印尼傳統音樂於伊斯蘭宗教儀式之音樂實踐 －以印尼日惹宮廷穆罕默德誕辰慶祝活動之甘美朗西卡蒂為例

Abstract

伊斯蘭曆三月的第十二天，為穆斯林國家三大日子之一的穆罕默德誕辰日，佔人口百分之九十以上穆斯林信徒的印尼，當然也不會錯過這重要的日子。在印尼穆罕默德誕辰日的前一個禮拜有連續一週的慶祝活動稱為－「穆罕默德誕辰慶祝活動」（garebeg mulud/ sekatén），在連續一個禮拜穆罕的默德誕辰慶祝活動，除了一些慶祝方式(穆罕默德的生平事蹟講述儀式、唸誦古蘭經、宗教詩歌唱誦)與其他穆斯林國家相同之外，印尼不同於其他穆斯林國家的特殊性，在於音樂的使用上，選擇了印尼傳統音樂──甘美朗西卡蒂(gamelan sekati)來貫串整個慶祝活動的進行。因此，本論文的主題將探討印尼傳統音樂甘美朗於伊斯蘭宗教儀式之音樂實踐，並以印尼日惹宮廷穆罕默德誕辰慶祝活動之甘美朗西卡蒂為例。文章中，將會討論穆罕默德誕辰慶祝活動歷史起源；在印尼如何運用甘美朗西卡蒂於伊斯蘭的宗教慶祝活動；以及活動中不同文化儀式的實踐(第二章)；並對於甘美朗西卡蒂這套樂器、演奏者與曲目做一探討(第三章)；對於甘美朗西卡蒂有基本的認識之後，文章將把重點放在甘美朗西卡蒂的音樂實踐(第四章-第六章)，並分成序曲(racikan)、正曲與一般甘美朗樂曲被借用至甘美朗西卡蒂後的變化等三部分探討。藉由上述途徑，希冀讀者對穆罕默德誕辰慶祝活動的整體有詳盡的認識。 關鍵詞：穆罕默德誕辰；印尼音樂；爪哇甘美朗音樂；伊斯蘭音樂；甘美朗西卡蒂

As one of the three most important dates in Muslim nations, Mohammed’s birthday is the twelfth day of the third month on the Islamic calendar. Followers of the Islamic faith account for over ninety percent of Indonesia’s population, and they naturally would not miss this important date. The week prior to Mohammed’s birthday in Indonesia commences unceasing celebratory activities, which are called – “celebration activities for the birth of Mohammed” (garebeg mulud/ sekaten). Besides the various standard ways of celebrating during the continuing week-long celebratory activities of Mohammed’s birthday, such as: the narration ceremony of Mohammed’s life story, recitation of the Koran, and chanting of religious songs, there is a distinctness in Indonesia’s celebration that differs from other Muslim nations. The particularity distinguishing Indonesia from other Muslim nations is in their utilization of music and their selection of using traditional Indonesian music (gamelan sekati), which permeates the entire process of the celebratory activities. Thus this thesis’ subject shall probe into the Islamic religious rituals’ musical practices of Indonesia’s traditional gamelan music, and use the celebratory activities for Mohammed’s birthday found in the court Gamelan-sakati of Jogjakarta in Indonesia as an example of these musical practices. This article shall discuss the historical origins of the celebratory activities of Mohammed’s birthday, the ways in which Indonesians utilize Gamelan-sekati in Islamic religious celebration activities and the practices of various cultural rituals (chapter two). I shall then discuss the set of instruments, the performers and the repertoire of the gamelan-sekati (chapter three). After gaining a rudimentary understanding of gamelan-sekati this article will place the utmost emphasis on gamelan-sekati’s musical practices (chapter four-six), which is divided into three sections divided into: prelude (racikan); the main piece; and the transformations of general gamelan compositions after they have been borrowed into gamelan-sekati. From the approaches mentioned above I hope for the reader to obtain a thorough and elaborate understanding of the celebratory activities of Mohammed’s birthday. Key terms:Mawlid ；Indonesia music ；Javanese gamelan music ；Islamic music； Gamelan Sekati