台灣基督教專職聖樂事奉團體之研究--以天韻合唱團為例
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2006
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人類文化體系中，音樂與宗教關係十分緊密，為宗教所服務的音樂也因宗教特性而有特殊音樂功能與意義。基督教（Christianity）與音樂關係緊密，當神與人產生關係後便有聖樂，因此神的子民藉由聖樂事奉回應對上帝的認識，以音樂、行動將神學從崇拜禮儀擴至社會佈道工作，興起許多專職事奉團體或個人，擔任信仰傳播過程的重要環節。
本文以台灣基督教聖樂團體中，歷史悠久、秉持專職、事奉版圖擴及全球的天韻合唱團（Heavenly Melody）為研究對象，以實地訪談調查、檔案整理、史料蒐集作為研究基礎，探討台灣基督教聖樂發展與事奉情形，並藉由分析其18張中文創作專輯樂曲，釐清天韻合唱團特色及聖樂走向，將此一專職聖樂事奉團體作文獻上的保存與研究，以延續其在台灣聖樂上之具體意義。
論文架構共分五章：第一章緒論，就研究背景、文獻回顧、研究對象、研究方法與論文架構說明寫作方向；第二章說明《聖經》時代聖樂內涵、事奉情形與資格，以及教會歷史變遷中之聖樂樣貌，並闡述相關宗教名詞；第三章由天韻合唱團成立時空背景進行全盤系統整理，說明成立與運作；第四章討論天韻合唱團中文創作歌曲之背景，並從作曲技巧、民族音樂素材之使用、編曲伴奏、歌詞等方面，分析該團自1979年至2005年所出版之18張中文創作專輯；第五章結論，歸納研究結果，說明該專職聖樂事奉團體之特色，及未來華人基督教聖樂事奉團體發展的具體方向。
Music closely correlates with religions in the cultural systems developed by human beings. Hence, in terms of functions and meanings, religious music usually varies with religions. Music is an essential part to Christianity. Sacred music has been existing since the first encounter between human beings and God. People embody their knowledge of God in sacred music. They practice Christian theology by applying music into religious services, which in turn has inspired lots of groups or individuals to begin their ministry. The present study is to discuss the Christian sacred music in Taiwan in terms of its development and ministry by studying Heavenly Melody, which has worked as one of the professional Christian music ministry teams in Taiwan for a very long time and made its ministry music known to many people at home and abroad. Field visits, personal interviews, documentation analysis, and literature gathering are applied in the study as research methods. By analyzing Heavenly Melody’s eighteen albums of Chinese original compositions, their features and music style are clearly stated, and by conducting and preserving the literature on this Christian music ministry team, the concrete meanings of this team can be continued in the field of Taiwan’s sacred music. The study consists of five chapters. The first chapter includes the research background, literature review, research subject, research methods, and the explanation of the thesis framework. In the second chapter, the sacred music in biblical times is elaborated in terms of its content, how it was integrated with ministry, and who were qualified to apply sacred music in their ministry. Moreover, how sacred music changes in the history of Christianity and the meanings of some music religious terms are explained here. The third chapter describes the establishment of Heavenly Melody and how it keeps functioning. In the fourth chapter, the background of Heavenly Melody’s Chinese original compositions is presented, and the eighteen albums of Chinese original compositions released between 1979 and 2005 are analyzed in terms of the compositional technique, use of ethnic music materials, music arrangement, accompaniment, and lyrics. The result of the study is reported in the fifth chapter, where the features of Heavenly Melody are listed and the future development of Chinese Christian music ministry teams is proposed.
Music closely correlates with religions in the cultural systems developed by human beings. Hence, in terms of functions and meanings, religious music usually varies with religions. Music is an essential part to Christianity. Sacred music has been existing since the first encounter between human beings and God. People embody their knowledge of God in sacred music. They practice Christian theology by applying music into religious services, which in turn has inspired lots of groups or individuals to begin their ministry. The present study is to discuss the Christian sacred music in Taiwan in terms of its development and ministry by studying Heavenly Melody, which has worked as one of the professional Christian music ministry teams in Taiwan for a very long time and made its ministry music known to many people at home and abroad. Field visits, personal interviews, documentation analysis, and literature gathering are applied in the study as research methods. By analyzing Heavenly Melody’s eighteen albums of Chinese original compositions, their features and music style are clearly stated, and by conducting and preserving the literature on this Christian music ministry team, the concrete meanings of this team can be continued in the field of Taiwan’s sacred music. The study consists of five chapters. The first chapter includes the research background, literature review, research subject, research methods, and the explanation of the thesis framework. In the second chapter, the sacred music in biblical times is elaborated in terms of its content, how it was integrated with ministry, and who were qualified to apply sacred music in their ministry. Moreover, how sacred music changes in the history of Christianity and the meanings of some music religious terms are explained here. The third chapter describes the establishment of Heavenly Melody and how it keeps functioning. In the fourth chapter, the background of Heavenly Melody’s Chinese original compositions is presented, and the eighteen albums of Chinese original compositions released between 1979 and 2005 are analyzed in terms of the compositional technique, use of ethnic music materials, music arrangement, accompaniment, and lyrics. The result of the study is reported in the fifth chapter, where the features of Heavenly Melody are listed and the future development of Chinese Christian music ministry teams is proposed.
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天韻合唱團, 彭蒙惠, 基督教音樂, 聖樂, 事奉, Heavenly Melody, Doris Brougham, Christian music, sacred music, ministry