A Research On Chanting Music Of Fuyuzhengjie Monastery, Dorbod

“Dorbod”, mentioned in this thesis, is the only Mongol Autonomous County in Heilongjiang Province, where exists the largest monastery of Tibetan Buddhism of the province--Fuyuzhengjie Monastery, Dorbod. This monastery enjoys a long history but has been relocated for several times. The present Zhengjie Monastery was reconstructed in 2006. Though the reconstructed monastery still belongs to the gelu sect of Tibetan Buddhism, great changes have been made to the buildings, Buddha, personnel constitute and Buddhist activities, etc. The chanting music in this thesis was recited in Mongol before the reconstruction. Nevertheless, after the reconstruction, in large puja ritual activities, the music is mainly chanted by Tibetan lama in Tibetan language while in everyday chanting, it is primarily recited by Han lama, lay Buddhists as well as believers in Chinese, forming a scripture reciting mode integrated by Tibetan language and Chinese.This thesis is mainly based on the chanting music in daily chanting ritual, large puja ritual activities and folk ritual activities.Research methods of relevant disciplines such as ethnomusicology, religious studies and statistics are adopted to record, translate, sort and expatiate the audio and video data collected.The introduction part is mainly about the the formation, changes as well as diversified makeup of Mongolian tribes in Heilongjiang Province over the past 800 years since Yuan Dynasty and the general status of Fuyuzhengjie Monastery. The literature information has been reviewed systematically and detailedly from the three aspects: the present situation of ritual music research and Tibetan Buddhist music as well as the relevant researches on this subject in Heilongjiang Province. Research methods adopted in this study are also been explained in this part.The first chapter shows the origin of chanting music in Fuyuzhengjie Monastery, Dorbod. Additionally, the relocation history, reconstruction situation, types of the daily chanting music and procedure of the music chanting in puja ritual activities are classified and described in detail from the perspectives of the history and chanting music types of Fuyuzhengjie Monastery.The second chapter discusses the characteristics of Fuyuzhengjie Monastery. By using the vocal music and instrumental music types in the chanting music as the entry point, the chanting form, instrument types and the instrument organization of the chanting music in Fuyuzhengjie Monastery are discussed. And then, it further illustrates the music noumenon features such as melody, the mode and tonality characteristics, the rhythm and beat features, the structural characteristics as well as the relationship between the lyric and the song. and make a horizontal comparative research on music chanting in Han and Tibetan areas.The third chapter interprets the culture of Fuyuzhengjie Monastery. Starting from the religious culture function of the chanting music in Fuyuzhengjie Monastery, it mainly expounds the social-cultural connotation in religious culture contained in the chanting music. In terms of the aesthetic value and aesthetic view, the unique aesthetic value and standards of the Tibetan Buddhism music in Fuyuzhengjie Monastery are then elaborated. Finally, suggestions are given to inherit and preserve the chanting music culture, promote the innovative and diversified development of the music from the inside and outside of the monastery.In conclusion, the thesis adds complementary argumentation and conclusion on chanting language, music melody form, puja ritual, music chanting instruments as well as religion and folk customs.