内蒙古兴安盟葛根庙藏传佛教仪式音乐调查研究

发布时间：2018-03-25 04:19

本文选题：藏传佛教　切入点：葛根庙　出处：《内蒙古师范大学》2017年硕士论文

【摘要】：葛根庙作为内蒙古东部地区具有代表性目前规模最大及影响力最深的藏传佛教寺庙,距今已有三百年的历史。深入研究调查葛根庙所蕴含的历史、宗教、人文知识是对东部地区乃至内蒙古地区佛教范围内的必要补充。所以笔者将论文方向落在葛根庙仪式音乐上,运用民族音乐学的理论和研究方法,将民俗学、社会学、人类学等学科融入当中,结合田野调查法,理论与实践相结合的方法,取得第一手资料作为基础材料,从音乐分析角度出发,在葛根庙仪式过程的整体背景下,来研究葛根庙仪式音乐的具体内容,分析音乐本体,总结音乐特征。本文对于葛根庙藏传佛教仪式音乐的调查从葛根庙藏传佛教仪式的历史文化背景与现状、葛根庙藏传佛教仪式音乐形态结构、葛根庙甘珠尔法会仪式音乐实录三大部分进行研究。第一部分为引言部分,包括对本文的选题缘起、选题意义与研究现状进行的说明。第二部分为论文的正文部分,由三个章节组成。第一章葛根庙藏传佛教仪式的历史文化沿革。葛根庙藏传佛教仪式音乐是以寺庙为存活空间,它们的表现风格是可以反映它所在时间的历史。第一节主要阐述藏传佛教仪式得以生存的历史文化背景与现状。第二节为葛根庙历史文化沿革。主要阐述藏传佛教在兴安盟地区的发展传播以及在葛根庙的历史沿革。第二章葛根庙藏传佛教仪式音乐形态结构。本章分为两节,第一节是诵经仪式音乐形态特征,主要总结诵经仪式的内容,包括仪式时间、仪式场域、仪式所用法器以及分析总结诵经仪式音乐特点,包括诵经音调、调式特点、乐段结构、节奏节拍。第二节主要阐述查玛仪式音乐形态特征,这部分包括查玛仪式的现状,以及查玛的举行时间、角色、查玛法器,和法器乐队音乐特征。第三章,葛根庙甘珠尔法会仪式音乐实录。运用民族音乐学的研究方法阐述葛根庙甘珠尔法会中音乐部分的分析总结。包括甘珠尔法会内容:其中详细阐述法会仪式时间、场域、参与者、所用法器;分析甘珠尔法会法器演奏音乐特征;最后总结甘珠尔法会仪式音乐特征,重点是对法器伴奏的音乐特点进行分析总结。第三部分是结语,是对论文的研究成果进一步的总结和概括。最后为参考文献、附录和致谢。是笔者收集到关于葛根庙的历史图片。附录中是笔者田野考察中拍摄的法器图片与采访图片,以及拍摄的葛根庙法会过程记录图片与谱例,也是对论文正文部分的补充。
[Abstract]:As the largest and most influential Tibetan Buddhist temple in eastern Inner Mongolia, Gegen Temple has a history of 300 years. Humanistic knowledge is a necessary supplement to Buddhism in the eastern region and even Inner Mongolia. Therefore, the author puts the direction of the thesis on the ritualistic music of the Gegen Temple, and applies the theory and research methods of ethnomusicology to make folklore and sociology. In the process of anthropology and other disciplines, combining the field investigation method, the method of combining theory with practice, obtaining firsthand information as the basic material, starting from the perspective of music analysis, under the overall background of the Gegen Temple ritual process, To study the specific content of Gegen Temple ritual music, analyze the music Noumenon, sum up the music characteristics. This article investigates the Gegen Temple Tibetan Buddhist ritual music from the historical and cultural background and current situation of the Gegen Temple Tibetan Buddhist ceremony, Gegen Temple Tibetan Buddhist ritual music form structure, Gegen Temple Ganjul ritual music record three parts of the study. The first part is the introduction, including the origin of this topic, The second part is the main body of the thesis, which consists of three chapters. The first chapter is the historical and cultural evolution of the Gegen Temple Tibetan Buddhist ceremony. The Gegen Temple Tibetan Buddhist ritual music is based on the temple as the living space. The first section mainly expounds the historical and cultural background and present situation of Tibetan Buddhist rituals to survive. The second section is the historical and cultural evolution of Gegen Temple. The development and spread of religion in XingUNITA area and the historical evolution of the Gegen Temple. Chapter two: the music form and structure of Gegen Temple Tibetan Buddhism ritual. This chapter is divided into two sections. The first section is about the morphological characteristics of the chanting ritual music, which mainly summarizes the contents of the chanting ceremony, including the ritual time, the ritual field, the instruments used in the ceremony, and the characteristics of the chanting ritual music, including the chanting tone, the tone of the chanting, the tone of the chanting, and the structure of the passage. Rhythm and beat. The second section mainly describes the characteristics of Chama ritual music form, which includes the current situation of Chama ritual, as well as the holding time, role, Chamakh instrument, and the musical characteristics of the French band. Using the research method of ethomusicology to expound the analysis and summary of the music part of the Gegen Temple Ganjul Law Society, including the contents of the Ganjul Law Society, in which the time and field of the Dharma ceremony are described in detail. Participants, the instruments used; analysis of the musical characteristics of Ganjul law will be played; finally, summary of the characteristics of Ganjul ritual music, the emphasis is on the music characteristics of the French accompaniment. The third part is the conclusion. It is a further summary and summary of the research results of the thesis. Finally, it is the reference, appendix and thanks. It is the historical picture of the Gegen Temple collected by the author. The appendix is the legal ware picture and the interview picture taken by the author during the field investigation. Gegen Temple and the process of recording pictures and spectral examples, is also the text of the paper.
【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J608

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