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| 妙雲蘭若母難日祈福報恩儀式及其音樂之研究=A Study of the Imploration-Return Ceremony and Music of Mother Suffering’s Day in Miao-Yun Aranya | ||
| 作者 | 張琇娟 |
|---|---|
| 出版日期 | 2008 |
| 頁次 | 169 |
| 出版者 | 國立臺南藝術大學民族音樂學研究所 |
| 出版者網址 | http://ethnomu.tnnua.edu.tw/releaseRedirect.do?unitID=187 |
| 出版地 | 臺南市, 臺灣 [Tainan shih, Taiwan] |
| 資料類型 | 博碩士論文=Thesis and Dissertation |
| 使用語言 | 中文=Chinese |
| 學位類別 | 碩士 |
| 校院名稱 | 國立臺南藝術大學 |
| 系所名稱 | 民族音樂學研究所 |
| 指導教授 | 鄭德淵 |
| 畢業年度 | 96 |
| 內容註 | |
| 關鍵詞 | 妙雲蘭若=Miao-Yun Aranya; 母難日=Mother Suffering’s Day; 梵唄=Fan-bau; 法會儀式=Ceremony |
| 摘要 | 生日，於佛教中稱之「母難日」。《佛說孝子經》云：「親之生子，懷之十月，身為重病，臨生之日，母危父怖，其情難言。」佛教重視「孝」，不僅提倡供養物質、侍親在側等入世之孝，亦提倡父母心靈上的超脫、不受六道所絆之出世的大孝。故多有寺院舉辦固定時日之法會與共修，以誦經、報恩、植福延壽等儀式引領信眾盡出世之大孝，報父母之重恩。 「妙雲蘭若」係當代佛學泰斗──印順導師掩關之處，其以印順導師所宏闡契理契機之「人間佛教」為本，推動、振興純正佛教，教渡信眾。妙雲蘭若素來不以趕經懺為營生，故其所舉辦之法會，乃是結合「成人學佛班」之教學，教以學生「解行並重」、聞思不忘實踐。其中，「母難日」為妙雲蘭若固定的共修報恩培福法會，於每個月第二個星期日晚上舉行。母難日儀式以梵唄為主軸，過程建構在「酬報恩情──自省懺悔──誠心回向」上。 在儀式進行的過程中，音樂不僅是重要的外顯手法，亦是引發內心情感的重要元素，儀式與音樂間是休戚相關的。傳統佛教以「梵唄」指稱佛教儀式音樂，不直接稱之為音樂，以利與世俗所稱相區分，故在佛教儀式中梵唄的諷誦即為明顯的必要形態。 本文擬透過田野調查、文獻資料彙集整理等研究方法，深入母難日儀式之緣起、結構、經典使用等做宗教層面內涵意義之探討，並探究母難日儀式中，其儀式音樂的音樂形態、諷誦的方式，及法器的聲響功能。同時，整合儀式音樂形態特徵，探析儀式音樂之於儀式所產生的功能性。最後，深究母難日儀式音樂中之樂教能用，並由宗教、社會層面深析母難日法會及儀式音樂對於法會參與者的影響及其深含之意蘊。 Birthday, known in Buddhism, is called """"Mother suffering’s day."""" As it states in """"the Foyuexiaozai"""": “When a mother gives birth to a child, she has to be pregnant for ten months. Like a serious illness, the mother is in danger on the date of the child’s birth, and the father is in fear. This sentimental love is difficult to express in words."""" Buddhism values """"filial piety"""". It not only advocates the idea that a child should provide material support to his parents but also promotes that a child should give his parents a detached mind in order to avoid the trip from six institutes at rebirth. Therefore, a lot of temples have organized religious ceremonies and rituals. They guide their believers to execute filial piety by chanting, paying a debt of gratitude, planting and so on. """"Miao-Yun Aranya"""" is the leading authority in the contemporary Buddhist studies -- the place where Teacher In-Shuen retreated. It not only boosts and invigorates the pure Buddhism but also teaches their believers thoughts based on the principles of World Buddhism. Miao-Yun Aranya has never lived on performing religious ceremonies, therefore the Buddhist ceremonies and rituals are joined with the lectures in the Buddhism Studies Class for Adults. It teaches the students the importance to practice the concepts. Among all the ceremonies, """"Mother Suffering’s Day"""" is a fixed gong-xiu, a religious ritual, which is held on the second Sunday evening of each month. The ceremony held on Mother Suffering’s Day takes Fan-bau as the main axle; its process constructs on the concepts of paying a debt of gratitude, introspection, and reform. During the process of the ceremony on """"Mother Suffering’s Day"""", music is not only the important apparent technique but also the important element which initiates the innermost feelings and emotions. The ceremony and the music are related to each other. In the Traditional Buddhism, """"Fan-bau"""" is the name for the music which is played at the ceremony. The music is not directly called the music because the ceremony music needs to be comparted from the regular music. Therefore, there is an obvious essential to call the ceremony music “Fan-bau”. This article plans to penetrate the field investigation and researches to discuss the origin and structure of the ceremony of “Mother Suffering’s Day”, and its classical usage in the religious aspect. The style and the way of chanting of the ceremony music and the sound function of the musical instruments are also discussed in the article. At the same time, it analyzes the characteristic of the ceremony music and discusses the function of the music which produces at the ceremony. Finally, the article goes into the discussion of the theory of ceremony music. It analyzes how ceremony music which plays at the Buddhism rituals on Mother Suffering’s Day affects the participants of the ceremony and how it deeply influences audience. |
| 目次 | 摘要 I Abstract II 誌謝辭 IV 目錄 V 圖目錄 VI 表目錄 VII 譜目錄 VIII 第一章 緒論 1 第一節 研究動機與目的 1 第二節 文獻回顧 3 第三節 研究範圍與內容 7 第四節 研究理論與方法 9 第五節 研究限制 11 第二章 母難日祈福報恩儀式 12 第一節 儀式緣由與實踐 12 第二節 母難日法會儀式組成與結構 20 第三節 儀式核心──金剛經 27 第四節 儀式的內在意涵 32 第三章 母難日儀式音樂之探析 42 第一節 儀式音樂之源流 42 第二節 母難日儀式音樂類型分析 55 第三節 母難日儀式音樂諷誦模式分析 73 第四節 法器於母難日儀式音樂的運用及功能 76 第四章 母難日儀式音樂與儀式之契合關係 85 第一節 儀式音樂之於母難日儀式的角色與功能 85 第二節 儀式音樂現象與宗教意涵 100 第三節 母難日儀式音樂對於法師、信眾之意蘊 107 第五章 母難日祈福報恩儀式之樂教能用 118 第一節 音聲實踐與音樂修行 118 第二節 母難日儀式對宗教層面、社會倫理的影響 124 第六章 結論 132 參考文獻 134 附錄 141 |
| 點閱次數 | 304 |
| 建檔日期 | 2016.08.15 |
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