達邦社戰祭歌謠作為口傳音樂文化遺產的研究

鄒族戰祭祭歌以口傳延續，歌詞充滿今人難懂的古語，歷史悠久，屬於族群集體記憶的無形文化遺產，為各個大社所擁有。現今仍存的鄒族兩個大社：達邦與特富野，在戰祭祭歌上，既有差異，又是雷同。在檢視兩個部落的歷史音樂文本時發現，由於研究者對於樂譜採記理念的不同，使樂譜呈現了多樣性，也使在認定祭歌所屬大社上，產生了困難性。因此本論文首先對於既有音樂文本進行分析解讀，並試圖透過觀察達邦社祭歌在反覆練習與實際展演時的狀況，進行具有定義性與範例性的採譜。研究發現，戰祭祭歌演唱的同時，伴隨着身體規律的前後晃動或腳步移動，這正是鄒人祭歌音樂的內在拍子以及採譜的律動規則所在。而祭歌中複音的演唱方式，則又可分為規劃了位置與旋律走向的複音，以及隨個人音感與演唱情緒所加入的複音。至於在達邦與特富野二社祭歌差異性上，研究者多以錄音地點標示祭歌所屬村落，但由於局內人以及局外人認識的差異，使歷史音樂文本的解讀，還是必須回歸音樂本體的分析。最後，本論文探討了黑澤隆朝1943年進行的戰祭祭歌錄音。這是第一個保存下來的鄒族戰祭有聲資料。但因受制於錄音人數、形式、場域與技術等問題，音樂本身失去了原真性。因此在應用此歷史文本時，必須備加小心。

關鍵字

鄒族音樂；戰祭；黑澤隆朝；複音音樂

並列摘要

Tsou's mayasvi ritual song is an oral tradition passed down from generation to generation with its lyrics full of elusive archaic words. As the intangible cultural heritage that belongs to ethnic group's collective memory, it has a long history and held by societies. The existing two large societies of Tsou are Tapang and Tfuya, which have differences and similarities in aspect of mayasvi ritual song. It was found in observation of two societies' historical texts of music that due to the different transcription concepts of researchers, the music scores have shown diversity and made it difficult to affirm which society mayasvi ritual songs belongs to. Therefore, this paper firstly analyzes existing texts of music, attempts to transcribe with definition and paradigm by observing the repetitious practice and actual performance of Tapang's mayasvi ritual song. According to the study, singing mayasvi ritual song is accompanied with regular body waggling or foot moving. This is inherent metre and rule of transcription of Tsou's ritual song. Furthermore, singing polyphony in ritual song can be divided into two modes that one arranges position and melody direction and the other one join in singing occasional by following individual musical sensation and singing emotion. As for the difference between Tapang and Tfuya's ritual song, researchers generally mark where ritual music grows by different recording locations. However, as a result of the cognitive difference between insider and outsider, the interpretation of historical texts should build on analysis of music itself. Finally, this paper discusses the recording of mayasvi ritual song by Takatomo Kurosawa in 1943, which is the first preserved sound archive of Tsou's mayasvi. However, because of the limits of recording singers, form, place and technology, music has lost its own authenticity. Therefore, researchers must be especially careful in application of the historical texts.