阿美族豐年祭歌舞中反覆形式之初探

The Port of Songs and Dances form Repetition Lalan (Road) in Harvest Festival

巴奈．母路(Panay．Mulu)

《台灣原住民族研究季刊》 1卷3期 (2008/09) Pp. 129-147

https://doi.org/10.29910/TJIS.200809.0005

摘要

邊唱邊跳的樂舞形式，讓人們對阿美族的能歌善舞印象深刻，尤以每年夏季的豐年祭為最。以大港口部落為例，共計五天的豐年祭，集體性歌舞文化彰顯出一個民族的生命力。在領唱者與和唱者不停反覆唱與舞動下，聽似簡單的旋律，看似固定的舞步，卻非所有人皆能完全領會，其奧妙之處在於阿美族豐年祭歌每一舞步配合的歌詞（襯詞）極具深層意涵，詮釋著「天－地－人」的互動關係。事實上，反覆形式並非隨性，其因為豐年祭的歌與舞，節奏與拍數皆是分開，意即歌曲的拍數並不等於舞蹈的拍數，一首七拍的歌曲搭配四拍的舞步，歌與舞必須反覆至第五次才能使歌舞一致落在第一拍，之後，始能唱跳另一段不同的旋律及舞步。因此之故，領唱者必須熟悉樂舞的歌詞與舞步，並且在其高度警覺下掌控歌舞的整齊、情緒的起落、節奏的快慢、舞步及旋律的變化等。藉由反覆形式，領唱者不僅維繫祭典並肩集體樂舞的整體氛圍，同時也成為領唱者彰顯能力的工具。

關鍵字

阿美族 ； 祭儀 ； 祭司

並列摘要

The presentation of singing and dancing together impresses people by Amis's great ability in this area, especially the harvest festival in the season of summer. Take the harvest festival which holds for 5 days in the tribe of 「cepo'」 for example, the culture of such singing and dancing as a group presents and manifests the vitality of this people. Accompanied with the leading singer and the chorus' repeated singing and dancing, the melodies which seemed simple and the steps which seemed fixed are not to be understood by all people, for the every lyric, or Padded lyrics which is accompanied with every step has its profound, meaning and interprets the interactive relation in Sky, Earth and People.As a matter of fact, the form of repetition is not freewill, because the tempos and rhythms of songs and dances in harvest festival are separate, that is, the songs have their rhythms and the dances have their own. For instance, a song is constructed of a melody in seven rhythms and a step in four rhythms, and this song has to be sung repeatedly for five times and then it will return to the condition which singing and dancing falls identically on the first rhythm, then follows another different melody and step. Consequently, the leading singer has to be familiar with the lyrics and the steps, and has to take control of the shipshape singing and dancing, the heaving of the emotion, the speed of the tempo, and the variation of the steps and melodies as a union under the most emergent condition. Through the form of repetition, the leading singer not only maintains the whole atmosphere of music and dance in the ceremony, but manifests the ability of the leading singer.

並列關鍵字

Amis ； ritual ； sharman

參考文獻

巴奈．母路(2002)。靈路上的音樂─阿美族里漏社祭師歲時祭儀音樂。福建師範大學音樂學院。

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伍國棟(2006)。中國少數民族音樂。北京，中國:人民音樂出版社。

杜亞雄(2004)。探索的腳步。上海，中國:上海音樂出版社。