| China is a country with a long history and civilization,and Buddhist culture is an important part of our splendid culture.Buddhist music culture has a mysterious spiritual interior and different artistic characteristics.It is an indispensable carrier of Buddhist rituals.Due to various factors such as history,culture,region,and folk customs,Tibetan Buddhist music and Chinese Buddhist music have been formed.The two have both fusion similarities,but there are also obvious differences.The author selected Baotou City in western Mongolia as a field study site,and took Wudangzhao Han,the largest Tibetan Buddhist temple in Inner Mongolia in this city,and Qingjing Temple,the most influential Buddhist temple,as the research objects,and elaborated on the historical origin and development of the two temples.From the perspective of ethnomusicology,based on literature analysis,field research,description-interpretation,and music morphological analysis,the ritual style,mode,tone,and rhythm characteristics of the ritual sounds of the two temples are compared.From the perspectives of belief,ritual,and sound,the function and significance of ritual sounds are explored.It is hoped that let more people understand the cultural connotation and social value of Buddhist ritual sounds and people who like Buddhist music become more familiar with Tibetan and Chinese Buddhist music,which arouses people’s ideological and action consciousness to protect and inherit excellent traditional culture.The thesis is divided into introduction,the historical origin and development of Wudangzhao Tibetan Buddhism and Qingjing Temple Han Buddhism,the comparison of Wudangzhao and Qingjing Temple ritual sound categories,the case study of Wudangzhao and Qingjing Temple rituals and ritual sound,and Wudangzhao And the function and meaning of the ritual sound in the Qingjing Temple,the problems and protection measures faced by the Wudangzhao and Qingjing Temple ritual sound inheritance,and conclusion.The introduction summarizes the content of the full text in terms of research origin,research objects and significance,research status and methods,and innovations.In the first part of the text,the cultural background of Tibetan and Chinese Buddhist music,the origin and development of Wudangzhao Tibetan Buddhism and Qingjing Temple Han Buddhism are sorted out through document analysis.The second part focuses on the introduction of the sound categories of Wudangzhao and Qingjing Temple rituals,and fully understands the sounds of chanting and instrumental music,which lays the foundation for research.The third part uses the method of field investigation to elaborate on the Mani Phrase,Burning Lamp Phrase and the Buddha Bathing Festival and Obon Phrase of Qingjing Temple in Wudangzhao as individual cases,and uses the description-interpretation method and the music form analysis method to sort out the sounds in the puja and compare and analyze the sound itself.The fourth part understands the function and meaning of the sound existence after a detailed analysis of the sound of the Wudangzhao and Qingjing Temple rituals.The fifth part expounds on the problems and protection measures of the sound inheritance of Wudangzhao and Qingjing Temple rituals and puts forward some personal suggestions.The conclusion part summarizes the conclusions drawn in the research of the thesis,the problems in the ritual sounds,and the prospects in the research.From the aspect of ritual sound,there is no research paper on Wudangzhao and Qingjing Temple,but this paper mainly uses the research theory and method of ethnomusicology to start from the aspect of "ritual sound",to discuss the ritual and sound of Wudangzhao and Qingjing Temple.The main body carries out a comparative analysis to compare the differences between the two monasteries from different angles.On the other hand,it contributes to the protection and inheritance of the national traditional cultural Buddhist ritual sounds and carries forward this extremely precious cultural heritage. |
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