Research on Ritual Music of Shiau Fa’s Chin-Tan Incantation: A Study of Chen-Kuo Temple in Banciao

• Main Authors: YANG MEI CHING, 楊美靜
• Other Authors: 蔡翊鑫
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/47380971130882731468

碩士 === 玄奘大學 === 宗教學系碩士在職專班 === 99 === Chin-Tan Incantation is a type of incantation used specifically by the so-called red-headed Taoist wizards for several functions, including inviting gods to rid alters of evil spirits, praying for safety and happiness, expelling the evil and the wicked. Chin-Tan Incantation, a potent charm, is the unique incantation that passed down solely within the Liu-San sect. The study transcribed musically the recorded CD chanted by the Shiau Fa’s group of Chen-Kuo Temple in Banciao. Besides the recorded CD, data collection for recording and analyzing the ritual music includes field investigation method and in-depth interviews with the Taoist wizard. These sources establish the research model of “beliefs (sacred and secular) – Chin-Tan rituals – Chin-Tan Incantation of ritual music.” By using stave to transcribe the ritual music, the study intends to collect, organize, and preserve the documentation of Chin-Tan Incantation. The study also aims to examine the relationship between the ritual music and the ritual ceremony. The study begins with exploration of the meaning of Fa Chiao and the history of its music; based on field investigation, the study then discusses issues about the cultural legacy of Chen-Kuo Temple, the passing on between Taoist wizards and Shiau Fa’s group, etc. From the above-mentioned information, the study intends to first delineate the background and formation of the ritual music and then document the representation of Shiau Fa’s ritual ceremony as well as the role of the ritual music in the religious ceremony. More specifically, the study introduces and analyzes Shiau Fa’s Chin-Tan Incantation from the perspectives of the ritual music and the ceremony itself, thereby hoping not only to explore the interrelationship between the ritual music and its ceremony but also to discuss and induce how the ritual music is operated and its possible role in the whole process of the ritual ceremony. The results indicated that Shiau-Fa group of Chen-Kuo Temple originates from Hsuan-Lian Temple in Tainan City. The ceremony of Fa Chiao in Taiwan is inferred to be linked to that of Wu Culture in mainland China. On the other hand, the ritual music is similar to the wizard music of our modern time, which can be traced back to its original roots in the music of wizard dancing in ancient China. Moreover, analyzing Shiau Fa’s Chin-Tan Incantation, the study finds that it contains vocal chant and instrumental music; the former plays the major role of incantation, serving the functions of both rendition of drama and operation of the ceremony. The latter employs its distinctive instrumental characteristics, instrumental skills and tempo, making the meaning of the ritual operation more definite. Finally, the findings point out the intricate relationships among ritual music, ceremony and adherents: adherents believe sacred environment does exist, a concept that is critically in support of the operation of the ritual ceremony; the movement of the ceremony reflects the religious meanings behind beliefs, making abstract music exerts distinct functions embodied in the movement.