This page is now preserved as an archive of the debate and is no longer 'live'. Subsequent comments on the issue or the deletion should be placed on other relevant 'live' pages. Please do not edit this page.


text:
Talk:Mount Wellington (Tasmania)

Untitled
Hobartians - is that really appropriate? SatuSuro 02:29, 4 March 2007 (UTC)

Nearest permanent settlement
'It is not popularly known that the nearest permanent human settlement directly west of the very pinnacle of the mountain, is 11,000 kilometres away, in Chile'

What atlas are we using here? Has Argentina ceased to exist? This needs to be cited or deleted.

 * I've removed it - the best reference I could find was Answers.com, which appeared to have come from Wikipedia anyway. --Scott Davis Talk 13:56, 13 January 2008 (UTC)

 * If it is true, it's referring to permanent settlements. Otherwise you're not just forgetting Argentina, but the rest of Tasmania west of the mountain as well!-- Just James  T / C  12:12, 11 November 2008 (UTC)

Current cable car proposal
There have been a couple of single-purpose accounts recently adding emotive/biased content into the paragraph about the current cable car proposal. If people wish to introduce further changes to this paragraph please suggest them here on the talk page first. -- Chuq (talk) 13:19, 18 August 2014 (UTC)

Dual naming
Do people think it is appropriate to rename this article to kunanyi / Mount Wellington? I notice signs (such as at the pinnacle) have been changed, but also the road sign such as when leaving the Southern Outlet has been modified (rather awkwardly - with giant brackets). All names have benefits: I'm not suggesting one name over the other but it is worth having the discussion. See also List of dual place names in New Zealand. -- Chuq (talk) 06:04, 19 November 2014 (UTC)
 * kunanyi / Mount Wellington is the official name
 * Mount Wellington is the most common name
 * kunanyi doesn't require disambiguation
 * no, the only name is Mount Wellington, the other names no one will know. Kunanyi has had 3 hits in the last 3 months, whereas the curent name has 7150 hits in the same time. We often ignore official names as titles as they are not the WP:commonname as our policy requires.Redirects are OK. Graeme Bartlett (talk) 06:52, 19 November 2014 (UTC)
 * Regarding the hit counts, are they from internal links or actual typed search teams (from Google or WP?) given the redirect from kunanyi didn't exist until yesterday, I'm not surprised. WP:COMMONNAME does make sense though, for now. Maybe in the future.  (I notice Uluru is at the aboriginal name, rather than Uluru / Ayers Rock). -- Chuq (talk) 03:48, 20 November 2014 (UTC)
 * Hobart City Council calls it "kunanyi / Mount Wellington", following the capitalization rules of palawa kani. Still, WP:commonname would appear to apply, in my opinion.  Maybe the article could do with a "name" section or subsection? With references, of course. Pete "Moonah Hooner" AU aka --Shirt58 (talk) 09:08, 20 November 2014 (UTC)
 * It may at least deserve a mention. I'll re-word the intro! -- Chuq (talk) 12:10, 20 November 2014 (UTC)

-->This article should definitely should be titled with it's correct, official and commonly used name: 'kunanyi / Mount Wellington' or 'kunanyi' Mwvr (talk) 08:15, 20 October 2019 (UTC)Mwvr
 * You would need to provide some evidence that it is the common name. StAnselm (talk) 08:51, 20 October 2019 (UTC)
 * Lots of recent books still have just "Mt Wellington". Even The Mercury sometimes slips up and just has "Mt Wellington". So does ABC News. StAnselm (talk) 08:58, 20 October 2019 (UTC)
 * the ABC now refers to the mountain as kunanyi/Mount Wellington with respect to that very same cable car project as of 2021:, as does the Mercury: Ljgua124 (talk) 02:52, 13 January 2022 (UTC)

I agree it should be kunanyi/Mt Wellington - to be omitting the palawa kani name in 2020 looks out of place, out of date and questionable. A google search on the word kunanyi shows that it is in common usage by the local population (or which I am a member). Lindaseaborn (talk) 03:40, 16 May 2020 (UTC)
 * Just checking back in on this, just last week The Mercury had the headline "Dale Eric Godfrey’s death at Mt Wellington to remain unsolved", and just yesterday, the Kidspot website had a piece on "3 weekend getaways an hour from your capital city" with just "Mount Wellington". So perhaps in recent news articles the dual name is predominant, but that is still not enough to displace "Mount Wellington" has the common name. We may need to wait a few more years to see how published books are handling it. StAnselm (talk) 22:25, 7 June 2020 (UTC)

