Short answers, pulled from the story.
Buddhist music, known in Pali and Sanskrit as vàdita or saṅgīta, is music created for or inspired by Buddhism, encompassing both ritual and non-ritual forms. Major traditions include Chinese fanbai, Japanese shōmyō, Tibetan overtone singing, Newari Gunlā Bājan, Cambodian Smot chanting, and Korean pomp'ae, as well as modern genres ranging from folk to punk to metal.
In the Ghitassara Sutta (Anguttara Nikaya 5.209), the Buddha listed five dangers of reciting the Dhamma with musical intonation, including attachment to sound and destruction of meditative concentration. The Sigalovada Sutta listed music among negative sense desires, and the uposatha precepts asked practitioners to abstain from entertainments and music. However, other passages in the same early texts show the Buddha praising a gandharva named Pañcaśikha for his lute playing and singing.
The Sutra of the Questions by Druma, King of the Kinnara, first translated by Lokakṣema and retranslated by Kumārajīva in the fifth century, presents music as a concrete instance of Buddhist emptiness. King Druma teaches that sound emerges from empty space and returns to it, making music not a symbol of emptiness but a direct example of it in lived experience. The Buddha confirms in the sutra that Druma can lead countless beings to omniscience through music.
Vīṇāpa, one of the eighty-four Indian Buddhist mahasiddhas, used playing the vina as a form of spiritual practice called sadhana. His guru Buddhapa instructed him to meditate on the pure sound of his instrument, free of conceptualization. After nine years of this practice, Vīṇāpa is said to have attained the realization of Mahamudra.
Shōmyō, meaning bright voice, is a monophonal choral tradition performed by Buddhist monks that dates from the 12th century. It is especially important in the Tendai, Obaku, and Shingon sects. Its first documented performance was in 752, when hundreds of monks at Tōdai-ji performed hymns during the kaigen ceremony for the Great Buddha (Daibutsu).
Fanbai, meaning Voice of Brahma, is the tradition of Chinese Buddhist chanting that originated in the Three Kingdoms period as sutra recitation set to Chinese music. Emperor Wu of Liang promoted it at his court and supported large-scale Dharma assemblies featuring music. During the Tang dynasty it flourished and gave rise to new genres including shuochang and bianwen storytelling, and its influence on secular musical styles continued through the Song, Ming, and Qing dynasties.