臺灣民眾是由多元族群所組成的，加以各地區保留的傳統習俗，使各地的社會文化和民情風俗都能呈現多元的樣貌，尤其民間廟會和婚喪喜慶的活動，總是有許多傳統的、現代的不同形式呈現，而產生各種不同的儀式活動，形成臺灣多元色彩的民間藝術。臺灣民眾生活中之禮俗事宜，一般都非常重視儀式性的活動，而這些與民眾生活息息相關的儀式性活動，在歷代的傳承中，保留了各地的傳統風貌和地方特色，其中「牽亡歌陣」就是民間喪事中重要的儀式之一。但是隨著社會型態的改變，「牽亡歌陣」喪葬儀式的活動，也在逐漸式微中。臺南市為臺灣最早開發的區域，民間的廟會活動和藝陣種類都非常多，通常規模龐大、演出頻繁，是傳統藝術多元發展的城市。在喪葬「牽亡歌陣」儀式中，包含歌舞、小戲、法事及雜技等項，能保留藝陣的歌舞表演，非常傳統而有特色，例如：超渡、勸亡、開路關、送亡靈平安前往西方等。一些民眾深信「牽亡歌陣」中的老藝人們不僅能歌能舞，且具備引領亡魂順利的抵達極樂世界之功能，這些表演形式具有歌舞小戲的特質，也保留了我們的傳統文化。本研究首先陳述「牽亡歌陣」之表演目的功能與善化「龍鳳誦經牽亡歌陣團」背景；其次，論述「牽亡歌陣」之「晚場」、「早場」、「做旬」之表演流程與內容；其三，探析「牽亡歌陣」之「晚場」、「早場」、「做旬」內容之比較；最後提出「牽亡歌陣」藝師表演之社會認同與文化特徵。本文透過田野調查訪談法，對於臺灣臺南「牽亡歌陣」團體進行影音紀錄保存，並針對表演儀式方面的研究，期望對於「牽亡歌陣」團體之表演工作有所助益，並能提供相關研究者參考。

Since it first was introduced to China, Buddhism has been passed down, developed and evolved to wield a strong influence on Chinese culture. It has been a long time since the Buddhist ideology influenced China, and Buddhist temples could be found everywhere to worship gods, sermonize the public, and promote the Buddhist ideology and rituals. In addition, with the publication of the Buddhist classics, Buddhism has been spread and promoted, which forms a systematic Buddhist culture in the civilian life. Recently, some Buddhist groups have established Buddhism academies, published Buddhist publications. Moreover, with mass media and the Internet to publicize and promote Buddhist ideology and thoughts, Buddhism has not only been rooted in China but also spread overseas. The development of Buddhism in Taiwan could be dated back to the Ming Dynasty, coming to Taiwan with the early immigrants from Fujian, which has now become a part of life customs and formed an important religious culture in Taiwanese civilian life. Chi-shan-long-hu-yan, located in Liujia, Tainan, Taiwan, was established more than three hundred years ago, and is one of the earliest temples in Taiwan, and the very first religious base for worshipping Guanyin, the Bodhisattva. This temple was established by Yong-hua Chen, a general under Koxinga, and invited a Zen master, Can-che (also named Ze-can) from Fujian to station as the first founding master. Now the chief abbot of the temple, Master Shen-fu, is the eleventh abbot. Chi-shan-long-hu-yan was also the site for Tian-di-hui (a Chinese fraternal organization) established by Yong-hua Chen as well as the starting place for Triad (Chinese Freemasonry), which makes this temple (yan) more significant historically and culturally. This paper will begin by introducing the historical background and cultural significance of Chi-shan-long-hu-yan. Secondly, the ritualistic music of the Buddhist monastic practice and its functions will be analyzed. Thirdly, lun-guan (sermons and lessons) of morning and evening Buddhist practices, and the procedures, lyrics, tunes, and melodies of fanbai (the Buddhist hymns) of the chanting rituals in the Buddhist meditation groups will also be analyzed. Finally, the ritualistic music for chanting and recitation will be discussed, which continues the contexts of the traditional Buddhist music and blends the fanbai form with Taiwanese folk music culture. Hopefully, the materials of this research will provide reference for researchers in the related fields.