甘肃榆中七月官神仪式音乐研究
|
摘要
宗教仪式的概念从仪式学跨入音乐学领域,掀起了一股以香港中文大学和中国艺术研究院为主要研究团体的仪式音乐研究热潮,不仅形成了系统的理论架构,如信仰、仪式行为、仪式中的音声二元理论结构模式和近——远、内——外、定——活三个基本两极变量的思维方法等,而且将这些理论具体运用于全国各地的仪式音乐普查工作中。
中国的音乐文化博大精深,各地区以及各地区内部的仪式音乐不尽相同,因此在对西北地区的仪式音乐挖掘上,除了少数民族宗教仪式音乐之外,各研究者还应看到并注重汉族民间信仰仪式中的音乐文化。“七月官神”就是这样一种集道、佛、萨满三教一体并融汉、满、蒙、藏四个民族风俗为一身的西北汉族所特有的民俗文化,是以杂姓村落为祭祀群社会类型;以道教神、地方主神——白马天子和八蜡田祖为祭祀对象;以宗族代表(宗爷、社头)为仪式组织者;以外雇师公子班为主要祭祀者和音乐表演人;以道教科仪音乐和师公子跳神乐舞为主要音乐形式的社会性音乐祭祀礼仪。
非物质文化遗产研究虽说是一门新生学科,看似和仪式音乐毫不相干,但是它们却相互包含,相互补充,共同作用于我国的传统音乐文化的研究和保护。随着“七月官神”被列入甘肃省级非物质文化遗产的行列,笔者就将其仪式音乐的研究和非物质文化遗产研究相互结合,全面考察“七月官神”的深层内涵。
Introduced conceptually from the area of ritualistic research into musicology, religious rites have arrested much attention to researchers in quite a few institutes, such as the Chinese Academy of Arts and the Chinese University of Hong Kong, not only forming their own theoretical and system, including beliefs, rituals acts, structural patterns of the in-ceremony ternary-vocal theory, bipolar variable modes of being near-far, inner-external, stable-flexible, but also making specific application of these theories to the survey of ritualistic music throughout our country.
As Chinese music culture are rich and heterogeneous and forms of ritual music vary from region to region, so the investigation into the ritual music in the Northwest of China should not only be focused on religious ritual music of minorities, but researchers should also pay attention to the musical culture in folk beliefs peculiar to the Han nationality. Qi Yue Guan Shen (God of July) is a combination of Taoism, Buddhism and also a particular mixture of Han, Manchu, Mongolian, Tibetan folk customs in the north-west of China. The ceremony honoring Qi Yue Guan Shen is of a social musical sacrificial rite with villagers from distinct customs and nationalities to be ritualistic groups, with the principal and Taoist gods Bai Ma Tian Zi (God of White Horse) and Ba Zha Tian Zu (God of Harvest) regarded as the objects of worship, with clan leaders being ceremony organizers, with employed sorcerer teams performing sacrificial and musical activities, and with Taoist ritualistic music, and dance performed by sorcerers to worship the gods, as the main form of music played on the spot.
Although the study of intangible cultural heritage is a brand-new discipline, seeming to be irrelevant to ritualistic music, yet the former and the latter are interwoven and inter-supplementary, both of which are and will be playing a vital role in the research and protection of China's traditional musical culture. Integrating the research of ritualistic music and the study of immaterial cultural heritage, the thesis will attempt to dwell on the sacrificial ritual of Qi Yue Guan Shen.
中国的音乐文化博大精深,各地区以及各地区内部的仪式音乐不尽相同,因此在对西北地区的仪式音乐挖掘上,除了少数民族宗教仪式音乐之外,各研究者还应看到并注重汉族民间信仰仪式中的音乐文化。“七月官神”就是这样一种集道、佛、萨满三教一体并融汉、满、蒙、藏四个民族风俗为一身的西北汉族所特有的民俗文化,是以杂姓村落为祭祀群社会类型;以道教神、地方主神——白马天子和八蜡田祖为祭祀对象;以宗族代表(宗爷、社头)为仪式组织者;以外雇师公子班为主要祭祀者和音乐表演人;以道教科仪音乐和师公子跳神乐舞为主要音乐形式的社会性音乐祭祀礼仪。
非物质文化遗产研究虽说是一门新生学科,看似和仪式音乐毫不相干,但是它们却相互包含,相互补充,共同作用于我国的传统音乐文化的研究和保护。随着“七月官神”被列入甘肃省级非物质文化遗产的行列,笔者就将其仪式音乐的研究和非物质文化遗产研究相互结合,全面考察“七月官神”的深层内涵。
Introduced conceptually from the area of ritualistic research into musicology, religious rites have arrested much attention to researchers in quite a few institutes, such as the Chinese Academy of Arts and the Chinese University of Hong Kong, not only forming their own theoretical and system, including beliefs, rituals acts, structural patterns of the in-ceremony ternary-vocal theory, bipolar variable modes of being near-far, inner-external, stable-flexible, but also making specific application of these theories to the survey of ritualistic music throughout our country.
