賽德克族與太魯閣族的歌樂系統研究 兼論其音樂即興的運作與思惟

A Research on the Vocal Music of Sediq Tribe & Truku Tribe -- Focusing on the Functioning & Thoughts of Their Musical Improvisation

曾毓芬(Yuh-Fen Tseng)

指導教授 ： 吳榮順

國立臺北藝術大學/音樂學院/音樂學系博士班/博士(2008年)

https://doi.org/10.6835/TNUA.2008.00013

摘要

本論文的立論基礎，乃是從音樂即興藝術之運作與思惟的角度，來了解並詮釋賽德克族與太魯閣族的歌樂。

第一部分「理論基礎與研究方法」是整篇論文思想根基的呈現，共有三章。第一章是音樂即興藝術的綜論，首先探討相關的學術定義，而後研究其運作模式，並提出五種音樂即興的原型以及三種展開的層次；第二章循序漸進地呈現筆者在資料蒐集、資料分析與資料詮釋等不同工作階段中，所運用的研究策略與步驟；第三章是研究方法的論述，其中除了陳述筆者在進行音樂詮釋時的個人思路歷程，並各自在不同章節中，扼要介紹本論文成型過程中，影響筆者至深的幾項學說，包括音樂人類學範疇的Alan P. Merriam「用途與功能」說(uses and functions)及John Blacking功能式分析概念(functional analysis)；音樂符號學領域的Ferdinand de Saussure符號學理論和Jean-Jacques Nattiez音樂符號學；以及筆者在分析技法上所參考的Schenker分析法(Schenkerian analysis)。

在第二部分「Gaya制約下的賽德克族與太魯閣族傳統音樂文化」中，筆者彙整本論文所有的文獻與田野調查資料，呈現出這兩個本為同源、卻一分為二的臺灣原住民族群之歷史文化背景與傳統音樂全貌。此部分共有五章，第四章為音樂文獻的回顧；第五章、第六章分別以南投賽德克族的歷史文化背景以及音樂系統為主題進行探討；第七章、第八章則是有關花蓮太魯閣族的歷史文化背景與音樂系統的整體呈現。

第三部分「賽德克族與太魯閣族音樂即興的模式與思惟」，針對上一部分所呈現的音樂面相做更深入的分析與詮釋。由於筆者觀察到賽德克族與太魯閣族傳統音樂所具有的即興特質，因此在第九章及第十章中，進行這兩個音樂文化的即興模式探討，至於第十一章則是關乎其音樂即興行為背後思維的探討。以下分別簡述各章內容。

第九章是有關賽德克族的音樂即興，分為兩部分，一為賽德克族祭儀性複音歌曲【uyas kmeki跳舞歌】的即興，其中分為幾個層次來進行分析：首先找出即興的原型，即骨幹旋律，而後觀察骨幹旋律的橫向與縱向開展，並進一步深入整個音樂文化的內在功能結構，最後，以即興模式的綜合探討作為結論。第九章的第二部分是探討賽德克族非祭儀性單音歌謠的即興，整體的研究程序與【uyas kmeki跳舞歌】類似，由主題原型的分析、展開方式、進入整體音樂的內在功能結構分析與綜合探討。

第十章是太魯閣族音樂即興現象的探討，首先從耆老的話語、今昔錄音的對照以及筆者的田調經驗中，突顯出太魯閣族音樂文化的今昔之別；而後仍就目前仍存留下來的音樂素材進行即興模式的分析，希望能藉此追溯、還原出太魯閣地區過去所曾經擁有的音樂即興樣貌。

第十一章著重上述兩個音樂即興系統在功能美學方面的詮釋。首先從Alan P. Merriam的學說出發，並以賽德克族的【uyas bsukan酒醉歌】為例，從「用途」與「功能」的角度來探討本文的分類原則，之後接著討論賽德克族【uyas kmeki跳舞歌】的社會功能，最後則是從John Blacking的功能式分析角度來詮釋各個音樂文化之內在功能結構所具有的象徵意義。

在結論的部分，筆者分別從「音樂即興的運作模式」、「音樂即興的美學觀」以及「賽德克族與太魯閣族音樂即興的傳承現況」三個角度，來進行研究結果的回顧與反思，並以此結束全文。

關鍵字

音樂即興 ； 賽德克族 ； 太魯閣族

並列摘要

The main focus of this dissertation is to comprehend the vocal music of Taiwanese indigenous “Sediq” tribe and “Truku” tribe from the view of musical improvisation and also to interpret the thoughts behind their improvisational behavior.

