落入凡俗的聖詠：臺灣原住民天主教儀式音樂的本地化研究

Sacred Chants encounter with Secular : The Inculturation Study of Catholic Ritual Music of Taiwan Indigenous Peoples

戴文嫺(Wen-Hsien Tai)

指導教授 ： 錢善華

國立臺灣師範大學/音樂學院/音樂學系/博士(2020年)

https://doi.org/10.6345/NTNU202001432

摘要

天主教傳教士從大陸後，在1952年達到高峰。同時大批神父進入了原住民社會，加速了原住民社會的變遷，同時因為尊重傳統文化而推動之宗教儀式本地化策略，也使彌撒儀式出現一番新的局面。本研究的動機，源自於1960年代天主教會「本地化」（inculturation）革新運動後，原本統一性的儀式音樂在面對全球多元文化面貌時因應之道。
研究假設音樂是文化交融過程的催化劑，天主教透過儀式音樂，成功的將原始宗教轉化為對基督宗教的認同。在儀式層面，透過音樂使彌撒儀式音樂具有「融攝」風格。這些具外來或本土元素的音樂，所呈現出的融合樣貌與綜攝火花，代表了他們與當代原住民文化變遷脈動緊緊相連，且隨著時間而不斷處於變動狀態。
研究以民族音樂學之田野採譜為基礎，並在分析時整合其他學科之相關議題，包括民族誌研究、田野調查、禮儀神學、儀式音聲研究和風格研究等跨域研究。在創作手法上，本研究整理出「本地」、「仿古創新」、「借用」等三個模式，而每一種手法都帶有融合混織風格，使得天主教在推動本地化儀式音樂創作的過程中，因允許各種取材自傳統文化元素的創新與應用，也重建了處於社會環境變遷中，族人所迷失的自我身份認同，並填補了原住民傳統信仰中漸失的神聖性。
研究顯示，今日臺灣原住民天主教會的彌撒儀式，應被視為一個外來文化與本地文化交融的平臺，包含著兩種以上的文化平等的產生碰撞與交融。而彌撒儀式也從適應、接納、改變的歷程，最後整合進入本地的文化中。唯有在過程中帶著欣賞、尊重和彼此接納的態度，才能帶動今日原住民彌撒儀式中多元的風格，並增強儀式音樂對信仰經驗的意義。本研究呈現了神聖與凡俗文化相遇互動時的多種可能性，也為有志於基督宗教儀式音樂的研究者，帶來一條具備儀式音樂、信仰語境、社會文化的理解面向與探尋路徑。

關鍵字

本地化 ； 天主教禮儀音樂 ； 宗教音樂 ； 彌撒曲 ； 儀式音樂 ； 本位化 ； 文化融合 ； 混雜性 ； 聖詠 ； 聖樂 ； 原住民天主教會 ； 當代原住民音樂

並列摘要

Catholic missionaries came to Taiwan after World War II. The number of missionaries reached its peak in 1952. A large number of priests entered the indigenous society and accelerated changes within the tribes. In order to demonstrate its respect for traditional cultures, localized religious ceremonies were introduced in Masses, bringing a new phase of Catholic ceremonies. The motivation of this research is stemmed from this Catholic "inculturation" movement, which took place after the 1960s, during which the Catholic world responded to global multiculturalism by embracing local cultures through means such as altering its original ritual music.
The research hypothesis is that music serves as a catalyst in the process of cultural fusion. Through partially adopting indigenous ritual music, the Catholics successfully linked the cultural identity of indigenous communities with Christianity. The mass ritual music has a "hybriditic" style. The music with foreign or local elements presents a fusion appearance, which means that it is closely connected with contemporary indigenous culture and is constantly changing over time.
This research is based on the methodology of ethnomusicology, which emphasizes on transcriptions and analysis, and also integrated related topics in other disciplines, including ethnographic research, field research, ritual theology, the research of ritual soundscapes, and style research. In terms of the composition process, this research has focused on three major themes: "local", "vintage innovation", and “borrowing", and each theme has included the styles of fusion and hybridity. Although the Sanctity has been lost in the traditional beliefs of the indigenous communities, allowing vintage innovations and applications of the traditional elements from indigenous culture has rebuilt the lost of self-identity in a changing social environment.
Studies have shown that in Taiwan, Masses in indigenous Catholic churches have become platforms for cultural integrations. The Mass rituals have also been assimilated from the process of adaptation, acceptance, change, and finally integration into the local cultures. It is only with appreciation, respect, and mutual acceptance, can we drive the diverse styles of Mass rituals in today's indigenous communities and enhance the religious significance of ritual music. This research presents multiple possibilities as sanctity encounters secularity, and it also brings an comprehensive understanding of ritual music, religious contexts, and social cultures for researchers interested in Christian ritual music.

並列關鍵字

Inculturation ； localization ； Catholic ritual music ； religious music ； Mass music ； ritual music ； acculturation ； hybridity ； sacred music ； sacred songs ； contemporary indigenous music ； indigenous Catholic church

參考文獻

一、文章/ 期刊論文

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