第二屆CHIME東亞歌樂會議=Second CHIME Conference on East Asian Voices
出版日期
1995.09.14
資料類型
會議論文=Proceeding Article
使用語言
英文=English
附註項
735; 會議地點：荷蘭鹿特丹; 主協辦單位：歐洲中國音樂研究基金 會European Foundation for Chinese Music Research
關鍵詞
郭長揚; Kuo, Chang-yang; 中國音樂; 佛教音樂=梵唄=Buddhist Music; 佛教; 曲牌; 五聲音階; Chinese Music; Buddhist Chant; Buddhism; Melody Type; Pentatonic Scale
摘要
I. A general introduction The two branches of Taiwan Buddhist chant are HAI- CHAO Yin，brought in northern China, and KU-SAN Yin，from southern China, which is the main source of Taiwan Buddhist chant. II. The melodic characteristics (1) Scale：Chinese Buddhist melodies are Pentatonic in function，though some times extra notes, Fa or Si，are used. (2) Mode：The Buddhist chant is based on Chinese Pentatonic modes, yet the modal nature is obscure. (3) Rhythm：The group singing is mostly in regular rhythm，while more free rhythm is adopted in solo chant. (4) Melodic patterns：frequently a melodic pattern is used for setting many different kinds of song texts. *Music examples will be given to show the melodic characteristics of Taiwan Buddhist chants. III. The performance of Buddhist chant (1) Melodic direction：ambiguously follows the textual intonation，with the ending part generally descending. (2) Chanting style：includes solo，unison and antiphone in syllabic or melismatic styles. (3) Moderate mood：The contrast of strong and weak beats, Cresc. and Dim. is not used -- generally in even dynamics. (4) Oral transmission：It is generally sung by personal listening practice， without music notation. (5) Aesthetic quality：The Buddhist chant reveals solemn，calm and graceful flavor，with dark tone color in the low voice register， neglecting the Western music aesthetic concept. *Some Taiwan Buddhist chanting will be played by tape recording to explain the performing style. IV. Conclusion The Taiwan Buddhist chant reveals the people's religious way of life， which is now widely promoted for cultivating moral and balanced personality.
