論Gaya制約下的賽德克亞族音樂即興－以跳舞歌uyas kmeki為例

The Musical Improvisation of Taiwanese Aboriginal Sediq Sub-Tribe-Illustrated by the Ritual Dance Song "Uyas Kmeki"

曾毓芬(Yuh-Fen Tseng)

《關渡音樂學刊》 7期 (2007/12) Pp. 93-129

https://doi.org/10.29873/GMJ.200712.0003

摘要

賽德克亞族雖然長期被歸類為泰雅族的亞族之一，但是其語言及音樂文化卻擁有自己獨特的系統，與泰雅本族呈現相當大的差異。本論文將從音樂即興和文化制約兩個不同角度來了解賽德克亞族的音樂文化，並從族人在傳統祭典中所唱跳的【uyas kmeki跳舞歌】切入，藉由其音樂即興模式的分析，來接討賽德克人的Gaya思想如何外顯於音樂及舞蹈的形式表現。本論文章節架構的設計，採用由外而內逐漸聚焦的方式，首先指出即興與口傳音樂的互動關係，而後再從賽德克文化背景的鋪陳，過渡向其音樂風格與【uyas kmeki跳舞歌】即興模式的探討。由上述理念中，全文發展為五部分，論述重點各自為「從即興的角度來領會口傳音樂的神髓」、「Gaya-賽德克文化最深層的根基」、「賽德克亞族的音樂風格」、【uyas kmeki跳舞歌】的即興模式」以及「賽德克亞族音樂即興中的文化思維」等不同主題。

關鍵字

音樂即興 ； 賽德克亞族 ； Gaya ； uyas kmeki跳舞歌 ； 疊瓦式複音

並列摘要

Although distinguished into a sub-tribe of Atayal for a long time, Sediq owns its own uniqe systems of language and musical culture which are different from that of Atayal. In this article, the musical culture of Sediq sub-tribe will be explored from the view of musical improvisation and cultural conditioning, and illustrated by the ritual dance song. uyas kmeki. Through the analysis on the improvisational patterns of that specific musical genre, how Gaya is embodied in the form of music and dance will be revealed.The design of this article is focused inwardly. In the first beginning, the interaction between musical improvisation and oral tradition is pointed out, and then, through the presentation of Sediq cultural background, the discussion is led to the music style of Sediq and the improvisational patterns of uyas kmeki. From this central idea, this article is structured into five parts: Firstly, ”to approach the essence of oral musical tradition from the view of improvisation”, secondly, ”Gaya, the fundamentals of Sediq culture”, thirdly, ”the music style of Sediq music”, fourthly, ”the improvisational patterns of uyas kmeki”, and finally, ”the cultural thoughts of the musical improvisation of Sediq”.

並列關鍵字

musical improvisation ； Sediq sub-tribe ； Gaya ； uyas kmeki ； tuilage

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