王母聖典科儀禮樂規劃辛晚教國立台北大學都市計劃研究所榮譽教授摘 要中華素以“文明古國，禮儀之邦”而著稱於世，而祭祀是禮最原始之意義。西周制禮作樂.整合黃帝.堯.舜.夏.商.周歌頌帝王文治武功功業之樂合成六代之樂，依序而用於各種祭祀，奠定中華祭祀禮樂文化. 孔廟祭孔雅樂是祭祀禮樂文化典範祭孔已歷二千多年；自隋朝專編祭孔樂章，一千四百多年來，歷代辭曲舞雖有調整，惟始終保存周代禮樂文化體制精神並充分表現儒家治心治躬中和禮樂思想。勝安宮為紀念 王母娘娘降靈度眾六十週年，暨恭祝 王母娘娘聖誕，特舉辦“勝世安邦文化季”，紀念祝壽聖典特別提昇為三獻古禮規格，.一表示祝頌最高虔誠之意二.強化傳統科儀禮樂文化合詩歌曲舞為一體，在儀禮上分二十八個程序，在詩曲方面特別編寫專屬西華至尊樂章計四首(章)，並編三獻舞，獻(祭)者分正獻、分獻、陪祭，職司者分禮生(案生、通贊、引贊、儀仗生、淨手生)，樂生(鐘鼓、絲管-.) ，佾舞生，花童生，並添置禮器、祭器期無違傳統祭祀禮樂體制精神關鍵詞：六代之樂，祭典禮樂，勝世安邦文化季，王母聖典科儀.The Programming of the Holy Ceremonies of Queen Mother of the WestHsing , Woan-chiauGraduate Institute of Urban Planning, National Taipei UniversityAbstractChina is famous for its ancient civilization and courtesy; and the most original meaning of courtesy is sacrificial ritual.In Western Zhou Dynasty, the classical ritual and music is established by integrating the music for celebrating achievement by emperors from the period of Emperor Yellow, Yao, Shun, and the Three Dynasties (Xia, Shang, and Zhou) into “The Music of the Six Dynasties”. This music has been applied to many kinds of rites which was the foundation of Chinese ritual culture and music. Among the classical music, the one for sacrificial rite to Confucius in temples of Confucius is the paradigm. This rite has been held for more than two thousand years. A thousand and four hundred years since the composition of the music for the sacrificial rite to Confucius in Shuei Dynasty, the music has received only minor adjustments; its core of the courtesy from Zhou was unchanged, and the music represent the Confucian ideas of rites and musicphysical and mental cultivation as well as the ideal of “even and harmony”.Sheng-an Palace, in order to celebrate the sixtieth anniversary of Queen Mother of the Wests descent and her birthday, held the Sheng-an Cultural Festival. The rite for her birthday was upgraded as a three-time classical rite. On the one hand, it represent followers highest respect, on the other hand, it encouraged the traditional culture of rite and music. The rite consists of twenty-eight process, which integrated poetry, singing, music, and dance as one. A new four-movement poetry music “Movement of the Universal Lord of the Western China” was composed, and three ritual dance was choreographed. Presenters were classified into three categories: main presenter, assistant presenter, and accompanying priest; assistants were also classified as: ritual assistants (An-sheng, Tong-zan, Yin-zan, Yi-zhang-sheng, Jing-shou-sheng), music players (bells and drums, silk pipes), dancers, flowers holding assistants. Besides, ritual and sacrificial devices were also purchased, in order to make sure the spirit of sacrificial rites and music was faithfully followed. Keywords: The Music of the Six Dynasties, Courtesy and music for sacrificial rites, Sheng-an Cultural Festival, Holy ceremonies of Queen Mother of the West.