本文選題：漢傳佛教 + 寺院音樂��； 參考：《中央音樂學(xué)院》2010年碩士論文

【摘要】： 宗教在人類精神活動(dòng)領(lǐng)域中,一直占據(jù)著重要的地位,它與哲學(xué)、歷史學(xué)、文學(xué)等人文學(xué)科之間有著不可分割的聯(lián)系。佛教作為世界二人宗教之一,在中國的發(fā)展距今已有兩千多年的歷史。它以其悠久的歷史積淀、成熟的理論體系和深厚的佛教教義,對(duì)中華民族文化藝術(shù)的發(fā)展起著不容忽視的作用。 漢傳佛教音樂是隨著印度佛教傳入中原地區(qū)后應(yīng)運(yùn)而生的,為“佛教寺院和信眾在舉行宗教儀式時(shí)所用的音樂。佛教認(rèn)為音樂有‘供養(yǎng)’、‘誦佛’作用。法華經(jīng)·方便品云：‘歌唄誦佛德,乃至一小音,皆以成佛道’”。①漢傳佛教音樂作為佛教理論與中國傳統(tǒng)音樂相交叉的邊緣學(xué)科,它既是佛教清規(guī)、儀軌與中國傳統(tǒng)音樂相結(jié)合的結(jié)果、也是佛教與漢族文化融合的產(chǎn)物,這種環(huán)環(huán)相扣的關(guān)系造成了漢傳佛教音樂的諸多特殊性。 改革開放以來,隨著我國宗教信仰自由政策的落實(shí),佛教文化的傳播和影響在大陸社會(huì)迅速擴(kuò)大,佛學(xué)研究成果斐然,其中,佛教音樂方面的研究也是碩果累累,學(xué)者公開發(fā)表論文六百余篇、著作十余部�；仡欉@些論著,筆者發(fā)現(xiàn),經(jīng)過國內(nèi)學(xué)者幾十年的努力,佛教音樂研究不斷向縱、深領(lǐng)域延伸,但與音樂學(xué)其他學(xué)科相比,佛教音樂的宏觀研究相對(duì)滯后,還未有學(xué)者對(duì)這些佛教音樂研究成果進(jìn)行全面的梳理,無法對(duì)佛教音樂研究的整體情況做出把握。 因此,筆者運(yùn)用歷史學(xué)的研究方法對(duì)1980年至2008年漢傳佛教音樂研究成果進(jìn)行梳理、歸納和反思,旨在厘清近二十年漢傳佛教寺院音樂、法事音樂、佛教音樂歷史、佛教音樂思想、佛教石窟壁畫音樂形象、佛教樂器、弘一法師及其佛教歌曲創(chuàng)作等方面的研究特征、嬗變過程及歷史規(guī)律,窺視三十年間中國大陸佛教音樂研究在音樂學(xué)和佛學(xué)研究中的地位,探究三者之間的內(nèi)在聯(lián)系,以期對(duì)其他學(xué)科的研究起到借鑒的作用。
[Abstract]:Religion has always occupied an important position in the field of human spiritual activities, and it is inextricably related to the humanities such as philosophy, history, literature and so on. As one of the two-person religions in the world, Buddhism has a history of more than two thousand years in China. With its long history, mature theoretical system and profound Buddhist doctrine, it plays an important role in the development of Chinese culture and art. Han Buddhist music came into being after Indian Buddhism was introduced into the Central Plains, which is used by Buddhist monasteries and believers in holding religious ceremonies. Buddhism believes that music has the function of'feeding the Pao'and reciting the Buddha. "1.The Buddhist music of the Han Dynasty is regarded as a borderline subject that intersects Buddhist theory with Chinese traditional music. It is a Buddhist discipline," he said. The combination of ritual and Chinese traditional music is also the result of the fusion of Buddhism and Han nationality culture, which leads to the particularity of Han Buddhist music. Since the reform and opening up, with the implementation of the policy of freedom of religious belief in China, the spread and influence of Buddhist culture has expanded rapidly in mainland China. Scholars published more than 600 papers and more than ten books. Reviewing these works, the author finds that through the efforts of domestic scholars for decades, the study of Buddhist music continues to extend to the longitudinal and deep fields, but compared with other subjects of musicology, the macroscopic study of Buddhist music lags behind. No scholars have made a comprehensive analysis of the achievements of Buddhist music research, and can not grasp the overall situation of Buddhist music research. Therefore, the author makes use of the historical research method to sort out, summarize and reflect on the research achievements of Han Buddhist music from 1980 to 2008, in order to clarify the history of Han Buddhist temple music, legalistic music and Buddhist music in the last two decades. The research features, evolution process and historical rules of Buddhist music thought, music image of Buddhist grottoes murals, Buddhist musical instruments, Hongyi Master and his Buddhist song creation, etc. This paper looks at the position of Chinese mainland Buddhist music research in musicology and Buddhist studies during the past 30 years and explores the internal relations between them in order to play a reference role in the study of other disciplines.
【學(xué)位授予單位】：中央音樂學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J608

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 聶麒贊;佛韻今聲[D];中央民族大學(xué);2012年

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本文編號(hào)：1906858