Further evidence that kunanyi / Mount Wellington is in common usage and should be considered the common name (here seen used by the ABC and the Mercury):. I believe it is time to consider renaming this page. Ljgua124 (talk) 02:52, 13 January 2022 (UTC)

 * I'd also note that kunanyi / Mount Wellington is universally seen on road signs and buses in the area. Poketama (talk) 03:12, 24 April 2022 (UTC)
 * Page views update for last month: kunanyi:5 ; kunanyi / Mount Wellington 21 ; Mount Wellington (Tasmania): 3433. In the last year kunanyi has 57 hits. See https://pageviews.wmcloud.org/?project=en.wikipedia.org&platform=all-access&agent=user&redirects=0&start=2021-04-24&end=2022-04-23&pages=Kunanyi|Mount_Wellington_(Tasmania)|Kunanyi_/_Mount_Wellington. Graeme Bartlett (talk) 09:13, 24 April 2022 (UTC)

kunanyi / Mount Wellington is the primary name used for road signs, is the officially gazetted name, and is seeing increased media use. I think the most appropriate course of action is to adopt this usage. NebuchadnezzarHammurabi (talk) 07:39, 28 May 2022 (UTC)
 * Yes, I'm inclined to agree. We still need to use WP:RM, though. StAnselm (talk) 14:00, 28 May 2022 (UTC)
 * In that case, I'll get one started. Poketama (talk) 17:54, 16 June 2022 (UTC)

Incorrect Elevation
Maybe the official elevation has changed, but my understanding is that the elevation of Mount Wellington is 1,271m rather than 1,269m. 1,271 is quoted on Tasmap maps and publications, and on the Wellington Park site (http://www.wellingtonpark.org.au/faq/), and even in the weblink referenced in the article (although older versions of the site may have had a different figure). 121.223.161.89 (talk) 00:32, 16 December 2016 (UTC)

Mountain renamed by gazette on 19 Dec 2013
Mount Wellington was renamed kunanyi on 19 Dec 2013 by the Tasmanian Nomenclature Board: Confirmation Notice No 111. As a consequence the wikipedia page has been moved to kunanyi / Mount Wellington to reflect the gazetted name change

Under Dual Naming policy the accepted name for the mountain is is kunanyi / Mount Wellington. Palawa Kani placenames are conventionally spelt without a capital but Wikipedia defaults to a capital in the title.

The Gazetting of the mountain as kunanyi with the dual naming of kunanyi / Mount Wellington can be viewed at the Nomenclature Board of Tasmania. Sean Parker (talk) 11:34, 27 May 2017 (UTC)
 * Wikipedia uses the name in common use, rather than official names. It is OK to mention the official name in the text however. If the official name becomes widespread in use, then it can be renamed. But due to your blanking of the redirect, it will not be possible without admin assistance.  Graeme Bartlett (talk) 12:11, 27 May 2017 (UTC)

The mountain's name is not Mt Wellington it is kunanyi / Mt Wellington and this page will be referred to Wikipedia administrators for adjudication.Sean Parker (talk) 12:23, 27 May 2017 (UTC)

What wikipedia is WP:ABOUT probably needs to be read very carefully... as well as WP:AGF and WP:NOT

 * If you bothered to look User Graeme Bartlett is an administrator for a start.. and also, please take note an experienced editor on Tasmanian subjects...

 * Wikipedia is not about creating a list 'exact' by legal proscription every items as proscribed by legal or other means - there are a wide range of options which are used for naming people, things and places - and it is not a pleasant experience in some cases - there are some policies well established which are not there to accept exact legal definitions and names - but in fact those which are found as common, and accepted names - as Graeme has very specifically indicated that Wikipedia uses the name in common use, rather than official names - take a look around wikipedia - this is the case. Being determined to make a fuss about an exact name will waste yours and others time - the cases of where 'exact' names have failed to move the wikipedia community is a long litany of exasperated editors who have tried to hijack policy or precedent - it does not work, try to learn from it and move on, rather than be stuck with it, is a suggestion.

