Contemporary Mongolian The Obo Worship Music

This dissertation focuses the research object mainly on Ao'bao sacrifice ceremony of Mongolian Chinese nationality in Hulun Buir regions, and is with abundant field trips material as the basis, as well as from the perspective of ceremony music study belonging to ethnomusicology. The music in this dissertation included chanting music of Mongolian Chinese Buddhism in contemporary Mongolian Chinese Ao'bao sacrifice ceremony, sacrifice music in Mongolian Chinese shamanism, as well as the music with the characteristic of ritualization in Naddam Fair and Nair is laid inside the Ao'bao sacrifice as a holistic cultural context to proceed with comprehensive study, and then have a further analysis and explanation to the localization in Tibetan Buddhism embodied in Ao'bao sacrifice ceremony, the legacy phenomenon in the religion of shamanism as well as the current condition to the traditional music cultural inherit and protection in Mongolian Chinese nationality.In the present research field of Ao'bao sacrifice in Mongolian Chinese nationality, the majority research production is from the perspective of ethnology, folklore and anthropology to proceed with study, and rarely from the perspective of musicology to exert the method of ceremony music study in ethnomusicology comprehensively to proceed with a systematic study to Ao'bao ceremony music and Ao'bao sacrifice ceremony. This dissertation attempts to proceed with a comprehensive and holistic study to exert the method of ceremony music in ethnomusicology, as well as to fill the academic gaps in the cultural study of ceremony music in Mongolian Chinese nationality.The author combines two analysis evolution of the Ao'bao sacrifice ceremony and ceremony music from the outsiders and insiders together, and separate Ao'bao ceremony into two parts each named sacrifice ceremony and Nair, and then according to the religion form of the sacrifice, subdivide Ao'bao sacrifice ceremony into three forms named Buddhism form, Shamanism form and Ao'bao sacrifice ceremony mixed with the mixed mode with Buddhism behavior concepts. This dissertation attempts to proceed with the analysis and comparative study as an individual case for the mentioned three forms, and direct the two forms of Buddhism and Shamanism into the holistic culture framework of Ao'bao sacrifice music to analyze with the concept of sound study in sacrifice, as well as to further explore the belief connotation contained in Ao'bao sacrifice music.By the study of an individual case of Ao'bao sacrifice music in Mongolian Chinese nationality, this dissertation concludes that there exists a structural relationship with different form but same structure between Buddhism form and Shamanism, and under the traditional cultural context regarding Mongolian Chinese Buddhism as religion, it seems that Ao'bao sacrifice ceremony has turned into an important constituent part in liturgical activity of Mongolian Chinese Buddhism, there, however, reserves numerous belief factors of Shamanism, and these factors, on the one hand, are the important embodiment to the mongolization of Tibetan Buddhism, and on the other hand, Ao'bao sacrifice ceremony in Chinese nationality is a significant carrier to Mongolian Chinese traditional music culture. The transformation of the Ao'bao sacrifice ceremony music embodies the process of the Mongolian Chinese traditional music from ceremony to activity. Through the cultural interpretation to the ceremony music with long tone form in Ao'bao sacrifice ceremony, this dissertation re-interprets the increasing marginalization of present traditional ceremony culture, as well as the phenomenon that Mongolian Chinese traditional music increasingly is divorced from the traditional foundation, and to inquire the root for the traditional music.