本文選題：四川道教　切入點：廣成壇　出處：《音樂探索》2016年02期 　論文類型：期刊論文

【摘要】：在四川道教科儀音樂的發(fā)展歷史上,作為清代火居道行壇派中形成的一個支派——廣成壇,它在繼承我國唐宋元明以來道教科儀音樂的基礎(chǔ)上,不僅為我們留下了十分完整、自成體系的四川廣成壇科書——廣成儀制,而且還開創(chuàng)了四川廣成壇的道教科儀與音樂。其中,以該派命名的"廣成韻"早已成為中國道教音樂地方韻中家喻戶曉的一大韻腔,是我國音樂類非物質(zhì)文化遺產(chǎn)中的重要項目,在我國道教音樂中獨具一格,值得我們珍視和保護。根據(jù)清代四川道士陳復(fù)慧輯錄和編著的《廣成儀制》《雅宜集》,探討清代四川道教廣成壇使用的科儀和音樂,以彌補四川道教科儀音樂在清代研究方面的不足。
[Abstract]:In the history of the development of Taoist music in Sichuan Province, as a tribe formed in the Taoist Taoist Temple School in the Qing Dynasty, it not only left us very complete on the basis of inheriting the music of Taoist sects from the Tang, Song and Yuan dynasties, but also from the Ming Dynasty. The self-made Sichuan Guang Cheng Tan branch calligraphy-Guangcheng instrument system, but also created the Sichuan Guang Cheng Tan Taoist subject instrument and music. Among them, "Guangcheng rhyme" named after this school has long become a well-known rhyme in the local rhyme of Chinese Taoist music. It is an important item in the intangible cultural heritage of music in China. It is unique in Taoist music in China. It is worthy of our treasure and protection. According to the "Guangcheng system" compiled and edited by Sichuan Taoist Chen Fuhui in the Qing Dynasty, this paper discusses the science and music used in Sichuan Taoism's Guangcheng altar in the Qing Dynasty. In order to make up for Sichuan Taoist music in the Qing Dynasty research deficiencies.
【作者單位】： 四川音樂學(xué)院音樂學(xué)系;
【分類號】：J608
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本文編號：1594185