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three sessions are conducted each day during the Jiao-shi period, in the morning, noon, and evening.
Although Taoist Jiao-shi is no longer widely practiced in China nowadays, it is still regularly held in the suburban communities of Hong Kong and Taiwan. Organized by the ad hoc "committee for Jiao-Shi "whose members are elected from the local community, a team of dao-shi is hired to perform the Jiao-shi. Dao-shi of Hong Kong and Taiwan both claim to be of the Zheng-yi sect.*
The present discussion concerns itself with the music of Jiao-shi and it intends to illustrate that variation technique is the fundamental means in achieving structural unity and variety in Jiao-shi music. Since examples of transcriptions and analyses in this paper are based on field recordings made at two locations in Hong Kong-Fanling, the New Territories (taped in December, 1980) and Cheung Chau, (taped in May, 1983), findings discussed in this paper will have to be limited to the Jiao-shi music as seen and heard in Hong Kong.*
The music of Jiao-shi consists of recitation and chanting of canonical texts and the complementary instrumental ensemble. Recitation and chanting can be further divided into the following three types:
1. Recitation delivered in heightened speech tones, non-pitched, and with the accompaniment of mu-yu †.
2. Chanting, pitched but highly narrative and mostly syllabic, delivered with the accompaniment of mu-yu and ging. Pitches used are those do, re, mi, sol, and la. The range is generally small, within an octave.
Example 1.
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three sessions are conducted each day during the Jiao-shi period, in the morning, noon, and evening.
Although Taoist Jiao-shi is no longer widely practiced in China nowadays, it is still regularly held in the suburban communities of Hong Kong and Taiwan. Organized by the ad boc "committee for Jiao-Shi "whose members are elected from the local community, a team of dao-shi is hired to performı the Jiao-shi. Dao-shi of Hong Kong and Taiwan both claim to be of the Zheng-yi sect.*
The present discussion concerns itself with the music of Jiao-shi and it intends to illustrate that variation technique is the fundamental means in achieving structural unity and variety in Jiao-shi music. Since examples of transcriptions and analyses in this paper are based on field recordings made at two locations in Hong Kong-Fanling, the New Territories (taped in December, 1980) and Cheung Chau, (taped in May, 1983), findings discussed in this paper will have to be limited to the Jiao-shi music as seen and heard in Hong Kong.*
The music of Jiao-shi consists of recitation and chanting of canonical texts and the complementary instrumental ensemble. Recitation and chanting can be further divided into the following three types:
1.
Recitation delivered in heightened speech tones, non- pitched, and with the accompaniment of mu-yu †k.
2. Chanting, pitched but highly narrative and mostly syllabic, delivered with the accompaniment of mu-yu and ging. Pitches used are those do, re, mi, sol, and la. The range is generally small, within an octave.
Example 1.
2
I
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