本文選題：藏傳佛教　切入點：葛根廟　出處：《內(nèi)蒙古師范大學(xué)》2017年碩士論文

【摘要】：葛根廟作為內(nèi)蒙古東部地區(qū)具有代表性目前規(guī)模最大及影響力最深的藏傳佛教寺廟,距今已有三百年的歷史。深入研究調(diào)查葛根廟所蘊含的歷史、宗教、人文知識是對東部地區(qū)乃至內(nèi)蒙古地區(qū)佛教范圍內(nèi)的必要補充。所以筆者將論文方向落在葛根廟儀式音樂上,運用民族音樂學(xué)的理論和研究方法,將民俗學(xué)、社會學(xué)、人類學(xué)等學(xué)科融入當(dāng)中,結(jié)合田野調(diào)查法,理論與實踐相結(jié)合的方法,取得第一手資料作為基礎(chǔ)材料,從音樂分析角度出發(fā),在葛根廟儀式過程的整體背景下,來研究葛根廟儀式音樂的具體內(nèi)容,分析音樂本體,總結(jié)音樂特征。本文對于葛根廟藏傳佛教儀式音樂的調(diào)查從葛根廟藏傳佛教儀式的歷史文化背景與現(xiàn)狀、葛根廟藏傳佛教儀式音樂形態(tài)結(jié)構(gòu)、葛根廟甘珠爾法會儀式音樂實錄三大部分進行研究。第一部分為引言部分,包括對本文的選題緣起、選題意義與研究現(xiàn)狀進行的說明。第二部分為論文的正文部分,由三個章節(jié)組成。第一章葛根廟藏傳佛教儀式的歷史文化沿革。葛根廟藏傳佛教儀式音樂是以寺廟為存活空間,它們的表現(xiàn)風(fēng)格是可以反映它所在時間的歷史。第一節(jié)主要闡述藏傳佛教儀式得以生存的歷史文化背景與現(xiàn)狀。第二節(jié)為葛根廟歷史文化沿革。主要闡述藏傳佛教在興安盟地區(qū)的發(fā)展傳播以及在葛根廟的歷史沿革。第二章葛根廟藏傳佛教儀式音樂形態(tài)結(jié)構(gòu)。本章分為兩節(jié),第一節(jié)是誦經(jīng)儀式音樂形態(tài)特征,主要總結(jié)誦經(jīng)儀式的內(nèi)容,包括儀式時間、儀式場域、儀式所用法器以及分析總結(jié)誦經(jīng)儀式音樂特點,包括誦經(jīng)音調(diào)、調(diào)式特點、樂段結(jié)構(gòu)、節(jié)奏節(jié)拍。第二節(jié)主要闡述查瑪儀式音樂形態(tài)特征,這部分包括查瑪儀式的現(xiàn)狀,以及查瑪?shù)呐e行時間、角色、查瑪法器,和法器樂隊音樂特征。第三章,葛根廟甘珠爾法會儀式音樂實錄。運用民族音樂學(xué)的研究方法闡述葛根廟甘珠爾法會中音樂部分的分析總結(jié)。包括甘珠爾法會內(nèi)容:其中詳細闡述法會儀式時間、場域、參與者、所用法器;分析甘珠爾法會法器演奏音樂特征;最后總結(jié)甘珠爾法會儀式音樂特征,重點是對法器伴奏的音樂特點進行分析總結(jié)。第三部分是結(jié)語,是對論文的研究成果進一步的總結(jié)和概括。最后為參考文獻、附錄和致謝。是筆者收集到關(guān)于葛根廟的歷史圖片。附錄中是筆者田野考察中拍攝的法器圖片與采訪圖片,以及拍攝的葛根廟法會過程記錄圖片與譜例,也是對論文正文部分的補充。
[Abstract]:As the largest and most influential Tibetan Buddhist temple in eastern Inner Mongolia, Gegen Temple has a history of 300 years. Humanistic knowledge is a necessary supplement to Buddhism in the eastern region and even Inner Mongolia. Therefore, the author puts the direction of the thesis on the ritualistic music of the Gegen Temple, and applies the theory and research methods of ethnomusicology to make folklore and sociology. In the process of anthropology and other disciplines, combining the field investigation method, the method of combining theory with practice, obtaining firsthand information as the basic material, starting from the perspective of music analysis, under the overall background of the Gegen Temple ritual process, To study the specific content of Gegen Temple ritual music, analyze the music Noumenon, sum up the music characteristics. This article investigates the Gegen Temple Tibetan Buddhist ritual music from the historical and cultural background and current situation of the Gegen Temple Tibetan Buddhist ceremony, Gegen Temple Tibetan Buddhist ritual music form structure, Gegen Temple Ganjul ritual music record three parts of the study. The first part is the introduction, including the origin of this topic, The second part is the main body of the thesis, which consists of three chapters. The first chapter is the historical and cultural evolution of the Gegen Temple Tibetan Buddhist ceremony. The Gegen Temple Tibetan Buddhist ritual music is based on the temple as the living space. The first section mainly expounds the historical and cultural background and present situation of Tibetan Buddhist rituals to survive. The second section is the historical and cultural evolution of Gegen Temple. The development and spread of religion in XingUNITA area and the historical evolution of the Gegen Temple. Chapter two: the music form and structure of Gegen Temple Tibetan Buddhism ritual. This chapter is divided into two sections. The first section is about the morphological characteristics of the chanting ritual music, which mainly summarizes the contents of the chanting ceremony, including the ritual time, the ritual field, the instruments used in the ceremony, and the characteristics of the chanting ritual music, including the chanting tone, the tone of the chanting, the tone of the chanting, and the structure of the passage. Rhythm and beat. The second section mainly describes the characteristics of Chama ritual music form, which includes the current situation of Chama ritual, as well as the holding time, role, Chamakh instrument, and the musical characteristics of the French band. Using the research method of ethomusicology to expound the analysis and summary of the music part of the Gegen Temple Ganjul Law Society, including the contents of the Ganjul Law Society, in which the time and field of the Dharma ceremony are described in detail. Participants, the instruments used; analysis of the musical characteristics of Ganjul law will be played; finally, summary of the characteristics of Ganjul ritual music, the emphasis is on the music characteristics of the French accompaniment. The third part is the conclusion. It is a further summary and summary of the research results of the thesis. Finally, it is the reference, appendix and thanks. It is the historical picture of the Gegen Temple collected by the author. The appendix is the legal ware picture and the interview picture taken by the author during the field investigation. Gegen Temple and the process of recording pictures and spectral examples, is also the text of the paper.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J608

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