清代以来四川道教广成坛使用的科仪与音乐——从《广成仪制》《雅宜集》谈起

发布时间：2018-03-10 16:40

  本文选题：四川道教　切入点：广成坛　出处：《音乐探索》2016年02期 　论文类型：期刊论文

【摘要】：在四川道教科仪音乐的发展历史上,作为清代火居道行坛派中形成的一个支派——广成坛,它在继承我国唐宋元明以来道教科仪音乐的基础上,不仅为我们留下了十分完整、自成体系的四川广成坛科书——广成仪制,而且还开创了四川广成坛的道教科仪与音乐。其中,以该派命名的"广成韵"早已成为中国道教音乐地方韵中家喻户晓的一大韵腔,是我国音乐类非物质文化遗产中的重要项目,在我国道教音乐中独具一格,值得我们珍视和保护。根据清代四川道士陈复慧辑录和编著的《广成仪制》《雅宜集》,探讨清代四川道教广成坛使用的科仪和音乐,以弥补四川道教科仪音乐在清代研究方面的不足。
[Abstract]:In the history of the development of Taoist music in Sichuan Province, as a tribe formed in the Taoist Taoist Temple School in the Qing Dynasty, it not only left us very complete on the basis of inheriting the music of Taoist sects from the Tang, Song and Yuan dynasties, but also from the Ming Dynasty. The self-made Sichuan Guang Cheng Tan branch calligraphy-Guangcheng instrument system, but also created the Sichuan Guang Cheng Tan Taoist subject instrument and music. Among them, "Guangcheng rhyme" named after this school has long become a well-known rhyme in the local rhyme of Chinese Taoist music. It is an important item in the intangible cultural heritage of music in China. It is unique in Taoist music in China. It is worthy of our treasure and protection. According to the "Guangcheng system" compiled and edited by Sichuan Taoist Chen Fuhui in the Qing Dynasty, this paper discusses the science and music used in Sichuan Taoism's Guangcheng altar in the Qing Dynasty. In order to make up for Sichuan Taoist music in the Qing Dynasty research deficiencies.
【作者单位】： 四川音乐学院音乐学系;
【分类号】：J608
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本文编号：1594185