1) Taoism ceremony music
道教仪式音乐
1.
Taoism ceremony music and Christianity ceremony music not only manifests their respective religion characteristic, but also manifests the different characteristic between the East and West music culture tradition and thought.
道教仪式音乐与基督教仪式音乐不仅体现了它们各自独特的宗教特性,还体现出东西方音乐文化传统和思维的不同特点。
2) Christianity ceremony music
基督教仪式音乐
1.
Taoism ceremony music and Christianity ceremony music not only manifests their respective religion characteristic, but also manifests the different characteristic between the East and West music culture tradition and thought.
道教仪式音乐与基督教仪式音乐不仅体现了它们各自独特的宗教特性,还体现出东西方音乐文化传统和思维的不同特点。
3) Taoism Music
道教音乐
1.
Taoism music is not only an import part of religious culture but also a precious immaterial culture relics.
道教音乐是我国宗教文化的重要组成部分,也是弥足珍贵的非物质文化遗产。
2.
That the Taoism music is an important part to composing the religious ceremonies of Taoism.
道教音乐是道教斋醮法事不可或缺的重要构成。
4) Taoist music
道教音乐
1.
On the Influence of Wu Yue Dance on Taoist Music;
探寻巫乐舞对道教音乐的影响
2.
To disseminate religious doctrines and embody the lofty spirit of religion, both the Buddhist music and Taoist music have incorporated a large quantity of quintessential elements in the traditional Chinese music through the years.
出于宣扬教义、体现宗教伟岸精神的现实需要 ,佛教、道教音乐大量吸收了中国传统音乐中的优秀成分 ,而中国传统音乐也不断地汲取宗教音乐中的因素以充实自己。
5) ceremonial music
仪式音乐
1.
The thesis describes the ceremony and its process by the means of ethnomusicological theory and methods,classifies the ceremonial music and analyzes the music characteristics of the music.
本文运用民族音乐学的理论与方法,对仪式面貌、进程进行描述,对仪式音乐做出分类,并剖析其音乐形态特征。
2.
The situation of ceremonial music activities can be found out in sections of The Books of the Old Testament of Holy Bible.
今天的基督教(含云南少数民族基督教)仪式里崇尚音乐崇拜手段的习俗,可以追溯到三千年以前犹太教圣殿的祭祀仪式,其仪式音乐活动情况至今散见于《圣经。
3.
The writer took the space as one of dimensionalities of analyzing ceremonial music,and held the conception of space classified into three levels of substance,relation and consciousness,which corresponding the grade,order and structure in ceremonial music,explored the state of disorder reflected by ceremonial music during the social variance.
笔者将空间作为仪式音乐分析的一个维度,并将空间的概念分为物质、关系、意识三个层面,以此探寻仪式音乐所隐喻的等级、秩序与结构,以及在社会变迁过程中,仪式音乐所反映的失序与解构状态。
6) ritual music
仪式音乐
1.
By means of field investigation,this paper analyzes the melody and structural features of the ritual music of "Huantanshen" in Enshi prefecture and gives a cultural explanation of the music phenomenon in the rites.
文章从实地调查入手,对恩施"还坛神"仪式音乐的旋律及结构特征做了初步梳理,并力图对仪式中的音乐现象做出相应的文化阐释。
2.
Through the analyses of the ritual music and singing dancing in the nationals of Dai, Yao, Tujia, Zhuang, and Han, the writer pointed out that the rondo form in part of traditional ritual were the basic music form as well as the basic structural principle of the related traditional ritual, and both of them had the features of the same kinds and same structures.
本文通过对傣、瑶、土家、壮、汉等民族的仪式音乐和歌舞音乐的分析 ,认为在部分传统仪式里 ,回旋体既是音乐的基本曲体结构 ,同时也常常是相关传统仪式的基本结构原则 ,二者具有同型同构特点。
3.
The rites and the ritual music of life not only have reflected the abundant customs and colorful music but also reflected the Mongolian historic traditional culture.
本文借鉴民俗学中有关人生仪礼的研究理论,以台吉乃尔蒙古人的人生仪礼及仪式音乐的实际情况为基础,结合其传统观念,尝试着制作一个研究模式图,进行分析、解释。
补充资料:道教音乐
道教音乐 道教在斋醮等宗教仪式上使用的音乐。道教徒认为在求乞福愿的斋醮仪式中,道教音乐有感动群灵的作用。
道教音乐的诵唱和乐器伴奉,均由道士担任,在斋醮中使用的音乐有独唱(通常由高功、都讲担任)、齐唱、散板式吟唱和鼓乐、吹打乐以及合奏等多种形式。器乐形式常用于法事的开头、结尾、唱曲的过门以及队列变换、禹步等场面,而声乐形式则是斋醮音乐的主要部分。其声乐体裁主要有颂、赞、步虚、偈等格式。音乐以法事情节需要,组合串连各种颂、赞、步虚、偈等道曲。法事不同,音乐的组合也随之变化。经过1000余年斋醮科仪的传承发展以及长期以来吸收民间音乐的养料,道教音乐愈益丰富,并且形成了不同地区的地方特点。 早期道教音乐所用的乐器,以道书称之为法器的钟、磬和鼓等打击乐器为主。隋唐时代,增加吹管、弹拨乐器,宋代以后,加入拉弦乐器。明代《茅山志》记载国醮演奏乐器的道士达30名。近代虽然吹管、弹拨、拉弦、打击等乐器并用,但演奏中,仍以吹管、打击乐器为主。 在乐谱方面,除《正统道藏》中的两种乐谱外,苏州道士曹希圣在清嘉庆四年(1799)将吾定庵收集整理的乐谱刊印为《钧天妙乐》(分为上、中、下三册)、《古韵成规》、《霓裳雅韵》等三种。江南一带道士称之为曹谱。 早期道教科仪中有关音乐的资料现存较少。北魏神瑞二年( 415)寇谦之所得的云中音诵,即华夏颂、步虚声,是道教音乐较早的书面记载 。 唐代道教音乐曾得到朝廷的重视,又吸收与融合了民间音乐、西域音乐以及佛教音乐,而得到发展和提高。到北宋,则产生了道教音乐的谱集《玉音法事》,其中共记录从唐代传至宋代的道曲谱 50首,这是目前能见到的最早一本道教音乐的声乐曲谱集。南宋时,道教音乐在民间广泛流传。明代道教音乐既承袭唐、宋、元三代之旧乐,又吸收南北曲音乐的新制道曲,甚至连民间音乐如清江行、变地花、采茶歌等曲调皆为道教音乐所吸收,更加规范统一,进入了定型时期。近代道教音乐,基本上承袭明代的传统。 |
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