 * Tasmanian topics and subjects are 'under-watched' - and as a consequence followup or 'other eyes' may be long in coming along. (I once waited a year for a reply) - if you really have the projects aims at heart - not your own particular agenda, it might be better to have arguments about others things in other places - it gets very quiet in Tasmanian project space. JarrahTree 12:46, 27 May 2017 (UTC)

 * Also look a item 5 - this ha all been through before, sigh... with WP:AGF JarrahTree 12:49, 27 May 2017 (UTC)

references to Aboriginal words
There seems to be something to do with pushing an opinion or preference going on with references to Aboriginal words on this page. There is a heavy reliance on the Milligan publication.

I've just had a look at it and whilst it does list the names Unghbanyahletta and Poorawetter it does not identify which language groups these names are from. Calling them the "real Aboriginal" names seems to be an opinion/preference rather than fact,and calling palawa kani "conlang" instead of it's name seems strange.

Palawa kani is used across Tasmania in dual naming and it would make sense for it be called by its name rather than "conlang". Statements such as "Mount Wellington was originally referred by the original Tasmanian nations of the area as unghbanyahletta (or ungyhaletta), poorawetter (or ‘'pooranetere'’, also pooranetteri),[1] " should be edited to reflect the source they come from, eg two names (from unidentified language groups) recorded by Milligan for the moountain were unghbanyahletta (or ungyhaletta), poorawetter (or ‘'pooranetere'’, also pooranetteri),[1] Lindaseaborn (talk) 03:18, 16 May 2020 (UTC)

Requested move 16 June 2022

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: Not Moved (non-admin closure) >>> Extorc . talk  07:47, 23 June 2022 (UTC)

Mount Wellington (Tasmania) → kunanyi / Mount Wellington – kunanyi / Mount Wellington is the primary name used for road signs, is the officially gazetted name, is used on buses, and is seeing increased media use. It has been an official name for almost a decade now I believe, and has now become pretty frequently used. This name would also allow this page to remove the (Tasmania) disambiguation. This has been discussed before, but there seems to be a large amount of users who approve of a change now. I don't believe it could be reasonably expected that this would harm the page views of this page. Worldwide and on Australia on Google, a roughly equal amount of users are searching 'kunanyi' and 'mount wellington tasmania' https://trends.google.com/trends/explore?geo=AU&q=kunanyi,mount%20wellington%20tasmania,kunanyi%20mount%20wellington Poketama (talk) 18:09, 16 June 2022 (UTC)

 * Support for reasons I stated above. Poketama (talk) 18:12, 16 June 2022 (UTC)

 * Comment. I've been holding out against this for quite a while on the basis of WP:COMMONNAME (see above discussions), but I think the tide has turned now. However, looking at the news - there was a recent incident there - it's still not clear:
 * The Guardian (subheading): "Eight people became trapped on Mt Wellington’s summit, and another is missing, as blizzard-like weather causes ‘deadly’ conditions"
 * ABC (heading): "Hikers rescued on kunanyi/Mt Wellington, woman killed by falling tree as wild weather lashes state"
 * 9 News (first mention): "Eight people in total had to be rescued from Mt Wellington in Hobart yesterday, in two separate incidents."
 * (Disclosure: Hobart is my home town, but it has been a couple of decades since I lived there.) StAnselm (talk) 19:31, 16 June 2022 (UTC)

 * Support. A check of Google News suggests that kunanyi, Mount Wellington, and the dual name are all used with comparable frequency; since there's not an obvious WP:COMMONNAME, the dual name will ensure the greatest amount of recognizability. The dual name also serves as natural disambiguation, which is preferable to the current parenthetical title. ModernDayTrilobite (talk • contribs) 21:53, 16 June 2022 (UTC)
 * Oppose per WP:COMMONNAME. Ngrams makes it clear that the dual name has minimal use, as does Google Scholar (175 results for the dual name, 2070 results for Mount Wellington). Google News is also prefers the single name, although not as strongly, with 211 results for Mount Wellington, compared to 103 for the dual name.
 * The proposed name also has recognizability problems, as it leads with the less common part of the name, and "Tasmania" is more useful for readers in recognizing this mountain than "kunanyi" is. As a form of disambiguation, the proposed title is also not suitable; a slash is less natural than brackets, and WP:PLACEDAB requires that Australian places are disambiguated with the name of the state. BilledMammal (talk) 11:20, 17 June 2022 (UTC)
 * Comment. User:BilledMammal That there are fewer Google Scholar citations for "kunanyi / Mount Wellington" or "kunanyi" than "Mount Wellington" alone is unsurprising, given the dual names were adopted nine years ago. Consider that Uluru has ≈14k Google Scholar citations compared to ≈41k for Ayers Rock; Uluru's dual name was adopted 29 years ago Mwvr (talk) 11:46, 17 June 2022 (UTC)
 * Since the name change, there have been 409 results for Mount Wellington, 106 results for kunanyi, and 52 results for the dual name. BilledMammal (talk) 11:58, 17 June 2022 (UTC)
 * ngram is not reliable in this case as 1. It's limited to up to 2019. and 2. Mount Wellington is a name used in multiple locations so the count is inflated.
 * Also, the usage is increasing as time goes on at Google Scholar. Sorted by 2020, the usage is 90 to 71 (in favour of the non-dual name).Poketama (talk) 10:48, 19 June 2022 (UTC)

