本文選題：傳統(tǒng)圣樂 + 國(guó)樂　； 參考：《福建師范大學(xué)》2010年博士論文

【摘要】：以音樂現(xiàn)象作為文化研究的對(duì)象,系屬當(dāng)代民族音樂學(xué)與文化人類學(xué)發(fā)展的交集課題,尤其當(dāng)傳統(tǒng)文化體裁跨向現(xiàn)代社會(huì)發(fā)展的演繹模式,往往受到常民生活的思維意念、外圍環(huán)境的激化變動(dòng)、文化需求的消長(zhǎng)拉鋸、以及內(nèi)外機(jī)體的揉聚改造等因素,以至于在特定時(shí)空及其演化歷程之中,產(chǎn)生長(zhǎng)短不一、明暗交錯(cuò)與動(dòng)靜有別的文化觀照結(jié)果,益使文化研究充滿嚴(yán)峻的挑戰(zhàn)性與高度的趣味性。 本論文即以流傳在寶島臺(tái)灣西南側(cè)的高雄市傳統(tǒng)圣樂為觀照對(duì)象,探討該音樂體裁自1927年開始在鸞堂祭儀演奏迄今,在高雄市民間信仰場(chǎng)域歷經(jīng)將近百年的三個(gè)文化期程——日治鸞堂萌芽期、臺(tái)灣光復(fù)普拓期與國(guó)樂復(fù)合共伴期之演化現(xiàn)象,并特別針對(duì)音樂體裁從形成之初的十三腔圣樂團(tuán)形貌,如何在廟堂主事者與圣樂團(tuán)藝師及樂生的傳承里,一方面竭力固守儒家禮樂教化的具體實(shí)踐、另一方面卻又先后再演化出南音化圣樂團(tuán)、國(guó)樂化圣樂團(tuán)等禮樂變貌；其中,特別是人們?cè)诖似陂g所產(chǎn)生的文化需求與提供滿足之間,必然存在一股為神明奏樂的神圣性與尊貴性之豐厚能量。 為能解析傳統(tǒng)圣樂在高雄市鸞堂宮廟為神明獻(xiàn)演的機(jī)體發(fā)展及其文化特性,本論文除將奠基于民族音樂學(xué)的理論應(yīng)用之外,更植入筆者進(jìn)行文化研究所制定的特定用詞,藉以揭示傳統(tǒng)圣樂在各文化期程的開展模式；筆者奠基于多年來在高雄市進(jìn)行20余所廟堂圣樂團(tuán)的田野采集實(shí)務(wù)、以及辦理數(shù)場(chǎng)多個(gè)圣樂團(tuán)聯(lián)演的大型活動(dòng)經(jīng)驗(yàn),從局外觀察者而至局內(nèi)拓展者的雙重角色出發(fā),將特別從孕育傳統(tǒng)圣樂體裁的環(huán)境背景切入,探討鸞堂宮廟與禮樂需求的基本構(gòu)成、樂團(tuán)藝師與樂生成員的組合傳授、曲譜內(nèi)容與樂器種類的增減異動(dòng)、演出型態(tài)與活動(dòng)功能的文化內(nèi)涵、音樂聲響與周圍體裁的互動(dòng)關(guān)系等機(jī)體元素,逐步解析高雄市傳統(tǒng)圣樂成為當(dāng)代禮樂聲形的文化特性,并從中建構(gòu)觀照文化體裁在特定時(shí)空演化的文化程序。
[Abstract]:Taking musical phenomena as the object of cultural research is a subject of intersection between contemporary ethnomusicology and cultural anthropology, especially when the deductive mode of traditional cultural genres developing to modern society is often influenced by the thinking ideas of ordinary people. Factors such as the aggravation and change of the external environment, the growth and decline of cultural needs, and the transformation of the internal and external organism, and so on, so that in the specific time and space and its evolution process, the length of time is different, the light and dark intertwined with the movement and movement have other cultural reflection results. Cultural studies are filled with severe challenges and high levels of interest. This thesis focuses on the traditional sacred music in Kaohsiung City, which is located in the southwest of Taiwan, and discusses the music style since 1927, when it was performed at Luan Hall. In the field of folk belief in Kaohsiung City, after nearly one hundred years of three cultural periods, the sprout period of the Rizhiluan Hall, the evolution phenomenon of Taiwan's retrocession period and the national music complex co-companion period, In particular, in view of the appearance of the music genre from the beginning of the formation of the Thirteen-Chamber Holy Orchestra, how to adhere to the concrete practice of Confucian rites and music education in the inheritance of the temple masters, the artists of the holy orchestras and the music students, on the one hand, On the other hand, it has evolved into a variety of rituals and music, such as the Nanyin Sage Orchestra, the National Music Sage Orchestra, and so on. In particular, the cultural needs created by people during this period and the provision of satisfaction, There must be a rich energy of sanctity and honor for divine music. In order to analyze the development and cultural characteristics of the traditional music performed for the gods at the Luan Tang Temple in Kaohsiung City, this paper not only bases on the theoretical application of ethnomusicology, but also implants the specific words formulated by the author of the Institute of Culture. In order to reveal the mode of development of traditional music in various cultural periods, the author bases on the field collection practice of more than 20 temples and shrines in Kaohsiung City over the years, as well as the experience of several large-scale events performed by several holy orchestras. Starting from the dual role of an outside observer and an extender of the bureau, this paper will discuss the basic composition of Luan Tang Temple and the need for rites and music, as well as the combination and teaching of orchestra artists and music students, especially from the background of the environment that breeds the traditional saintly music genre. In order to analyze the cultural characteristics of the traditional music in Kaohsiung, the cultural connotation of the performance style and the activity function, the interaction between the music sound and the surrounding genre, and so on, the increase or decrease of the music content and the variety of the musical instrument, etc., has gradually analyzed the cultural characteristics of the traditional sacred music in Kaohsiung City. And from the construction of cultural genre in a specific temporal and spatial evolution of the cultural process.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2010
【分類號(hào)】：J608

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