華人基督教會崇拜禮儀音樂創作趨勢─以「讚美之泉」之詩歌專輯為例

基督教崇拜音樂因為禮儀的功能性，使音樂「成聖」(Sanctification)而成聖樂。早期教會音樂由修士創作並保存於修道院中，使得教會音樂與修院、教堂以外的世俗環境漸漸形成分界隔閡。而音樂的「聖、俗」之別，自初代教會以來至今一直存在著模糊不清、難以劃分的界限。本文探究崇拜上帝的詩歌，將從舊約《聖經》時代開始到新約時代、初代教會、中世紀葛利果教皇時代，經由十四世紀文藝復興的人文主義精神發展，促使政治、經濟、宗教、文化等諸因素產生交互影響，隔閡的聖、俗樂因宮廷專職音樂家而開始交融。馬丁・路德(Martin Luther, 1483-1546)的「宗教改革」，促使人人得以在崇拜中，透過歌唱直接向上帝表達崇敬之意。從十七世紀直至近代，受到一連串宗教復興運動影響，重視個人信仰的主觀經歷，更強調人在崇拜中經驗上帝，聖詩歌詞著重於崇拜者與上帝間的親密關係。二十世紀中期開始，在唱片工業以及傳媒等推波助瀾下，歐美地區的崇拜音樂逐漸受流行音樂文化影響，從傳統走向流行音樂風格；對於教會來說，原本為世俗的、歷史發展初期有負面意涵的流行音樂，因為將其音樂元素植入崇拜詩歌創作中由俗成聖。自1970年代發跡於美國的「敬拜讚美」—帶有流行音樂風格的崇拜詩歌，華人的詩歌創作多年來亦受其文化涵化影響，詩歌風格漸趨流行化，透過專輯的發行普及於華人的教會。本文將以專為華人教會崇拜創作詩歌的團體「讚美之泉」為例，從發行的二十二張創作專輯中，分析其中的音樂風格及歷史並探究其創作趨勢。從俗樂融入聖的實例，直到二十一世紀俗樂「因信成聖」，呈現文化互育的現象。

關鍵字

聖與俗；讚美之泉；崇拜音樂；流行音樂；當代基督教音樂；華人教會；涵化；文化互育

並列摘要

The Christian worship music in Psalm showed how the gentile musical instrument and secular tone which impurity, were sanctified for worship God’s purpose. For the function of worship liturgy made the music sanctify. Since from the Old Testament to the early church, from the Middle Ages of Gregory time, through the Renaissance, the Reformation, until the Religion Revival movements in Twentieth century. For the cross-fertilization of secular and ecclesiastical styles is continuing acculturation. Since the half of twentieth century, the acoustic instrument such as piano and organ in church was replaced by using the electric guitar and synthesizer, the plug-in instrument which is plug in the popular musical culture. The worship music in European and Americans’ protestant churches by absorbing the style of rock and roll, jazz, hip-hop and techno music, in developing the popular music style, worship and praise. The culture meaning of popular music styles was transformed from negative to positive, from entertained secular music to worship service. The phenomenon of the cross-fertilization of cultures is more frequently by the mass media and the net. The Christian worship music in Taiwan’s church also been effected by the wave of the culture. This article will be the case of ‘Stream of Praise’, which found since in 1995, composed the worship songs for Chinese protestant church. By studying twenty-two albums, to analysis how the element of popular music adopted in the song arrangement, and how the composer to express ones experience in faith so that make the songs easy to learn and sing for the congregation in the worship service. The study is aim to find out how the American popular music culture, where developed from African culture affected and acculturated the trend of the composition.

並列關鍵字

Sacred and Secular music ； Stream of Praise ； Worship music ； popular music ； Contemporary Christian music ； Chinese Protestant church ； Cross-fertilization of Culture ； Acculturation

參考文獻

江玉玲。〈宗教改革家慈運理的音樂觀與音樂創作〉，《關渡音樂學刊》第4期，

胡忠銘，〈敬拜讚美衝擊的再思與建議〉，《新使者》月刊，第69期，2002年4月。

陳昭儀。〈台北市基督教會友對於基督教詩歌之偏好研究〉。國立台北教育大學音

高瑞穗。〈變遷中的台灣基督長老教會會眾詩歌〉。國立台灣師範大學音樂研究所

蕭匡妤。〈台灣基督教專職聖樂事奉團體之研究—以天韻合唱團為例〉。國立台灣

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華人基督教會崇拜禮儀音樂創作趨勢─以「讚美之泉」之詩歌專輯為例

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