摘要
一般而言，世界的宗教如佛教、伊斯蘭教、基督教等都有屬於自己宗教的詩歌與音樂，而這些宗教中詩歌與音樂結合下所發展出的「宗教音樂」，如果以伊利亞德（Mircea Eliade）的觀點來說，是將神聖進入凡俗的「突破點」（break）。何處響起崇拜的詩歌，那裏就是信眾對其所膜拜的神祗謳歌、朝拜、冥想之所，亦是聖神臨在之地。因此，「宗教音樂」透過旋律、詩詞帶領、陪伴信眾以參與、記誦、回憶的外在方式，將信仰的教義、宇宙觀、價值觀…等內化為皈信者的精神。所以「宗教音樂」就明顯承載著對宗教信仰者的教化；宛如對信仰跟隨者指出一條路徑，成為他們心靈的引路標、庇護所。 基督宗教的音樂亦就是所稱為「詩歌」，在世紀的更迭之下，依然堅持著耶穌第一代門徒宣教時的初衷，與倡議回歸信仰核心價值的改教家視域共融。所以基督宗教信仰群體，應適當釐清究竟在基督宗教儀式下的「聖樂」、「詩歌」在一次又一次的儀式重覆下的意義究竟是什麼？ 本論文是筆者由自身的宗教信仰生活為出發點，而以高達美在其傳世著作《真理與方法》中提出的「教化」（Bildung）觀為查考的方法與視角；高達美的教化觀是跟隨黑格爾的哲思——人必須要被教化成為一個人。這樣的哲思是來自於基督宗教；按基督宗教的觀點，人是按著上帝的形象被造的，但人犯罪以後，「人按其本性就不是他應當是的東西」，也就是說人已經失落了從上帝來的形象。但是「按照中世紀神學解釋，人既是按照上帝的形象創造的，人在靈魂裡就帶有上帝的形象，並且必須在自身中去造就這種形象」。由此「教化」必然處於經常不斷的繼續和進一步之中。這樣的教化觀所指出的是以「教化」為主體而人受其召喚參與在其中；「人」這個概念的主體不在人內而在人外，人必須去符應這個外在的形象。因此受「教化」的人，在未受「教化」之先好像是「人」但卻不是「人」，直到被「教化」了之後，才好似重新獲得了「人」的靈魂與本質。所以「教化」是一種精神的「重生」與「轉化」。 聖詩在聖經的揭示下，是一代代傳唱的重要信仰內容表達，在民智未開、教育不發達、識字率不高的年代中，聖詩擔負著重要的教化作用。直到如今這教化的作用依然透過一次次的吟唱來進行對每一個世代的召喚，及精神、靈魂的轉化與重生。
並列摘要
Generally, most of well-known religions, such as Buddhism, Islam, Christianity, have their own hymns and melodies. The “religious music” which is religious hymns and melodies combination is a breakthrough point from sacredness to secularism in terms of Mircea Eliade. Where the religious music can be heard, it is the place to praise gods, pilgrimage, meditate and where gods descend. Therefore, “religious music”, through melodies and lyrics and also congregations’ participation and memorization, transforms dogmas, world view and values…etc to the worshippers. “Religious music” significantly carries “Bildung” to worshippers. It is like to point out a path to lead the believers and be their shelters. However, every religion has every generation’s own unique spirit, trait in every generation. Hence, religion produces religious music styles which represent the traits in these generations. However, can these styles truly present the essence of faith clear? On the other hand, should religious music present faith through current population to approach the public by changing the faith crudely without awareness? Christianity music is so-called “hymns”. Have hymns been insisting on the original preaching aim and in contact with the reformers? Who had advocated returning to core value of the faith? Thus, the Christian community should clarify what the meaning of hymns is in these continuously repetitive Christianity rites. This thesis is in accordance with the author’s own life of faith to reflect religious experiences, and select “Bildungsbild” in Gadamar’s masterpiece Truth and Method as method, aspect to explore: his “Bildungsbild” is in accordance with Hegel’s philosophy, which originated from Christianity – man must be formed as a man. In accordance with the Christianity viewpoint, man was created with God’s image. However, after man had sin, “in this sphere he is not, by nature, what he should”, that is, man has lost the image from God. Nonetheless, “according to the Theological explanation in the Middle Ages, man was not only created with God’s image but carried this image in his soul, and had to form the image in himself.” Thus, “Bildung” must be in continuous existence. This “Bildungsbild” points out that man must correspond to the external image. Hence, a “gebildet” (formed) man was similar to a man before being “gebildet”, but he is not a man until he is “gebildet”. He seemingly re-obtains the soul and essence of a “man”. Therefore, “Bildung” is spiritual “rebirth” and “transformation”. Hymn expresses crucial faith contents under the revelation of Bible from generation to generation. In the ages when majority of people were unknowledgeable, uneducated and illiterate, hymns carried important functions of “Bildung”. The function of ‘Bildung’ has been calling transformation and rebirth of spirit, soul through singing hymns repetitively. Key Words: Christianity, hymns, rites, Gadamar, Bildung, spiritual movement, the Other