世俗音乐的道教化——关于全真道经韵音乐与世俗音乐关系的探讨

Secular Music To Be Taoism

全真道经韵音乐包括全真正韵和地方韵两种 ,它是在承继道乐传统和吸收世俗音乐的基础上发展而成的 ,结构层次和表现形态自然呈现出两种 ,即以道士修身养性为内容的“雅” ,和以鬼神信仰、祈福禳灾为内容的“俗”。“雅”和“俗”文化特征 ,与创造、承载它的社会阶层和提供它的流传环境息息相关 ,是文人音乐和民间音乐等世俗音乐在全真道经韵中的集中体现。然而 ,道人并不是照搬世俗音乐 ,而是将其道教化 ,即用道教的表述方式来演绎世俗音乐。世俗音乐道教化有其社会根源和思想根源 ,它与中国古代社会思潮的变化相适应 ,与全真道自身的发展相一致。

The qranzhen Taoism rhyme music includes two kinds of tunes, quanzhen standard one and local area one. Since that the quanzhen Taoism rhyme music was based on the inheritance of traditional Taoism music, and assimilation of the secular music, therefore, its structural level and the expression shape are presented two kinds: ya showed the content of Taoist cultivate his moral character, and su (secular) represented the religion of ghosts and gods, pray for blessings and to avert a misfortune. The cultural characteristic of ya and su was closely linked to its societal stratum and surroundings, and it was the literati music and the folk one concentrated reflected in the quanzhen Taoism rhyme music. However, the Taoist did not just copy the secular music, but to use the expression of Taoism playing it. The secular music to be Taoism had own historical origination, it was suit to the change of ancient Chinese ethos and consistent to the development of quanzhen Taoism itself.