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研究生:許玉君
研究生(外文):Yu-Chun Hsu
論文名稱:穆斯林社群在台灣的儀式及聚會中之吟誦經驗及音聲運用
論文名稱(外文):Recitation Experience and the Use of Sound in the Ritual and Congregation of Taiwan’s Muslim Communities
指導教授:Nancy Guy
指導教授(外文):Nancy Guy
學位類別:碩士
校院名稱:國立臺灣大學
系所名稱:音樂學研究所
學門:藝術學門
學類:音樂學類
論文種類:學術論文
論文出版年:2005
畢業學年度:93
語文別:英文
論文頁數:213
中文關鍵詞:台灣伊斯蘭台灣穆斯林可蘭經喚拜(叫拜)宗教儀式音聲概念
外文關鍵詞:IslamMuslimQur’ānCall to PrayerSound IdeaRitual
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本論文主要是在探討台灣穆斯林社群在聚會及宗教儀式中之吟誦經驗與音聲運用現象。今日活躍於台灣伊斯蘭教內的信徒主要是由四種族群組成,一是隨蔣介石領導之國民政府遷移來台的中國穆斯林,二是台灣本土出生之穆斯林,三是自泰緬申請來台居留的華僑穆斯林,四是從世界各地來台的外國籍穆斯林。台灣多元的穆斯林成員結構生活在具有特殊政治背景的台灣社會環境下,發展出一套台灣穆斯林獨具的宗教性格及其抱持之音聲概念與態度,進而影響了他們學習唸誦可蘭經的經驗。本文後半部的重點則放在詳細地描述儀式中的音聲現象,進而探討聲音及肢體動作是如何輔助伊斯蘭教儀式中每個階段的進行。
The Taiwan’s Muslim community is the focus of this paper. Principal field data are composed of information collected from interviews conducted in six mosques over the past four years. A great deal of bibliographic information has been gathered, however the description and analysis of the sound performance of the Islamic ritual is emphatically the focus of this research, specifically the interpretation of the sounds that Taiwan Muslims apply to their rituals and their effects. What ideas of sound are found in current Islamic rituals in Taiwan? It addresses the question of how Taiwan Muslims use sound to enhance performance of rituals, and explores the particular functions of the religious sound in Taiwanese Islam. What is the relationship between the Taiwan’s politics, society and Muslims’ sound idea? Do the Taiwan Muslims, who were born in different places, have varied sound practice and different reciting experience?
I analyzed Islamic ritual sound from the perspectives of audible sounds and non-verbal movements. Verbal sounds include "niyya"(establishing intention, 舉意), adhán (call to prayer), recitation, answering, and praying in the rites. Non-verbal movements include sitting still (靜坐), silent prayer (默禱)and body language during the religious service. Together, they completed the Islamic rites. Although it cannot be said with certainty that these sounds are sacred or filled with supernatural powers, their existence does convey specific purposes and functions. I took the Friday prayer of Longgang Mosque in Zhongli for example to analyze the basic characteristics of reciting intonation, the relationship between the volumes, the ranges of the intonation of the recitation, the process of ritual and the actions of the worshippers. Besides, I tried to discover the “sound idea” within the context of Taiwanese Islam” and the diversified learning experiences of followers when it comes to reciting the Qur’án.
Chapter 1 Introduction………………………………………………………. 11
I. Motivation for the Research and Research Goals………….…………12
II.Literature Review.……………………………………………………...14
III.Scope of Project and Research Method…………………………………………..18
IV.Thesis Outline…………………………………………………………………..23
Chapter 2 The History and Development of Islam in Taiwan
I. The Origin of Chinese Islam…………………………….................24
II.Islam in Taiwan………………………………………..……………..30
☼ A Brief Summary……………………………………………………...57
Chapter 3 The Recitation Experience of Taiwan Muslims
I. The Taiwan Muslims and The Arabic Qur’ān………………………………….59
II. The Diversified Learning Experiences of Reciting the Qur’ān…………………...64
III.The Sound Ideas of Taiwan Muslims………………….……............................89
☼ A Brief Summary……………………………………………………………....94
Chapter 4 The Use of Sound in Islamic Rituals in Taiwan Today: The Case of Longgang Mosque
I. Introduction to Islamic Ritual (in Taiwan)……………………........................96
II. The Conduct of Salāt (in Taiwan)………………………………......................103
III.The Contents of Jum‘a Prayer at Longgang Mosque………………….…….....109
IV. Analyzing the Sound……………………………………………………….....138
☼ A Brief Summary……………………………………………………………...159

Chapter 5 Conclusion……..………………………………………..161

Appendixes
Appendix 1: Islamic Events in Taiwan as Reported in Local Newspapers .…….165
Appendix 2: Covers in Islam in China ………………………………………….172
Appendix 3: Imams in Taiwan’s Mosque………..………………………………176
Appendix 4: The Questionnaire…………………………………………………177
Appendix 5: Questionnaire Results…………………………………………..…181
Appendix 6: Flat Melodic Contour…………………………….……………….193
Appendix 7: Diary of Fieldwork…………………………………….………….194
Appendix 8: Three Graphic Forms of Adhān ………………………………….197
Glossary……………………………………………………………………200
Bibliography……………………………………………….…….………201
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