论客家音乐对川腔佛乐的涵化与濡化——以重庆罗汉寺瑜伽焰口唱腔为例

Acculturation and Enculturation of Hakka Music on the Buddhist Music in Sichuan Style: a Case Study of Buddhist Singing at Luohan Temple in Chongqing City

佛乐唱腔归属佛教"五明"之"声明",乃弘扬佛法之舟楫,在佛教仪式活动中有着举足轻重的重要功能。作为活态文化,巴渝地区的川腔佛乐在长期的传承演变中受到来自历史战争、宗教活动、移民运动、政治制度、个人创造、社会维护等因素的直接影响。巴渝地区位处大西南咽喉,是巴蜀交通要塞,音乐文化受到来自全国各地包括客家音乐的深刻影响。重庆罗汉寺瑜伽焰口唱腔是川腔佛乐的重要代表,本文从客家方言语音的影响、核心音调的借入、旋律框架的摄受以及整体旋律形态的移植等几方面剖析客家音乐文化作为外来音乐文化对巴渝地区川腔佛乐的深刻影响,揭示其在整体音乐形态与风格上对川腔佛乐实施的涵化与濡化功能。

The singing in Buddhist music belongs to ＂Sheng-ming＂ as one of the five knowledge systems in Bud- dhism that plays a significant role in the Buddhist ceremony to promote Buddhism. As a living culture, Buddhist music a- round Bayu area has been directly influenced by the war, religious activity, immigration movement, political system, in- dividual creation and social preservation because it is located as the transportation hub in the southwest and Bashu area. Its music culture was deeply influenced by all types of music around the country, including Hakka music. The Buddhist singing at Luohan Temple in Chongqing City is an important representative of Buddhist music in Sichuan style. This paper analyzes the influence of Hakka music on the Buddhist music around Bayu area from Hakka vernacular pronunciation, the borrowing of core tone, the reception of melody framework and the transplantation of the overall melody form to demon- strate its acculturation and encuhuration on the whole music form and style of Buddhist music in Sichuan style.