當代敬拜音樂及其對台灣基督長老教會的影響―以兩間教會的敬拜團為例

Abstract

在本篇論文研究過程中，發現當今教會習慣使用「敬拜讚美」一詞，藉以來稱呼現在的敬拜方式或指涉現在的敬拜音樂。然而，以這四個字的使用並不能精確地進行說明或討論，也容易陷入對於定義名稱上的窠臼。因此，在本文中提出「當代敬拜音樂」一稱廣義的涵蓋在當代教會運用音樂作為敬拜的狀態。當代敬拜音樂是教會界在近三十年間以音樂展現出多種樣貌交織而成，並非單一或具備某種典範，而是多元、豐富、具有地方性、各自特色的。在這種音樂類型當中，仍有許多對於音樂性、音樂呈現方式、使用空間、使用目的、神學意涵等面向可深入再行探討。

本文立基於對教會音樂的討論，進而深入釐清禮拜之於音樂的重要性、音樂與神學之間的關係。此外，透過回顧迄今的教會音樂研究梳理出長老教會的音樂發展脈絡，並使之延續到當代敬拜音樂的進入、展現與影響。

論文中，筆者深入分析兩間同樣使用敬拜團做為音樂事工團體的個案教會。所搜集的資料呈現當代敬拜音樂在不同教會中會有不同的樣貌，並發揮不同的影響力。對兩間教會的研究顯示，教會與敬拜音樂之間的互動及發展狀況相當多元，當代敬拜音樂並非屬一致性，也無法以一應百的特色。每間教會的信徒對於敬拜音樂的使用，有不同的理解，而在音樂事工所呈現不同的走向乃是出自該教會的人如何反應及面對。其中很大的關鍵仍在於主導者及其如何主導，帶領者的主觀意識會發揮強烈的影響性。若整體發展之中，偏離了神學的根基、失去對神學意涵的認知，敬拜音樂就會喪失宗教信仰的價值。

我們觀察教會的生命史時，很容易發現了音樂發展對教會的深刻影響。透過教會保留的史料可以看出，禮拜程序的變動、教會設立台語及華語禮拜的對比、教會器樂與影視設備的增添等，再再對於當代教會有所衝擊；而敬拜音樂也在其中佔有相當的位置、展現出不可忽略的影響性。在基督教的歷史當中，每個時期有屬於該時期的敬拜讚美，每間教會也可以發展出具有自己特色的敬拜音樂。敬拜音樂史是一條豐富且精彩的演變過程，當代敬拜音樂更在其中表現出具備多面向的豐富樣貌，為敬拜音樂發展增添了絢麗的色彩。

In modern Taiwan, many churches are accustomed to using the term “Worship& Praise” to describe both how people worship as well as the music used. However, since the above term has some limitations in explaining the nature of such practices, this thesis has chosen to refer to them as “Contemporary Worship Music”. This type of music has been performed for nearly thirty years, while also blending with other musical forms. It is not a specific kind of model, but diversified, rich, local and distinctive. The presentation of Contemporary Worship Music, as well as its manypurposes, theological meanings, and inherent features all merit further discussion.

Based on a close examination of church music, we can not only further clarify the importance of music in Taiwan’s contemporary Christian worship, but also the relationship between music and theology. In addition, by reviewing previous research on Worship Music we can better understand the growth of Presbyterian Church music, as well as its influence on Contemporary Worship Music.

In this thesis, the author analyzes two case studies of Worship Music groups in Presbyterian congregations, demonstrating that Contemporary Worship Music has taken different forms and exerted varying degrees of influence. While the data collected is hardly representative for all Presbyterian congregations in Taiwan, it does reveal the rich diversity of contemporary musical forms that circulate amongst its Christian communities. For example, different groups of worshippers have diverse understandings of Contemporary Worship Music, and can respond to performances in different ways. One key factor behind the spread of this musical form among worshippers is the influence of their leadership. At the same time, however, there is also the risk that Contemporary Worship Music may end up deviating from Christian teachings and losing its theological meanings, thereby declining in terms of its religious value.

The study of church history demonstrates the profound influence of musical development on congregational development. By examining historical materials in modern Taiwanese church collections, we can see that a number of key issues have shaped the growth of Presbyterian congregations, including changes in liturgical procedures, decisions about whether to conduct mass in Taiwanese or Chinese, choices about which types of musical instruments and equipment to purchase, etc. Contemporary Worship Music has played a significant role as well, now becoming a force to be reckoned with. In the history of the Christian Church, each period has witnessed its own forms of worship and praise, with different congregations developing their own versions of Worship Music. The history of Christian music is one of lavishness and splendidness, with Contemporary Worship Music standing out with its abundance, thereby gracing the development of Worship Music with its brilliant colors.