宗教音樂儀式化謅議─以台灣創價學會為例

Abstract

世界上著名宗教如基督教、佛教、道教及伊斯蘭教等，在他們的宗教儀式中，多含有音樂之配合，音樂在整個儀式中具有重要的功能。宗教為社會的產物，宗教的表現在於集體活動所產生的精神力量，透過儀式行為中實踐的要素，包含動作、經文、音樂…等，進而揭示出此宗教的本質，音樂在儀式中，通常被期望提升或維持其氛圍，且凝聚信仰者的向心力，可以說音樂在儀式中扮演著非常重要的角色。 台灣創價學會為一個致力於文化、教育與和平的佛教團體，以《法華經》為信仰，並以日蓮大聖人所撰寫的《御書》為主要學習經典，為了促進國際之間的文化交流，超越民族之間的隔閡，每年會定期舉辦各類公演及展覽，引進各國的藝術團體來台，創價學會重視藝術文化之深，但在各活動儀式中，音樂的配合卻為不固定式的。 本文針對台灣創價學會之儀式活動及創作歌曲研究，主要分為四個部分進行探討，首先為台灣創價學會的歷史發展、宗旨教義及藝術推廣方式，第二部分探討音樂與儀式之間的關係，並舉例世界前三大宗教及台灣傳統道教儀式音樂配合之情形，第三部分為十九首創價學會的歌曲分析與討論，第四部分則透過蒐集會員對音樂態度的問卷調查、實際訪談學會的音樂專業教師看法，共同討論創價學會之音樂結合儀式的可能性與可行性，最後初步擬定儀式雛形。

There are many religions throughout the world, such as Christianity, Buddhism, Taoism and Islam…etc. Most of music with transmitting social values is included in these religious rituals, in which music has an important function.Religion is the product of society, which give people the power of the human spirit through group activity. By the main factor of practicing in ritual, like action, scripture, music…etc., revealing the essence of the religion. Music in the rituals is usually expected to enhance or keep the atmosphere, and can help build people’s cohesion. In other words, music plays an important role in the rituals. Taiwan Soka Association, follows the teachings of Nichiren, is the specific Buddhist tradition embraced by the SGI is based on the Mahayana scriptures and the Lotus Sutra in particular. The SGI is engaged in faith practices and activities in society that correspond with the compassionate spirit of the Lotus Sutra in the contemporary world. SGI members all over the world are committed to promoting the importance of peace, cultural and education. In order to facilitate cultural exchange, avoid and surpass national diversity and consciousness between counties, SGI would like to maintain and create international society of mutual understanding and harmony by the power of culture in the century. There have lots of public performance every year. SGI really focus on Art and Culture activities, but music seems not to be the essential factor in each activity and ceremony. The paper aims at the ritual activities and creative songs of Taiwan Soka Association, and is divided into four parts. The first part will discuss history development,religion purpose and art promotion of Taiwan Soka Association. The second part willdiscuss the relationships between music and ritual, and take the top three largest religionsandTaoismas examples. The third part will focus on the discussion and analysis of selected nineteen songs of Taiwan SokaAssociation. The fourth part will be questionnaire of SGI members in Taiwan who thought about the songs and would like to provide advices, also interview the professional teachers in music field at SGI understanding their perspective, talking about the possibility and feasibility of SGI music which could possibly combined in ritual. Finally, the initial idea of ritual form has been drafted.