Bureau of Meterology and ABC News use dual name. Somewhat anecdotal, but watching ABC News Tasmania and ABC late news tonight, I have heard one news reporter refer to the mountain as kunanyi (ABC News Tasmania, 17 June 2022); and another ABC News channel story referred to 'kunanyi / Mount Wellington' (although the story text detailed 'Kunanyi Mount Wellington' [sic]). A search of Tasmanian Parliament House of Assembly Hansard over 2020-22 yields 26 results for "kunanyi"; 22 results for "Mount Wellington" or "Mt Wellington". Ten of the 26 results for kunanyi were 'kunanyi / Mount Wellington' or a similar variation. Eight of the 22 results for "Mount Wellington" or "Mt Wellington" included dual name kunanyi. Seven of the 22 result were in the context of the cable car, five of which were referring specifically to a cable car company, which does not include kunanyi in its name. Mwvr (talk) 11:25, 17 June 2022 (UTC)
 * Support. Road signs refer to kunanyi / Mount Wellington, for example: Fern Tree and Davey Street
 * Support seems like a sensible move based on the evidence presented. My only question is whether we might need to have kunanyi capitalised in the title, as it seems there might be some technical limitations with article titles starting in lowercase? Turnagra (talk) 20:28, 17 June 2022 (UTC).
 * It could be made to display lowercase with which I have now set on the redirect. Graeme Bartlett (talk) 23:45, 17 June 2022 (UTC)
 * Oppose - Tasmania and Hobart are significant tourist destinations and have been for many years. In the world's literature Mount Wellington is the best-known name regardless of what the local council does. --Pete (talk) 23:28, 17 June 2022 (UTC)
 * Oppose per BilledMammal. Dāsānudāsa (talk) 07:31, 18 June 2022 (UTC)
 * Oppose, as this is the english language Wikipedia. GoodDay (talk) 17:02, 18 June 2022 (UTC)
 * I'd note that the entire argument is that the proposed name is used in English. Turnagra (talk) 19:19, 18 June 2022 (UTC)
 * Yeah this is not a valid reason in Wikipolicy to oppose. Poketama (talk) 10:49, 19 June 2022 (UTC)
 * Oppose per BilledMammal. I expect that at some point the usage will shift, but it's not there yet. StAnselm (talk) 21:13, 18 June 2022 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.
 * Oppose - per Pete and BilledMammal. Although kunanyi is heavily promoted at a higher level it's still going to be quite a while before it becomes a common term Malvus (talk) 23:20, 18 June 2022 (UTC)

title: Talk:Mount Wellington (Tasmania)


text:
Anatoly Fomenko

Anatoly Timofeevich Fomenko (Анато́лий Тимофе́евич Фоме́нко; born 13 March 1945 in Stalino, USSR, now the city of Donetsk) is a Soviet and Russian professor of Mathematician at Moscow State University. He is well-known as a topologist and member of the Russian Academy of Sciences. He is a painter and illustrator of original artworks inspired by topological objects and structures.

Fomenko is also widely known as a conspiracy theorist. He originated a fictitious and pseudoscientific history called New Chronology, based on works of Russian-Soviet writer Nikolai Alexandrovich Morozov.

