傳統與遞變：排灣族的歌樂系統研究

Tradition and Transition：A Research on the Vocal Music of Paiwan

周明傑(Ming-Chieh Chou)

指導教授 ： 吳榮順

國立臺北藝術大學/音樂學院學術論文/音樂學系博士班/博士(2013年)

摘要

本論文是以排灣族（Paiwan）的歌樂為研究對象，觀察歌樂從傳統到後續演變的整個面貌，不但廣博的蒐集與探查排灣族不同地區的歌樂，也深入了解每一個時期不同音樂背景之下的歌樂變化。筆者並透過實地觀察採集，以及嚴謹的分析研究，讓排灣族歌樂博大精深的一面呈顯出來。

第一部分的緒論，內容詳述了研究動機、目的、對象、策略與步驟，最重要的是對於研究法理論基礎的敘述，即音樂的功能與音樂語義學。文獻回顧是描述各個時期的文字影音記錄，觀察過去學者的研究成果。至於排灣族文史藝術的章節，詳細闡述了排灣族遷移的歷史以及內部分群，而階級關係則是影響排灣族最深的社會制度。雕刻、琉璃珠、文身、鼻笛、歌謠等藝術表現，類型繁多、風格華麗，從日治時期開始，就受到專家學者們的重視。

第二部分是對於排灣族人歌樂形態的闡述，從排灣族的兒歌、工作歌、情歌、勇士舞、一般歌舞、五年祭音樂、結婚儀式音樂、一般祭拜等的音樂，理解排灣族人歌樂型態的豐富性，並體會到排灣族人日常生活與歌樂密切的關係。這些歌謠中，兒歌、情歌、勇士舞以及哭調等，各擁有特殊的音樂形式與內涵，很早以前，就吸引了民族音樂學者們的注意，在著作當中常常被提及。

第三部分是對於歌樂結構與美學的深究，這其中，虛詞、聲腔與構詞法的深入探討是過去研究中極為缺乏的部分。虛詞的研究探討牽涉到的不僅是歌詞，也與歌團的組織形態、歌唱習慣、相沿成習的運作模式等密切相關，本章節筆者更試探性的完成了一個由虛詞所建構出來的歌謠分類。聲腔的研究，是以聲音人類學的聲學知識以及吳榮順教授的研究成果為基礎，藉由排灣族不同時期歌者聲腔的蒐集，以及電腦軟體的解析，讓聲音從聽覺訊息轉成視覺化符號，清楚的呈現出不同時期的聲音演變。美學的思考方面，是以音樂語義學的理論為基礎，音樂語義學既然是一門研究音樂意義之學，本章節也引用這個理論，理解排灣族歌樂在經歷不同時空背景後，其音樂意義的形成與確立。構詞法的研究部分，構詞的分析研究是理解排灣族歌樂歌詞結構的最好方式，筆者所歸納出四種種構詞模式，有助於理解排灣族歌樂在於語言以及表達上的諸多疑問。

歷經時代的演變，排灣族的音樂也隨著族人的生活型態產生變化，昔日歌樂與階級制度緊密的聯繫，如今也已不復見，可見，族人的音樂本身並非一成不變，它隨著人民文化生活的腳步，呈現出音樂形式與內涵的演變。

關鍵字

排灣族 ； 歌謠 ； 雙管鼻笛 ； 民族音樂學 ； 功能主義 ； 音樂語義學

並列摘要

This dissertation is about the vocal music of Paiwan. It studies the transition of this music from tradition until its later development. An extensive collection of Paiwan vocal music from different region and a thorough analysis of changes against different music backgrounds are provided. With on-the-spot fieldwork and careful study, the author intends to demonstrate the wisdom and depth of Paiwan vocal music.

The first part, Introduction, explains the motive, purpose, subject, methodology and procedure of this study. Mostly importantly, it explains music functionalism and semantics as the theoretical foundation of its methods. Literature review covers previous studies presented as literal, visual and audio records spanning four periods. The chapter on Paiwan literature and art describes the migration history of and the classification among Paiwan, whose society is known for its stratification and various and rich art forms include sculpture, glazed bead, tattoo, noseflute and songs. These cultures have drawn scholarly attention since the Japanese Occupation Period.

The second part offers a typology of the vocal music of Paiwan, which shows the richness of this music and its close relationship with the daily life of Paiwan. There are songs for children, work, love, warrior, maleveq, daily entertainment and common ritual. Among them, songs for children and love are known for their refrains, while songs for warrior dances and wedding ceremonies are known for their crying tunes. These types have long attracted the attention of ethnomusicologists because of their distinct characteristic and content, and have also been frequently documented in many works.

The third part focuses on the analysis of the structure and aesthetics of Paiwan vocal music. Previous researchers have not paid much attention to vocables and vocal composition. The study of vocables is closely related to lyrics, composition of song, singing habits and habitual treatment of vocal music. The author has tentatively completed a classification of Paiwan vocal music composed of vocables. The study of vocal is based on the knowledge of acoustics from anthropology of voice and the study of Dr. Wu Rung-Shun. By collecting voices from Paiwan vocalists belonging to different periods and analyzing these vocal performances with computer software, the author successfully turns audio contents into visual to show the transition of Paiwan vocal music throughout different periods. The study of aesthetics is based on the theory of semantics of music, a knowledge developed to understand the meaning of music. Borrowing from this knowledge, this chapter intends to understand the formation and consolidation of meanings in Paiwan vocal music after it went through different times. Lastly, there is a study of word formation, which is the best way to understand the formation of Paiwan lyrics. The author’s conclusion of several types of word formation will help to explain many questions regarding the language and expression of Paiwan songs.

The vocal music of Paiwan indeed changes according to the changes of time and Paiwan lifestyles. The close relationship between music and hierarchy in the old Paiwan society no longer exists. In other words, the music of Paiwan is not at all fixed. It transforms itself and develops new form and content, following the footsteps of people’s life and culture. .

並列關鍵字

Paiwan ； song ； double noseflute ； ethnomusicology ； functionalism ； semantics of music

參考文獻

1976《民族音樂學的理論與方法》。台北：書評書目。

1991《台灣原住民民俗歌曲》。台北市 : 教育部技術及職業教育司。

2005b〈排灣族的複音歌謠---大社村與平和村的採集〉《屏東文獻》9：157-192，屏東縣政府文化局。

2005〈北排灣拉瓦爾亞族的傳統婚禮歌謠--新娘頌歌「Puljeai」〉《屏東文獻》9：104-156。屏東市：屏東縣政府文化局。

伊誕・巴瓦瓦隆製作