一部音樂舞臺劇之後的沉思：關於當代原住民音樂研究

Contemplation Aroused by a Musical: On Studies of Contemporary Aboriginal Music

本文從《很久沒有敬我了你》音樂舞台劇發想，討論當代原住民音樂研究新取徑，思考「當代研究者如何在研究方法上呼應國際學術思潮及在地原住民社會文化變遷」。透過「臺灣原住民音樂研究的發展歷程」、「國際學術思潮」以及「當代原住民音樂景觀」三方面的討論，我主張，原住民音樂研究應不僅止於文本分析等「解釋」的工作，而應更著重於「理解」，例如：對於音樂事件及其涉及的各種關係的討論。以在國家音樂廳表演的原住民音樂節目為例，我探索「表演」、「接合」和樂動（musicking）等理論在當代原住民音樂研究上的運用，期待這些理論與方法可以讓臺灣原住民音樂研究呼應國際學術思潮，並和其他人文學及社會科學研究產生對話。

Beginning with thoughts triggered by the musical On the Road, this paper has an aim to explore new approaches for studying contemporary Aboriginal music. The paper is concerned with how contemporary researchers respond to changes of international academic trends and that of Indigenous society and cultures in their research methodology. By discussing “the development of studies on Taiwanese Aboriginal music,” “international academic trends” and “contemporary Aboriginal musical landscape,” I argue that studies of Aboriginal music should not be limited to activities of “explanation” such as analyses of texts. Rather, more emphasis should be put on activities of “understanding” such as discussions about musical events and relationships involved in these events. To take programs of Aboriginal music presented in National Concert Hall as examples, I examine how to apply theories of performance, articulation and musicking in a study on contemporary Aboriginal music. I hope that these theories and methods may allow studies of Taiwanese Aboriginal music opportunities to respond to international academic trends, and to take part in dialogues with social science and humanities studies.