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ii How is it possible that monastic Buddhist musical practice in China, fiercely quashed a few decades ago during the Cultural Revolution, survives, and even thrives today? This dissertation examines how sheng guan wind and percussion music retains elements of tradition vital to its identity as a Buddhist ritual practice while absorbing modern elements that al low it to survive in the context of modern China. An examination of historical data regarding Buddhist music in China provides a basis for comparison of today‟s musical practice to past traditions. These data include a handful of anecdotes describing Buddhist music performances in the early centuries of the religion‟s existence in China, mentions of instrumental music i n Buddhist sutras, Buddhist iconography and writ ings by Chinese and Western scholars regarding Buddhism and Buddhist music. Information regarding current practic