本文選題：齋蘸科儀　切入點(diǎn)：儀式音樂　出處：《沈陽師范大學(xué)》2014年碩士論文

【摘要】：道教是土生土長(zhǎng)的中華民族自己的宗教，其出生在中國(guó)，生長(zhǎng)在中國(guó)，實(shí)乃中華大地孕育的產(chǎn)物，人們更親切的將它稱為中國(guó)教。中國(guó)的道教歷史悠久，其最初為遠(yuǎn)古時(shí)期的巫術(shù)，后發(fā)展為秦漢時(shí)期的方術(shù)，傳說黃老道士是其教派前身。中國(guó)的道教音樂體系完備，風(fēng)格獨(dú)特，其儀式音樂在齋蘸科儀中起著重要的作用，目前全國(guó)的道教儀式音樂除使用全國(guó)通用的傳統(tǒng)韻十方韻外，各地區(qū)在十方韻的基礎(chǔ)上結(jié)合本地區(qū)語言音樂特色形成了具于本地區(qū)特色的地方韻，使全國(guó)的道教儀式音樂呈現(xiàn)出豐富多彩的景象。 本文通過田野調(diào)查、深入訪談、個(gè)案分析等民族音樂學(xué)的研究方法對(duì)沈陽蓬瀛宮道教的歷史沿革狀況、蓬瀛宮道教儀式種類與儀式過程、蓬瀛宮道教儀式音樂東北新韻的使用情況、基本特點(diǎn)、東北新韻的傳承等方面問題做了全面的考察與深入的研究。本論文共包括三個(gè)章節(jié)：第一章沈陽蓬瀛宮簡(jiǎn)介，通過筆者的實(shí)地調(diào)查主要針對(duì)沈陽蓬瀛宮道教歷史沿革以及蓬瀛宮的宮觀體制通過文字及圖片說明的形式作系統(tǒng)的介紹。第二章沈陽蓬瀛宮蘸齋科儀程式及其儀式音樂的使用情況，主要針對(duì)沈陽蓬瀛宮每年進(jìn)行的蘸齋科儀進(jìn)行系統(tǒng)的分類、介紹蘸齋科儀內(nèi)容，通過筆者的田野記錄其兩場(chǎng)儀式的全過程，展現(xiàn)其儀式進(jìn)行的全貌。第三章沈陽蓬瀛宮蘸齋科儀音樂，主要針對(duì)蓬瀛宮道教儀式所使用的儀式音樂東北新韻進(jìn)行記譜、以音樂學(xué)分析的方式對(duì)儀式用樂東北新韻進(jìn)行全面系統(tǒng)的分析研究。 通過本課題的研究，首先對(duì)沈陽蓬瀛宮進(jìn)行簡(jiǎn)單的介紹說明；其次對(duì)沈陽蓬瀛宮蘸齋科儀及其儀式用樂情況進(jìn)行系統(tǒng)的研究，使世人了解沈陽蓬瀛宮這座東北地區(qū)唯一一處坤道院及其儀式音樂的基本狀況。最后對(duì)沈陽蓬瀛宮道教儀式音樂進(jìn)行多方位的形態(tài)分析和研究，進(jìn)一步探究東北新韻的特點(diǎn)以及其在儀式中的重要地位。就音樂界而言對(duì)道教儀式音樂東北新韻進(jìn)行研究尚屬首例，因此，對(duì)于東北新韻的音樂研究將會(huì)為中國(guó)民族民間音樂的多元化發(fā)展作出重要的貢獻(xiàn)。同時(shí)，由于受當(dāng)代文化的侵蝕，道教音樂的發(fā)展和運(yùn)用已經(jīng)成為一種夕陽產(chǎn)業(yè)，這樣的研究有利于保護(hù)道教儀式音樂的繼承與流傳。
[Abstract]:Taoism is a native religion of the Chinese nation. It was born in China and grew up in China. In fact, it is the product of the earth of China. People call it the religion of China more affectionately. China has a long history of Taoism. It was originally a witchcraft of ancient times, and later developed into a recipe of Qin and Han dynasties. It is said that the Taoist Taoists in China were the predecessor of his sect. The Taoist music system in China was complete and its style was unique, and its ritual music played an important role in the Zhai Dip Ke Yi. At present, Taoist ritual music throughout the country, in addition to using the traditional rhyme of ten square rhymes commonly used in the whole country, has formed a local rhyme with its own regional characteristics on the basis of the ten aspects of rhyme and combined with the local language and music characteristics of the region. So that Taoist ritual music in the country presents a rich and colorful scene. Based on field investigation, in-depth interviews and case studies, this paper analyzes the historical evolution of Feng Ying Gong Taoism in Shenyang, as well as the types and ritual processes of Feng Ying Gong Taoism. This thesis includes three chapters: chapter 1, introduction to Shenyang Feng Ying Gong, the use of Northeast New Rhyme, basic characteristics, inheritance of Northeast New Rhyme, etc. Through the author's field investigation, the author mainly introduces the historical evolution of Feng Ying Gong Taoism in Shenyang and the palace temple system of Feng Ying Gong in the form of text and picture explanation. Chapter 2: Shenyang Feng Ying Gong Dipping in Ramadan and its instrument. The use of music, Aiming at the systematic classification of the dipping device of Ramadan carried out by Feng Ying Gong in Shenyang every year, the content of the dipping device is introduced, and the whole process of its two ceremonies is recorded through the author's field. Chapter 3: Shenyang Feng Ying Gong dipping in Ramaike instrument music, mainly aiming at the northeast new rhyme of the ritual music used by Feng Ying Gong Taoist ceremony. In the way of musicological analysis, a comprehensive and systematic study on the ritual music northeast new rhyme is carried out. Through the research of this topic, first of all, a brief introduction to Shenyang Feng Ying Gong is given, and secondly, a systematic study of Shenyang Feng Ying Gong dipping in Ramadan and its ritual music is carried out. To make the world understand the basic situation of Shenyang Feng Ying Gong, the only Kun Taoist school in northeast China, and its ritual music. Finally, a multi-directional morphological analysis and study of Shenyang Feng Ying Gong Taoist ritual music is carried out. To further explore the characteristics of Northeast New Rhyme and its important position in ritual. As far as the music industry is concerned, it is the first case to study the Northeast New Rhyme of Taoist ritual Music, therefore, The research on the music of the new rhyme in Northeast China will make an important contribution to the diversified development of Chinese folk music. At the same time, due to the erosion of contemporary culture, the development and application of Taoist music has become a sunset industry. Such a study is conducive to protecting the inheritance and spread of Taoist ritual music.
【學(xué)位授予單位】：沈陽師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J608

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