藏傳佛教在臺灣既有的漢傳佛教和民間信仰的宗教慣習和脈絡中，傳入臺灣。臺灣的唱片公司或製作人，在原有製作流行音樂或漢傳佛教音樂的經驗之上，製作藏傳佛教相關的音樂出版品，成為商業音樂市場的新產品。在接受外來音樂型態和臺灣在地現代性發展下，此類音樂商品，包含儀式紀實性錄音、傳統與新創混雜的音樂（藏僧尼、藏族民間歌手、臺灣演唱者），以及以藏傳佛教為動機的音樂型態、不同宗教和音樂語彙的創造性採用，形成模仿性的風格或多樣化型態。本研究的主體為臺灣製作的藏傳佛教相關音樂出版品，探討在臺灣的宗教慣習和音樂慣習中，製作者如何以不同語彙體現「藏傳佛教」、與宗教規定協商的策略，以及帶有不同程度想像所組成的音樂市場共同體。

Tibetan Buddhism was introduced to Taiwan within the religious habitus shaped by Chinese Buddhism and folk religion. Drawing from the experience of producing pop music or Chinese Buddhist music, record companies and producers in Taiwan began creating music releases related to Tibetan Buddhism. These products emerged as a new category in the commercial music market. Within Taiwan’s reception of foreign musical styles and the development of local modernity, these musical products include documentary recordings of rituals, hybrid works combining traditional and newly created music performed by Tibetan monks and nuns, Tibetan folk singers and Taiwanese singers, and musical forms inspired by Tibetan Buddhist themes. The creative adaptation of religious and musical idioms has resulted in emulative styles and various hybrid forms. This research focuses on music releases produced in Taiwan related to Tibetan Buddhism. Within Taiwan’s religious and musical habitus, the study examines how producers embody “Tibetan Buddhism” through different idioms, the strategies they employ to negotiate religious norms, and how the imagined community of the music market is formed through varying degrees of imagination.

藏傳佛教; 多重語彙; 在地現代性; 商品音樂市場; 想像共同體

Tibetan Buddhism; multiple idioms; local modernity; commercial music market; imagined community