1. Characteristics of Chinese Buddhism and its traditional ceremonies
The structure of Buddhism in China differs from that in Japan in that no strict distinction is made between sects. Sects like Zen, Kegon, Jodo and Mikkyo which in Japan are independent of each other are merged in Chinese Buddhism. This tendency for fusion is apparent also in the field of religious services, and in services the various Buddhist scriptures Amituo-jing(_??__??__??__??_, Japanese Amida-kyo), Panruoxin-jing _??__??__??__??_Hannyashin-gyo), Huayan-jing (_??__??__??_, Kegon-kyo), Lengyan-zhou (_??__??__??_, Ryogon-shu), Dabei-zhou (_??__??__??_, Daihi-shu), and so on, are chanted. The basic order of the service in Chinese Buddhism is: Xiangzan (_??__??_, Japanese Kosan); Chengshenghao (_??__??__??_, Shoshogo); Dujing (_??__??_, Dokyo); Zan(_??_, San); Nianfo (_??__??_, Nembutsu); and Sanguiyi (_??__??__??_, Sankie).
2. Service Texts
The service text used in Chinese Buddhism is the Shanmen-risong (_??__??__??__??_, Japanese pronunciation Zemmon nichiju). This was completed by making additions to the Zhujing-risong-jiyao (_??__??__??__??__??__??_, Shokyo nichiju shuyo), which was edited by Zhuhong _??__??_ in 1600, and has been reprinted many times to this day. The contents of this service text is based on daily services given in the morning and evening, records many zan (_??_, san) and tuoluoni (_??__??__??_, darani), and includes forms of services compiled during the Tang and Song dynasties. It also preserves teachings of successive masters of the Shan (_??_, Zen) sect, and a historical table of the sect. Because of this, it is used as a textbook for lectures at Buddhist schools. The text also includes musical notation that indicates the music of percussion instruments, although there is no notation of melody. In addition, a slightly revised version of the same material was published in Shanghai in 1980 under the title Fojiao-niansong-ji (_??__??__??__??__??_, Bukkyo nenju-shu).
3. Characteristics of the chants
The chanting of jingdian (_??__??_, sutra texts) and tuoluoni in non-melodic fashion is accompanied by a wood-block, the muyu (_??__??_, mokugyo). Drums, bells and gongs are used to accompany melodic chanting, which creates a lively atmosphere of an auspicious nature. A majority of the chants fall into a metric pattern in which one character of the text is sung to a single measure of four-beat duration. In typical percussion patterns, a large drum is beaten once and a bell rung twice, and a gong struck occasionally; however, when the gong enters, the patterns of the drum and bell change. The melodic scale employed is of the anhemitonic-pentatonic type, often referred to as the Chinese five-note scale, and which is known in Japan as ryosen. Melodic patterns that occur frequently can be distinguished; nevertheless, the order in which they are sung is not fixed. The performance of percussion patterns seems to be standard throughout China, but melodies differ greatly according to regional district.
4. Comparison with the Japanese Obaku sect
The Obaku-shu _??__??__??_, a Japanese Buddhist sect first introduced into Japan from China by the Chinese monk Yinyuan (_??__??_, Japanese pronunciation Ingen) in 1658, has thoroughly conveyed knowledge of the Chinese styles. The formal procedure. of the services and the kinds of instruments used are largely the same as in China. However, the melody of sung chants is quite different, having been altered to a rissen scale characteristic of Japanese music comprising a fifth filled in by second and fourth. It can hence be said that the music of the Obaku sect has been Japanized with regard to its melody.

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