Biography
Fomenko is the son of Timothy Grigorievich Fomenko (Russian: Тимофей Григорьевич Фоме́нко), an industrial engineer, and Valentina Polikarpovna (née Markova) (Russian: Валентина Поликарповна Маркова), a philologist and teacher of Russian language and literature. His parents would later co-author his works on New Chronology in 1983 and 1996. Born in what is now Donetsk, he was raised and schooled in Magadan. In 1959, his family returned to Eastern Ukraine and settled in the city of Luhansk, where Fomenko attended Secondary School No. 26. During secondary school, Fomenko participated in many competitions relating to mathematics and won several medals as a result. Also in 1959, the magazine Pionerskaya Pravda (Russian: Пионерская правда, Pioneer Truth) published his first known science fiction story, "The Mystery of the Milky Way".

Fomenko graduated from the Mechanics and Mathematics Department of Moscow State University in 1967. In 1969, he began studying differential geometry in the same department. In 1970, he defended his thesis "Classification of totally geodesic manifolds realizing nontrivial cycles in Riemannian homogeneous spaces", and in 1972 defended his doctoral thesis, "The decision of the multidimensional plateau problems on Riemannian manifolds." In December 1981, he became a professor of Higher Geometry and Topology, and in 1992, was appointed as head of Differential Geometry and Applications in the Department of Mathematics and Mechanics at Moscow State University

Mathematical work
Fomenko developed the theory of topological invariants of an integrable Hamiltonian system. He is the author of 180 scientific publications and 26 textbooks (including monographs) on mathematics. Fomenko is a specialist in geometry and topology, variational calculus, symplectic topology, Hamiltonian geometry and mechanics, and computational geometry.

Fomenko has served as the editor of several Russian-language mathematics journals and is a member of many councils overseeing dissertations in his field. In 1996, he won the State Prize of the Russian Federation for excellence in mathematics. He is a full member (Academician) of the Russian Academy of Sciences (1994), the International Higher Education Academy of Sciences (1993), and the Russian Academy of Technological Sciences (2009). He is also a member of the Russian Academy of Natural Sciences (1991).

Fomenko is the author of extensive writings in his original fields of mathematics, and is also known for his original drawings inspired by topological objects and structures.

Historical revisionism
Fomenko is one of the authors of a concept that manipulates historical chronology. It is known as New Chronology. Fomenko claims that he has discovered new empirico-statistical methods and their application to determine that many historical events do not correspond with the dates on which they are supposed to have occurred. He asserts from this that all of ancient history (including the history of Greece, Rome, and Egypt) is merely a reflection of events that occurred in the Middle Ages, and that all of Chinese and Arab history are fabrications of 17th- and 18th-century Jesuits. Fomenko is the author and sometimes co-author of several books the analysis of historical chronicles as well as the chronology of antiquity and the Middle Ages.

He also claims that Jesus lived in the 12th century A.D. and was crucified on Joshua's Hill; that the Trojan War and the Crusades were the same historical event; and that Genghis Khan and the Mongols were actually Russians, that the lands west of the Thirteen Colonies that now constitute the American West and Middle West were a far eastern part of "Siberian-American Empire" prior to its disintegration in 1775, and many other claims that contradict conventional historiography. As well as disputing written chronologies, Fomenko also disputes scientific dating techniques such as dendrochronology and radiocarbon dating. His books include Empirico-statistical Analysis of Narrative Material and Its Applications, and History: Fiction or Science?.

Most Russian scientists and worldwide historians consider Fomenko's historical works to be either pseudoscientific or antiscientific.

Artwork
Fomenko is a painter and illustrator whose work often depicts objects from mathematics, many related to topology.

