青海地区藏传佛教寺院乐谱研究

发布时间：2019-01-08 11:12

【摘要】：藏区佛教在"后宏期"时,形成众多教派和寺院隶属关系,对宗教仪式的完善和音乐传承产生了很大影响,由此也产生了种类繁多、式样各异的宗教乐谱。青海地区藏传佛教各教派寺院的经文书籍里,既有用于吟诵佛经的图形符号乐谱(藏语称"yacngyig),也有用于宗教乐器演奏的图形符号或图形与文字结合的乐谱(藏语称"dungyig),这些乐谱形成、发展和传承至今,是藏传佛教仪式音乐趋于成熟的标志。寺院乐谱含三种功能:作为图形符号乐谱,用于记录诵经音调与声调变化的过程;作为图形与文字结合的乐谱,用于标记部分宗教乐器的音高、节奏及音色变化;以图形符号为主,加上文字和数字注释进行综合记录,用来记录诵经音调与宗教乐器同步吟诵和演奏的乐谱。寺院宗教仪式里主要用的是第三种,明显带有总谱的意义。各寺院的乐谱虽然形状和形式有所不同,但就藏传佛教音乐特有的音响与风格,并没有变化。
[Abstract]:During the period of "post-macro period", Tibetan Buddhism formed numerous sects and monasteries, which had a great influence on the perfection of religious rituals and music inheritance, and also produced a variety of religious music scores of different styles. In the books of scriptures of various sects and monasteries of Tibetan Buddhism in Qinghai, there is a score of graphic symbols for reciting Buddhist sutras (called "yacngyig)," in Tibetan), as well as graphical symbols for the performance of religious musical instruments or a score of music combined with graphics and characters ("dungyig)," in Tibetan). The formation, development and inheritance of these scores are signs of the maturity of Tibetan Buddhist ritual music. The monastery music score has three functions: it is used to record the changing process of tone and tone of chanting, as a score of figure and character, to mark the change of pitch, rhythm and tone color of some religious musical instruments. It is composed of graphical symbols, written and digital notes, and is used to record the scores of chanting notes and musical instruments that recite and perform simultaneously with religious instruments. The third kind is mainly used in the monastery religious ceremony, which obviously has the meaning of the total spectrum. Although the music score of each temple is different in shape and form, there is no change in the unique sound and style of Tibetan Buddhist music.
【作者单位】：青海省民族歌舞剧院;青海师范大学音乐系;
【基金】：国家艺术科学“十五”规划国家西部项目《青海藏传佛教寺院音乐文化研究》(05ID146)
【分类号】：J608

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