Part one “Theoretical foundation and research method” includes three chapters. The first chapter is the survey of musical improvisation: first of all, discussing the academic definitions on this subject, and then, about its functioning patterns, proposing five kinds of improvisational modals and three approaches concerning the elaboration of these modals. In the second chapter, the strategies applied in each research stage, from data collection, data analysis, through data interpretation, is introduced. The third chapter is focused on the research methods. In this chapter, several theories impacting on the author deeply during the process of writing this dissertation are presented in the form of brief summary. The theories mentioned here include “the uses and functions of music” brought by Alan P. Merriam, the functional analysis of John Blacking, the Semiology of Ferdinand de Saussure, the musical Semiotics of Jean-Jacques Nattiez, and the graphic analytical method proposed by Heinrich Schenker.

In part two “the traditional musical cultures of Sediq tribe and Truku tribe, conditioned by Gaya”, the cultural background and the musical systems inhering in these two tribes with same origin but separated politically are presented. There are five chapters in this part. The fourth chapter is the literature review. The fifth and sixth chapters are devoted to historical and musical culture of Sediq tribe while the seventh and eighth chapters are about that of Truku tribe.

Part three “the patterns and thoughts of the musical improvisation of Sediq tribe and Truku tribe” conducts the deeper analysis and interpretation on the general data presented in the previous stage. Because of the improvisational traits found in these two musical cultures, academic discussions in terms of their improvisational patterns are proceeding in the ninth and tenth chapters, and, moreover, in the eleventh chapter, the thoughts behind the improvisational behavior are revealed.

The ninth chapter, concerning the Sediq improvisational pattern, is divided into two sections. The first section discusses the improvisation pattern of Sediq polyphonic ritual music uyas kmeki (dance song). Here, several levels of analysis are conducted:

first, to find the improvisational modal, “skeletal melody”, second, to observe how the skeletal melodies are elaborated through various ways, third, to explore the functional structure of the entire musical culture, and finally, to conclude with the comprehensive discussion on the improvisational pattern. The second section of chapter ninth repeats the same process on the non-ritual music of Sediq tribe, but with the improvisational modal of “archetypal theme” instead of the “skeletal melody”.

The tenth chapter reveals the improvisational phenomena existed in Truku tribe nowadays. Through the words uttered by the old men in the tribe and the comparison between the historical recording and the recording acquiring recently, the enormous loss of the art of Truku musical improvisation is projected. After acknowledging the present situation in Truku tribe, an analysis on the residual music reference is made in the hope that the image of musical improvisation in the past can be traced through this process.

In contrast to the previous two chapters, the eleventh chapter emphasizes the interpretation of these two musical systems in terms of their social function. First of all, starting from Merriam’s “uses and functions” theory, and illustrated by the uyas bsukan (drinking song) of Sediq tribe, the principals of classification is discussed. Furthermore, the focus is shifted to the social function of uyas kmeki. Finally, the symbolism of the functional structure inhered by these two musical cultures is unveiled in the light of John Blacking’s functional analytical view.

To conclude the entire dissertation, an act of rethinking on the results obtained in the previous researches is conducted from the angles of musical improvisation patterns, aesthetic views, and the learning mechanism of musical improvisation functioned in Sediq tribe and Truku tribe.

並列關鍵字

musical improvisation ； Sediq tribe ； Truku tribe

參考文獻

Kumu Tapas（姑目•荅芭絲）

帖喇•尤道(Teyra Yudaw)、金清山、胡清香等人　編撰

哈尤．尤道（莊春榮）

瓦歷斯•諾幹、余光弘

時臺灣舊慣調查會。（中央研究院民族學研究所，余萬居譯，