度母诵经音乐的多样性特征  

On the Diversity of Tara Sutra Chanting

作　　者：斯琴塔娜 Sichin Tana(School of Music,Minzu University of China,Beijing 100081)

机构地区：[1]中央民族大学音乐学院,北京100081

出　　处：《西藏大学学报（社会科学版）》2023年第4期70-80,共11页Journal of Tibet University

基　　金：2022年度国家社会科学基金艺术学重大项目“中华民族共同体认同与各民族音乐交融共生研究”阶段性成果,项目号:22ZD11。

摘　　要：度母源于古印度,在汉传与藏传佛教中同被尊为诸佛之母,尤其被藏传佛教所推崇,被看作是诸佛事业总集的显现,象征着诸佛利益众生的善业,其自身的宗教功能及价值意义构成了度母信仰文化延续至今的内在动力。度母诵经音乐是度母信仰中非常重要的外在行为,不同的度母礼赞文在寺院持诵时会有不同的诵经形式。文章以青海省黄南州尖扎县德钦寺的度母诵经音乐为样本,研究其音高表现、节奏节拍、诗曲关系,阐释诵经乐因释义内容不同而呈现出的多样性特征。Originated in ancient India,Tara is revered as the mother of all Buddhas in both Han and Tibetan Bud⁃dhism.It is especially worshiped by Tibetan Buddhists as the manifestation of the merits of all Buddhas,symbol⁃izing the philanthropic work of all Buddhas for the benefit of all sentient beings.Tara's own religious function,value and significance form an intrinsic motivation for the continuation of the belief in Tara to this day.Tara su⁃tra chanting is a very important external behavior in the Tara faith,and different Tara sutras have different forms of chanting in temples and monasteries.This paper,taking Tara sutra chanting of the Deqin Temple in Jianzha County,Huangnan Prefecture of Qinghai Province as an example,studies the pitch expression,rhythm,and the relationship between sutras and melodies,and explains that the diversity of sutra chanting is due to different in⁃terpretation of the content of sutras.

关 键 词：藏传佛教 度母经赞 俱声乐 多样性 佛教本土化与中国化 

分 类 号：J608[艺术—音乐]