学位授予单位 中央音乐学院  

中文关键词 天师道;科仪音乐;宗教功能;形态特征;审美品格;文化特质透视  

导师 袁静芳  

论文级别 博士  

学科专业名称

中文摘要 龙虎山自晋代以来就是历代天师（1）生活起居、设坛传箓（2）之处，也是道教的中心，在道教史上有着极大的影响，其斋醮科仪音乐具有完备的形态和深刻的内涵，它随着天师道在社会和道教内部地位的提高而不断向外传播并发展完善，对民间乐曲和地域性文化影响极大，同时，它也直接受到了民间音乐和宫廷音乐的多重影响，其音乐连绵不断，发展至今，实为我国传统音乐文化中的宝贵遗产。本文在绪论中追溯了天师道科仪音乐的形成、发展和演变的全过程，并对各个历史时期的主要人物、经典、相关的文化背景、科仪的程序、结构和音乐的特点用比较研究和具体分析的方法进行了全面的梳理，指明了龙虎山天师道科仪音乐的历史传承之脉络和演变轨迹。本文的上篇在实地考察的基础上，对龙虎山天师道当今使用的几项主要科仪的历史与社会文化背景进行了分析与阐述，并实录了《启请告歇科仪》、《灵宝济炼度孤科仪》和《传度授箓科仪》的全部程式及其音乐，籍以说明音乐在科仪中的重要地位和功能作用，克服了前人把道教经韵曲牌音乐孤立于科仪之外来进行观察与研究的弊端。下篇首先探讨了天师道科仪音乐的宗教性功能，指出天师道科仪音乐尽管与民间音乐有着密切的联系，甚至仅从表面观察与当地有些民歌、戏曲、器乐曲等十分相近，但由于它受宗教礼仪和道教观念的影响，并受多种特殊的历史文化因素的复合作用，使其具有了一种不同于世俗音乐的独特的风貌，它那富有空灵超验的神秘性和神圣的宗教性特色是我们每个人都可感受得到的。因此，本文认为天师道科仪音乐除具有着民俗音乐所共有的一般性音乐功能，即认识功能、教育功能和审美功能外，还有其独特的祈禳、济度、通神、感神等宗教性功能。下篇还对现今的龙虎山天师道科仪音乐的曲目、乐队组合、演奏技巧与配器特点、曲式结构类型、龙虎山天师道科仪音乐的构成等方面进行了具体地分析与研究，总结了天师道科仪音乐的旋法特征，探求了天师道科仪音乐中多声音乐织体的内在规律。最后，本文从宗教学、社会学、美学的层面，对道人的音乐概念、音乐价值观进行了阐释，并就天师道科仪音乐的生成背景、道人的修道心理以及审美品格进行了深入的探讨，提出了一系列新观点。该文还从道教经典、道家著作中，选取了历代高道和道家先哲对音乐理论的部分论述，以指明天师道科仪音乐的思想基础与文化内涵。  

英文摘要 Longhu Mountain has been not only the place where the Taoist masters lived and raised pulpits to impart secrets to their disciples since the Jin Dynasty, but also the center of Taoism. Due to the fact that Tianshi Sect's position had been gradually promoted in the society and Taoism, the ritual music, with its mature form and profound implications, was gradually popularized and perfected. It greatly influenced the folk music and local culture. In the meanwhile, it was also directly influenced by the folk music and court music in many ways. Therefore, it can be asserted that the existing Tianshi Taoist ritual music is the great heritages of the traditional Chinese musical culture. In the introduction this dissertation at first reviews the formation, the development and the transition of Tianshi Taoist ritual music and tries to make a comprehensive analysis of its main characters through the ages, the classics, the concerned cultural background, the procedures and structure of its ritual music and its musical attributes, and then the author tries to sketch the general trend of its development and its transition. Based on the data that derived from the on-the-spot investigation, the first section of the present dissertation attempts to make an analysis and exposition of the history and the social background of the main contemporary genres of ritual music in Longfu Mountain. The author of this dissertation has personally recorded the whole procedures and music of " rituals of scriptures in the daily morning and evening" , "ritual of Ling Bao's（灵宝） salvation of the ghost alone" and "ritual of delivering sermon and imparting Lu（箓）" to demonstrate the important role and the function of music in the rituals and correct the errors of our predecessors, who had examined and studied the ritual music by separating the music from the rituals. In the second section this dissertation at first investigates the religious functions of Tianshi Taoist ritual music and points out that, despite its close relation to the folk music, even striking similarity to the local folk songs, operas and instrumental music, Tianshi Taoist ritual music, whose prospect makes one conscious of a transcendental and mysterious atmosphere and a sacred religious attribute, possesses a unique style which is distinct from the secular music, for it was influenced by religious rituals and ideas of the Taoists and a range of special historical and cultural elements. Consequently, this dissertation holds that, aside from the general musical functions common to the music, such as cognitive function, educational function and aesthetical function, Tianshi Taoist ritual music has its unique religious functions, such as prayer, salvation of the souls, consciousness of the God's purpose, and appreciation of God. Moreover, this dissertation has made a concrete analysis of and research in the melodies, the members of the orchestra, the performing skills, the characteristics of orchestration, the musical forms, and the structural factors of Longfu Mountain's ritual music. In the dissertation the author summarizes the melody features of Tianshi Taoist ritual music, grasps the internal laws of polyphony in Tianshi Taoist ritual music. In the end, this dissertation, approaching the problems from the angles of religion, sociology and aesthetics, tries to deeply analyze and elaborate on the Taoists' values on music and aesthetics, draws a conclusion that the formation of Tianshi Taoist ritual music style has a close bearing on the Taoists' distinct psychology and aesthetic tastes, and then discusses the humanistic background of Tianshi Taoist ritual music in a penetrating way. This dissertation also quotes some expositions of the eminent monks and Taoists through the ages to demonstrate the ideological basis and the cultural connotation of Tianshi Taoist ritual music.  

DOI CNKI::CDMD:10046.2.2002.0098