As Chinese music culture are rich and heterogeneous and forms of ritual music vary from region to region, so the investigation into the ritual music in the Northwest of China should not only be focused on religious ritual music of minorities, but researchers should also pay attention to the musical culture in folk beliefs peculiar to the Han nationality. Qi Yue Guan Shen (God of July) is a combination of Taoism, Buddhism and also a particular mixture of Han, Manchu, Mongolian, Tibetan folk customs in the north-west of China. The ceremony honoring Qi Yue Guan Shen is of a social musical sacrificial rite with villagers from distinct customs and nationalities to be ritualistic groups, with the principal and Taoist gods Bai Ma Tian Zi (God of White Horse) and Ba Zha Tian Zu (God of Harvest) regarded as the objects of worship, with clan leaders being ceremony organizers, with employed sorcerer teams performing sacrificial and musical activities, and with Taoist ritualistic music, and dance performed by sorcerers to worship the gods, as the main form of music played on the spot.
Although the study of intangible cultural heritage is a brand-new discipline, seeming to be irrelevant to ritualistic music, yet the former and the latter are interwoven and inter-supplementary, both of which are and will be playing a vital role in the research and protection of China's traditional musical culture. Integrating the research of ritualistic music and the study of immaterial cultural heritage, the thesis will attempt to dwell on the sacrificial ritual of Qi Yue Guan Shen.
引文
5 道教文化100问第81页,王卡主编,东方出版社,2006.6
6 新编汉语词典,李国炎 莫衡 单耀海 吴崇康编著,湖南出版社,1991年1月第2版
[1]、政协榆中县委员会学习宣传文史资料委员会 榆中文史资料选辑第二辑--榆中纪事[M]1992年
[2]、榆中县志编委会,榆中县志[M],甘肃人民出版社,2001年10月第1版
[3]、曹本冶,中国传统民间仪式音乐研究--西北卷,西南卷[M],云南人民出版社 2003年12月第1版
[4]、薛良,民族民间音乐工作指南[M],中国文联出版公司,1994年4月第1版
[5]、文化部文学艺术研究所音乐舞蹈研究室编,中国乐器介绍[M],人民音乐出版社,1978年2月第1版
[6]、李民雄,中国打击乐[M],人民音乐出版社,1996年8月第1版
[7]、张兴发编著,道教神仙信仰[M],中国社会科学出版社北京中软电子出版社,2001年8月第1版
[8]、刘建 孙龙奎,宗教与舞蹈[M],民族出版社,1998年5月第1版
[9]、田青,中国宗教音乐[M],1997年5月第1版
[10]、薛艺兵,神圣的娱乐:中国民间祭祀仪式及其音乐的人类学研究[M],宗教文化出版社,2003年3月第1版
[11]、王文章,非物质文化遗产概论[M],文化艺术出版社,2006年10月第1版
[12]、中国艺术研究院 中国非物质文化遗产保护中心编,中国非物质文化遗产普查手册[M],文化艺术出版社,2007年1月第1版
[13]、张博,非物质文化遗产的文化空间保护[J],青海社会科学,2007年第1期
[14]刘锡诚,对几个“非遗”理沦问题的思考[J],凯里学院学报第26卷第1期,2008
6 新编汉语词典,李国炎 莫衡 单耀海 吴崇康编著,湖南出版社,1991年1月第2版
[1]、政协榆中县委员会学习宣传文史资料委员会 榆中文史资料选辑第二辑--榆中纪事[M]1992年
[2]、榆中县志编委会,榆中县志[M],甘肃人民出版社,2001年10月第1版
[3]、曹本冶,中国传统民间仪式音乐研究--西北卷,西南卷[M],云南人民出版社 2003年12月第1版
[4]、薛良,民族民间音乐工作指南[M],中国文联出版公司,1994年4月第1版
[5]、文化部文学艺术研究所音乐舞蹈研究室编,中国乐器介绍[M],人民音乐出版社,1978年2月第1版
[6]、李民雄,中国打击乐[M],人民音乐出版社,1996年8月第1版
[7]、张兴发编著,道教神仙信仰[M],中国社会科学出版社北京中软电子出版社,2001年8月第1版
[8]、刘建 孙龙奎,宗教与舞蹈[M],民族出版社,1998年5月第1版
[9]、田青,中国宗教音乐[M],1997年5月第1版
[10]、薛艺兵,神圣的娱乐:中国民间祭祀仪式及其音乐的人类学研究[M],宗教文化出版社,2003年3月第1版
[11]、王文章,非物质文化遗产概论[M],文化艺术出版社,2006年10月第1版
[12]、中国艺术研究院 中国非物质文化遗产保护中心编,中国非物质文化遗产普查手册[M],文化艺术出版社,2007年1月第1版
[13]、张博,非物质文化遗产的文化空间保护[J],青海社会科学,2007年第1期
[14]刘锡诚,对几个“非遗”理沦问题的思考[J],凯里学院学报第26卷第1期,2008