現存於佛寺中的中國佛教音樂，被許多學者視為具有唐宋古樂遺風的傳統中國音樂，或保存相當完整的音樂活化石;同時，亦有學者對佛讚與曲牌之間的關係進行比對分析，借以佐證佛教音樂的悠久歷史O有別於過去大量的史料研究，本論文則著眼於現今中國漢傳佛教日常課誦的音樂O此文將先行對寺院中的音樂教育和傳承情況進行調查，以「文化分析法見基礎(John Blacking所強調的Cultural Analysis) ，來對佛寺中日常課誦的音樂進行形態結構分析O以佛光山寺及其體系下之道場為例，本文有別於以往“純音樂，形態結構分析，研究的體裁除了一般具強烈固定旋律性的音樂外(如讚與偈)，非固定旋律性的音樂(如經和咒)更是文中探討的中心，因為這種自由唸誦的音樂現象，不僅被佛教徒擬為〈普門品〉中『梵音海潮音勝彼世間音』的直接寫照，同時亦是佛教音樂學術界尚待解決的範疇。這份研究分析，對於中國音樂學術界在了解本身不強調音樂理論的佛教音樂實踐而言，顯得格外重要。

Many Chinese musicologists believe the exiting Buddhist ritual music in Chinese Han monasteries， as a“living fossil" of ancient Chinese music， embraces traditional music from Tang and Song Dynasties. In particular， some comparisons have been drawn on the relationship between the zan used in Buddhist ritual and qupai (a fixed melody form) used in operatie singing in order to show the historical significance of Han Buddhist music. Different from pervious research concentrating on historical perspective， the paper focuses on the current practice of Chinese Han Buddhist daily service， its music and context. By using the example of Fuguangsan temple from Taiwan (and the same system applied to its world�wide branches)， the paper firstly introduces their educational system and transmission process of Buddhist ritual music， followed by the “culturalanalysis" (suggested by John Blacking) ofthe music used during Buddhist daily service. Unlike other musical analysis of Buddhist ritual in which the structure often is the main attention， the paper expands the discussion from regular melodic chant (such as zan and ji) to non-regular melodic chant or free chanting style (such as jing and zhou). The paper aims to contribute to the scholarly study on the relationship between Buddhist ritual music and its practice， as well as providing in-depth understanding of Chinese free style chanting which has yet thoroughly explored before.