道教仪式音乐中吟唱调的结构及其文化内涵初探

Primary Exploration of the Structure and Cultural Connotation of Humming Tunes in Taoist Rituals

我国的汉族传统民间歌曲一般划分为号子、山歌、小调三种体裁。吟唱调作为小调之中实用性较强的一个类别,其流行范围更是十分广泛。本文通过对数首道教仪式音乐中所使用的吟唱调进行分析后,认为这些在应用中不断反复进行的旋律,其结构均由结束于羽音的上句和结束于宫音的下句组成,认为这种现象与道教"阴阳相生、阴阳互动"的观念有关。同时,这种"羽—宫"之间的阴阳互动,在其他道教仪式音乐中也有所应用。作者进而比较了佛教、道教音乐中吟唱调的不同结构,认为这种区别是源于两种宗教中截然不同的宗教理念的体现。

There are mainly three types of traditional folk songs in the Han nationality,including the chantey,mountain song（folk songs sung in the field）and minor.As one kind of minors that has a relatively strong practical applicability,the humming tune is extremely popular.This paper analyzes several humming tunes used in Taoist rituals and argues that the repeated melody is composed of one sentence that ends with the sound of yu（la of the Western scale）and another sentence that ends with the sound of gong（do of the Western scale）.The author believes this to be related with the Taoist idea of ＂mutual promotion and interaction between yin and yang＂,which is also reflected in other kinds of Taoist music.This paper further compares different structures of the humming tunes used in Buddhist and Taoist ceremonies,and considers the differences as an embodiment of the two different religious ideas.