福建佛教音樂「禪和曲」、「福州調」、「本地調」之意涵及其關係研究

周景春。〈福建佛教音樂「禪和曲」、「福州調」、「本地調」之意涵及其關係研究〉。《民俗曲藝》208 (2020.6): 275-304。

Zhou Jingchun. “The Chanhe Tune, Fuzhou Tune, and Local Tune in the Buddhist Music in Fujian, and Their Connotations and Relationships.” Journal of Chinese Ritual, Theatre and Folklore 208 (2020.6): 275-304.

Abstract

福建的佛教音樂有「禪和曲」、「福州調」、「本地調」等多種稱謂，相關此三者的關係目前尚未有系統的梳理研究。傳統的認知為：上述三種佛教音樂的唱誦群體不同，唱誦內容及風格亦不同；「福州調」和「本地調」是僧人在大叢林唱誦的佛教音樂，而「禪和曲」屬於「香花和尚」在民間所唱誦的佛教音樂。

本文在前人研究的基礎上，結合實地調查的口述資料、相關史料及音樂本體的分析，得出與上述認知不盡相同的觀點。論證了「福州調」、「本地調」和「禪和曲」在福州地區指稱佛教音樂時，是同一種唱誦形式。「禪和曲」是早期福州湧泉寺、西禪寺等大寺院所普遍運用的唱誦形式，而「香花和尚」的唱誦內容都學自上述大叢林。廣義的「禪和曲」既包括佛教音樂，也包括道教音樂及佛道融合的民間音樂，不僅流傳於福州地區和閩南地區，也流傳至臺灣的寺院和民間。本研究擬釐清福建佛教音樂的基本概念及音樂特徵，將有助於福建佛教音樂及閩臺佛教音樂關係等相關研究。

The Buddhist music in Fujian has various appellations, including Chanhe Tune, Fuzhou Tune, or Local Tune. Relations between these three are still to be explored in a systematic way. It is a conventional concept that they are used by different groups, with different content of lyrics and singing styles. Large Buddhist temples employ the Fuzhou Tune and Local Tune, while lay Buddhist Xianghua monks chant in Chanhe Tune.

However, based on previous scholarship, oral history from my own survey, analysis on historical data, and music itself, I have reached a conclusion that indicates otherwise. I argue that Fuzhou Tune, Local Tune, and Chanhe Tune, in the context of Buddhist music in Fuzhou, refer to the same form of singing. Chanhe Tune is a form of singing employed by large temples in Fuzhou, such as Yongquan Temple, Xichan Temple, etc. Xianghua monks’ singing are mostly picked up from these places. The Chanhe Tune, by general definition, includes Buddhist music, Daoist music, and a fusion of folk music that integrates the above. It is prevalent in Fuzhou, Southern Fujian, as well as in the temples and local societies in Taiwan. In this study, I will clarify the essential notions of Buddhist music in Fujian and their musical features so as to shed light on the research of Buddhist music in Fujian and Taiwan.