도교의식의 연구사와 당면 과제

Abstract

This article is an analysis of the ethnomusicological research of Daoist music. Since most research on Daoist music is conducted by Chinese scholars in the Chinese societies including the People's Republic of China, Taiwan, Hong Kong and other overseas Chinese communities, this review focuses on Daoist music within the Chinese society. Daoist music is not a popular research topic in Chinese ethnomusocology. Compared with other research areas such as Chinese operas and folk songs, the amount of Daoist music research is relatively small. The series Zhongguo minzu minjian qiyuequ jicheng (中國民族民間器樂曲集成) and Zhongguo chuantong yixi yinyue yenjiu jihua xilie congshu (中國傳統儀式音樂硏究計劃系列叢書) are the most outstanding research projects of Daoist music. Although these two projects were completed by different researchers at different times, the focus of research is similar. Both projects concentrated on how to record music performed by famous Daoist priests in historic temples. Thus, the social context of music is somehow ignored.Musicians performing Daoist music has made so much effort on "how to perform music in the most authentic way". The researchers studying Daoist music has tried their best to record their performances. The ethnomusicologists have observed famous Daoist priests performing Daoist music in historic Daoist temples and recorded their music. The two projects are the result of these diligent efforts, thereby contributing much to Chinese ethnomusicology as well as the research on Daoist music.Based on this contribution, more research about the social context of Daoist music is needed for a better understanding of Daoist music today. Daoist music performed in a ordinary small temple or as "folk music" in a village festival can be the examples for examining the identity of Daoist music in its social context.