归元禅寺水陆法会外坛梁皇宝忏仪式及其音乐分析

Analysis of the Ceremonial Music of Liang Hang Repentance of Land Air Water Act Ceremony of Guiyuan Temple

本文在实地采录的基础上,综合运用梅里亚姆的"概念、行为、音声"三重理论结构模式和香港学者曹本冶、刘红提出的建立研究中国"近"信仰体系仪式音乐的理论构架的设想,把仪式中的音乐放入仪式本身的过程中加以分析,从仪式功能的角度对武汉归元禅寺水陆法会外坛梁皇宝忏仪式及仪式音乐进行了分析,得出其仪式音乐属于表面层次的佛教音乐①,远离传统梵呗。其音乐相对轻松活跃,任何人都可以参与,用于外向性的仪式场合。该层次音乐风格和素材的运用上,受民间音乐的影响较大。音乐多来源于民间或直接加入通俗音乐的成分,世俗化明显。

Based on field surveys, with Merriam triple theoretical structural model of 'concept, behavior, sounds' and the Hong Kong scholar Poonyee Tsao, Liu Hong proposes the establishment of music theory framework envisaged of the study of Chinese 'nearness' belief systems ceremony. It studies the music within the ceremony and ritual music as a whole. This thesis analyzes the ceremony of music from a functional point of the ceremony, and it draws a conclusion that the ceremony of music belongs to the surface level of Buddhist music. The ceremony of music comes from folk music, and it has become a popular music.