林昌桐與威遠壇道教儀式音樂研究─以《早朝科儀》為對象

Abstract

本論文以林昌桐道長與中和區枋寮威遠壇為研究對象，藉由研究其傳承與演變，探討歷史淵源、發展與傳承，以及在不同時空的背景下，如何繼續傳承、教育道業，繼承祖先留下來的志業、產業。 威遠壇傳承的是臺灣北部正一派的道法二門，所謂道法二門，指的是具有北部正一派道教、法教雙重傳承的道壇。筆者以訪談、實地調查、資料歸納等三方向來進行研究；其一：訪談以林昌桐道長為對象進行生命史記錄及營務現況的瞭解；其二：實地調查其科儀法事的現況；最後以訪談及採錄的影音樂譜作整理記錄。 本文共分為六個部份。第一章，探討道教正一劉厝派譜系，說明臺灣北部道法二門的傳承體系與現況，進而討論正一劉厝派道士譜系；第二章，論述威遠壇的繁衍與林昌桐的生平，首先討論威遠壇與林厝派道士譜系，述說威遠壇的歷史與林昌桐道長的生平，記錄該道壇之道法傳承與繁衍，道長與子孫的學習歷程和營務狀況。第三章，探討威遠壇持有之演法物件，瞭解威遠壇在科儀中所用的法器、抄本及神像畫，這些法器及抄本等皆有留下珍貴的圖像及記錄。第四章，威遠壇宣演的道場與法場之儀式，呈現林昌桐及威遠壇所從事營物的道場法事，如禮斗法會、建醮等；以及法場法事的醫療、補運類法事及一些小法事等，記錄含儀式流程、內容等。第五章，《早朝科儀》儀式分析，筆者記錄林昌桐道長最擅長之《早朝科儀》之宣演內容。記錄方式以儀式進行為主軸，將運用之道曲、科介、行進空間、手印、口訣等，依序做全盤記錄。第六章，《早朝科儀》音樂分析，整理林昌桐道長在《早朝科儀》所唱道曲唱腔之特點，分析其道曲音域與調高、音階與調式、拍法與速度、樂曲結構之關係；並探討其加聲詞唱法，以及字與曲調的運用情形。於第七章作一總結。This thesis studies the Daoism head Lin-chang-tong and Wei-yuan Altar of Fang-liao, Zhong-he District by researching inheritance and evolution, exploring the historical origin, development and succession, and how to inherit continuously, educate Daoism, inherit ambition and property of the ancestors at different time and space context. Wei-yuan Altar inherits northern Taiwan Zhengyi School Daoism, Two Categories of Dao& Fa. The author researches through three directions including interviews, field surveys, and other data to study induction: First: Interview with the altar head Lin-chang-tong to understand the record of life history and current status of the administration; Second: the current status of their ceremonies; finally to collect and record audio and video interviews and recording music for finishing. This paper is divided into six parts. Chapter I, explores Taoism Zhengyi Liu-cuo School Pedigree, describes inheritance system and the status of northern Taiwan Two Categories of Dao& Fa, and then discusses Zhengyi Liu-cuo School Daoist Pedigree. Chapter II, discusses Weiyuan Altar’s reproduction and Lin-chang-tong’s life, firstly discusses Weiyuan Altar and Lincuo Daoist pedigree, describing the history and the life of Weiyuan Altar head , Lin-chang-tong, records the heritage and multiply, and the administrative status of the Daoist head and the descendants of a long road learning process. Chapter III, discusses the instruments of Weiyuan Altar, understands the ceremony instruments, manuscripts and statues painted. These instruments also have left precious manuscripts and images records. Chapter IV, displays t Lin-chang-tong’s temple ceremonies of Weiyuan Altar such as the ceremony will be a battle of wits, ceremonies, etc.; medical and ritual execution ground, resupply class and some small ritual ceremonies and other records containing ritual process, content and so on. Chapter V, "Morning Ceremony" explores his best long track overall record of Lin-chang-tong’s "Morning Ceremony". Chapter VI," Morning Ceremony " music analysis, features the Daoism head Lin-chang-tong’s tune, indicating pitch, mode, speed and the use of variability, but further analysis of singing the epithet, singing, and the relationship between words and melodies