MUSICOLOGICAL ANALYSIS OF RITUAL AND CEREMONIAL FUNCTIONS IN DONGJING ANCIENT CHINESE MUSIC

Authors : Yanting Zhou, Sarawut Choatchamrat, Thanaporn Bhengsri

Pages : 2997-3021

Doi:10.51576/ymd.1795780

View : 88 | Download : 403

Publication Date : 2025-12-31

Article Type : Research Paper

Abstract :This study provides a musicological analysis of how ritual and ceremonial functions are embedded in Dongjing music, with a focus on the repertoire and performance practices of the Wenchang Dongjing Ensemble at Qiqushan Temple. The research employed a qualitative ethnomusicological methodology, combining participatory observation, structured interviews, musical transcription, and audio-visual documentation. Seven key informants, including senior musicians, cultural transmitters, and community participants, contributed insights that illuminated both technical performance practices and symbolic significance. Data were analyzed through structural, contextual, and interpretive synthesis, linking musical features with ceremonial stages, including invocation, transition, and closure. Results revealed that the Bian-Gong hexatonic mode, heterophonic textures, and rhythmic cadenzas function as ritual markers. At the same time, the repertoire, particularly Wenchang Guyue, serves as a medium for invoking divine presence and affirming communal identity. Informants emphasized the intergenerational transmission of music and values as a sacred duty, with temple-based teaching ensuring the continuity of both. Suggestions highlight the importance of community-led education, institutional support for ritual contexts, and balanced use of digital media. The study affirms Dongjing music as a dynamic heritage system where ritual, spirituality, and musical artistry converge.
Keywords : Kültürel sürdürülebilirlik, heterofoni, kuşaklar arası aktarım, törensel sembolizm, somut olmayan miras

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