In Tibetan studies the field of music and chant of the liturgy has always attracted interest. However, in spite of the progress achieved in other areas of Tibetology,this one has remained somewhat neglected though not for lack of interest. Musicologists who have entered the field without all the tools of the trade(knowledge of the language and the culture, paleographic skills, etc.) have come up against unsurmountable obstacles. The task is certainly a difficult one. The secrecy that traditionally surrounds tantric rituals to which liturgical chant is often associated, the very specialized nature of the work, requiring not only very close contact with qualified informants but also their trust and willingness, are only some of the problems that beset those intent on studying Tibetan religious practices.The Treatise on Music (Tib. rol-mo’i bstan-bcos, Chin. 樂論) has been the object of much discussion and has been dealt by various authors (Ellingson 1979, Canzio 1979). The Treatise was translated into Chinese by Zhao Khang (趙康1989).The endeavours of Chinese scholars in the field have been related by Mao Jizeng (毛繼增1998). In this article he defends the value of the Treatise and says that Tibetans have nowadays started to show their heritage and to modernize and that we should profit from their experience but we should prevent them from either westernizing or sinicizing their culture. He adds that we should learn scientifically and diligently this kind of music. he remarks that undoubtedly this book means a lot for the uplifting of Tibetan culture. Earlier on, Tian Lientao (田聯韜1989)had presented and discussed Zhao Khan translation.In any evaluation of the Treatise on Music we have to consider the circumstances in which it was written and its value as a source of concepts for the analysis and description of Tibetan music. The recent discovery of texts by an author cited as Candragomi in the commentary to Sakya Pandita’s Treatise have changed our evaluation of those circumstances. Since I think that The Treatise on Music is still of interest and relevant to Tibetan musicological studies, I offer here this brief recontextualization of the work.
