Short answers, pulled from the story.
The Ghitassara Sutta from the early centuries of the Common Era admonishes monks for reciting teachings with musical intonation. It lists five specific dangers including attachment to sound, annoyance among householders, destruction of concentration, and the risk that future generations will copy this style.
Chinese Buddhist chanting known as fanbai emerged during the Three Kingdoms period. Zhi Qian compiled Sung Chants for Sakra Accompanied by Qin Music around the third century to establish early precedents for solemn recitation without instrumental accompaniment.
Three main forms of Buddhist music flourished during the Tang dynasty: hymns recited in temples for ritual services, proselytizing music called sujiang used in popular preaching, and foqu songs performed during celebrations. Specialized venues called bianchang developed alongside troupes of performers known as yinsheng who specialized in these popular styles.
Machik Labdrön founded the Chod tradition between 1055 and 1153. This tradition incorporates songs with instrumental accompaniment into ritual practices and treats singing Dharma songs as an extraordinarily skillful technique that brings joy to practitioners.
Tibetan Buddhist music uses small hand drums called damaru, hand bells known as dril-bu, horns, cymbals, rgya-gling oboes, gandi wooden gongs, dung dkar conch trumpets, Mongolian yat-ga zithers, and dra-nyen lutes. Monks also practice throat singing or overtone singing to produce separate notes simultaneously.