Mathematical

 * A.V.Bolsinov and A.T. Fomenko : Integrable Hamiltonian Systems: Geometry, Topology, Classification (Hardcover), ISBN 0-415-29805-9
 * B. A. Dubrovin, S. P. Novikov, A.T. Fomenko Modern Geometry. Methods and Applications. Springer-Verlag, GTM 93, Part 1, 1984; GTM 104, Part 2, 1985. Part 3, 1990, GTM 124.
 * A.T. Fomenko, V. V. Trofimov Integrable Systems on Lie Algebras and Symmetric Spaces. Gordon and Breach, 1987.
 * A.T. Fomenko Differential Geometry and Topology Plenum Publishing Corporation. 1987. USA, Consultants Bureau, New York and London.
 * A.T. Fomenko Integrability and Nonintegrability in Geometry and Mechanics. Kluwer Academic Publishers, The Netherlands, 1988.
 * A.T. Fomenko Tensor and Vector Analysis: Geometry, Mechanics and Physics. – Taylor and Francis, 1988.
 * A.T. Fomenko Symplectic Geometry. Methods and Applications. Gordon and Breach, 1988. Second edition 1995.
 * A.T. Fomenko, S. P. Novikov The basic elements of differential geometry and topology. Kluwer Acad. Publishers, The Netherlands, 1990.
 * A.T. Fomenko, Richard Lipkin, Mathematical Impressions, American Mathematical Society, 1990, 184 pp. ISBN 0-8218-0162-7
 * A.T. Fomenko The Plateau Problem (vols. 1, 2). Gordon and Breach, 1990. (Studies in the Development of Modern Mathematics.)
 * A.T. Fomenko Variational Principles of Topology. Multidimensional Minimal Surface Theory. Kluwer Academic Publishers, The Netherlands, 1990.
 * A.T. Fomenko Topological variational problems. – Gordon and Breach, 1991.
 * A.T. Fomenko, Dao Chong Thi Minimal surfaces and Plateau problem. USA, American Mathematical Society, 1991.
 * A.T. Fomenko, A.A.Tuzhilin Geometry of Minimal Surfaces in Three-Dimensional Space. USA, American Mathematical Society. In: Translation of Mathematical Monographs. vol.93, 1991.
 * A.T. Fomenko Topological Classification of Integrable Systems. Advances in Soviet Mathematics, vol. 6. USA, American Mathematical Society, 1991.
 * A.T. Fomenko Visual geometry and topology. Springer-Verlag, 1994.
 * A.T. Fomenko, S.V.Matveev Algorithmic and Computer Methods for Three-Manifolds. Kluwer Academic Publishers, The Netherlands, 1997.
 * A.T. Fomenko, T.L. Kunii Topological Modeling for Visualization. – Springer-Verlag, 1997.
 * A.T. Fomenko, A. V. Bolsinov Integrable Hamiltonian Systems: Geometry, Topology, Classification. Taylor and Francis, 2003.
 * A.T. Fomenko, D. B. Fuchs Homotopical Topology. Springer. Second edition, GTM 273, 2016.

Pseudohistorical

 * Fomenko A.T. «Some new empirico–statistical methods of dating and the analysis of present global chronology»,— London: The British Library, Department of printed books. Cup. 918/87, 1981.
 * A.T. Fomenko, V. V Kalashnikov., G. V. Nosovsky Geometrical and Statistical Methods of Analysis of Star Configurations. Dating Ptolemy's Almagest. – CRC-Press, USA, 1993.
 * A.T. Fomenko Empirico-Statistical Analysis of Narrative Material and its Applications to Historical Dating. Vol.1: The Development of the Statistical Tools. Vol.2: The Analysis of Ancient and Medieval Records. – Kluwer Academic Publishers. The Netherlands, 1994.
 * A.T. Fomenko New Methods of Statistical Analysis of Historical Texts. Applications to Chronology. Antiquity in the Middle Ages. Greek and Bible History. Vols.1, 2, 3. – Lewiston, New York: Edwin Mellen Press, 1999.
 * Fomenko A.T. «Antiquity in the Middle Ages. Greek and Bible History», Lewiston, New York: Edwin Mellen Press, (Scholarly Monographs in the Russian Language), 1999.
 * A.T. Fomenko et al.: History: Fiction or Science? Chronology 1, Introducing the problem. A criticism of the Scaligerian chronology. Dating methods as offered by mathematical statistics. Eclipses and zodiacs. ISBN 2-913621-07-4
 * A.T. Fomenko et al.: History: Fiction or Science? Chronology 2, The dynastic parallelism method. Rome. Troy. Greece. The Bible. Chronological shifts. ISBN 2-913621-06-6
 * A.T. Fomenko et al.: History: Fiction or Science? Chronology 3, Astronomical methods as applied to chronology. Ptolemy’s Almagest. Tycho Brahe. Copernicus. The Egyptian zodiacs. ISBN 2-913621-08-2
 * Nosovsky G.V., Fomenko А.Т. «Russia. Britain. Byzantium. Rome. History: Fiction or Science? Chronology vol. IV»,— Paris, London, New York: Mithec, Delamere Resources LLC, 2008, 727 pp.

title: Anatoly Fomenko