The Organism Development Of Traditional Sacred Music And Its Cultural Characteristics In Kaohsiung

Musical phenomenon treated as the object of cultural studies is a mixed topic of contemporary ethno-musicology and cultural anthropology. Particularly, when traditional cultural genres steps into the deductive model of modern society development, they are likely to form the cultural views of long and short, bright and dark, and movement and quietude in specific time-space and the evolutionary journey, with the factors of thinking notions of civil life, active changes of peripheral environment, successive tug of cultural demands, and flexible modifications of inner/outer organisms, so that the cultural studies are full of rigorous challenges and intense interests.With the traditional sacred music in Kaohsiung City, located on south-western Taiwan, as the comparison, this study aims to discuss the evolution of the musical genres, since the first performance at the God-chamber sacrificial ceremony in 1927, which, in the field of traditional beliefs in Kaohsiung City, has experienced three cultural periods, as "germination stage of God-chamber under Japanese rule", "general expansion stage after the restoration of Taiwan", and "association stage of classical Chinese music complex", in the past decade. Furthermore, aiming at musical genres, this study particularly discusses how the initial Shih-san-chiang Sacred Band, on one hand, held on to the practice of Confucian ritual and music education and, on the other hand, evolved into the transfiguration of Nan-yin Sacred Band and Classical Chinese Music Sacred Band within the legacies of the temple agents and the performers and the members of the Sacred Band. In particular, the cultural demands and satisfaction acquirements people presented in the period must have existed abundant energy resulted from the performing sanctity and dignity for the Gods.In order to analyze the organism development and the cultural characteristics of traditional sacred music performed for the Gods at the God-chambers and temples in Kaohsiung City, this study, based on the theories of ethno-musicology, applies the specific phrases formulated by the author in the process of cultural research to display the expanding models of traditional sacred music in various cultural periods. Since the author has practiced fieldwork of more than 20 temple sacred music bands in Kaohsiung City for several years as well as conducted several major events of sacred music band performances, the author would like to discuss the organism elements of the basic components of ritual and music requirements in God-chambers and temples, the instructions of band performers and the members, the revisions of Mario score and musical instruments, the cultural connotation of performance models and activity functions, and the interactions between musical sounds and the periphery genres, from the aspect of an outside observer to an inside developer and the environmental background of cultivating traditional sacred music genres, gradually to analyze the cultural characteristics of Kaohsiung City sacred music being contemporary ritual and music, as well as to construct the cultural program of comparing cultures genres evolving in specific time-space.