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題 名 | 一個文化共頻現象的觀察和思考:論平埔族音樂與週邊族群的關係=Observation and Speculation on the Phenomenon of Cultural Entrainment--Discussing the Relationship between the Music of Pinpo Groups and Their Neighboring Groups |
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作 者 | 吳榮順; | 書刊名 | 關渡音樂學刊 |
卷 期 | 1 2004.12[民93.12] |
頁 次 | 頁1-26 |
分類號 | 539.1232 |
關鍵詞 | 文化共頻現象; 平埔族; 音樂參數; 承襲; 轉借; Cultural entrainment; Inheriting; Borrowing; Pinpo tribe; Musical parameter; |
語 文 | 中文(Chinese) |
中文摘要 | 在族群分類上,平埔族雖有九或十個族群之多,但現階段仍保存自我族群音樂現象的族群,卻只有邵族、巴宰族、噶瑪蘭及西拉雅等四個族群,其餘的平埔族群音樂早已被漢文化同化殆盡。這四個平埔族群的自我族群音樂現象可以分成兩類, 一類是族人仍以通用的族群語言來運行其音樂系統,諸如邵族、巴宰族、噶瑪蘭等三族就是其歌謠仍以該族的語言來演唱;第二類的族群音樂則是曲調與歌詞仍保有族群的傳統要素,由於該族群語言已經消失殆盡,因此族人已無法解釋歌詞的字意,只能強記流傳下來的歌謠,西拉雅族的音樂現象即是。 雖然這四個平埔族群在台灣社會的政治及族群定位上,命運各有不同,但在音樂文化的保存及實踐上卻大同小異 --「 頑強的保有自我特定的音樂系統,卻不時遭受鄰近強勢民族文化的侵擾、洗滌,音樂中的吸收、消化、轉借、變形的痕跡處處可見。若從四個平埔族群現有的音樂現象觀之,儼然就是音樂中的主題、音型變奏與性格變奏的並置與平行。主題是傳統音樂的延續與矜持;音型變奏是在傳統的基礎上,轉借鄰族的音樂片段來填補該族音樂文化上的小空隙;性格變奏則是文化上的完全採借,讓後代完全感覺不到原型文化的存在。」 一個族群音樂的傳承,不外乎依循承襲 (inheriting) 與轉借 (borrowing) 兩個主要手段,當然也有其他次要的影響參數。兩個或兩個以上族群音樂間的互相影響、我的可能是你的、你的可能是我的,或完全扞格不入、特立獨行、各自我行我素,端視這兩個族群音樂間的音樂要素是否能夠產生所謂的「文化共頻現象」(cultural entrainment)。本篇研究「一個文化共頻現象的觀察與思考--論平埔族音樂與週邊族群的關係」,就是以此基點來探討這四個平埔族群,在與週邊族群相處之後,現階段所保存的音樂,哪些音樂是承襲自該族群的音樂傳統,而其中又有哪些音樂轉借或來自臨族的影響下所衍生出的音樂。前者可以透過田野訪談與記錄,知道哪些音樂為承襲自傳統,後者則須透過族群音樂系統的比較,才能理清此與彼的關係。此外,本篇研究擬從音樂人類學的觀點,從族群之間轉借後衍生的音樂現象當中,來解析族群音樂包容與再生的能量與條件,進而讓我們來審視這股能量與條件為何是鄰族間音樂相容與平行的最大公約數。 |
英文摘要 | According to the classification of Ethnic groups, the Taiwanese “Pinpo” groups consist of nine or ten Ethnic groups. Nevertheless, nowadays the groups which still preserve musical phenomena of their own can be mentioned only Sao, Pazeh, Kavalan and Siraya. Apart from these four groups, the musical culture of other Pinpo groups has been assimilated by Han culture since long time ago. However, even though the musical traits of these four groups exist distinctively, the phenomena of acculturation, culturation, enculturation and adaptation between powerful groups and weak groups in the same “Kulturkreis” can still be traced evidently. The music of these four groups is either influenced by the absolutely powerful Han groups (Fulao, or Hakka) or acculturated by a relatively powerful Austronesian group. First of all, the population of Sao living around Sun Moon Lake of Nanto is enlarged through the acts of marriage, especially with the neighboring Bunun group “ take bakha”. As a result, the adaptation of Bunun music into the musical system of Sao appears frequently. Secondly, Pazah group of Puli is surrounded by the powerful culture of Fulao groups, and eventually, their musical system incorporates many elements of Hulao music. Thirdly, Kavalan group ,which immigrated from YiLan to Hwalian, lives among the culture of Amis group, hence half of their music is borrowed and arranged from Amis music. Finally, among all the Pinpo groups, the music of Siraya groups in southern and eastern Taiwan is acculturated by Fulao culture to the most extent. The musical tradition of a group is passed on mostly through the acts of “inheriting” and “borrowing”. The mechanism of borrowing can be described as the interaction between two or more than two ethnic groups. It goes on in diverse ways. Either infused by each other, or remaining parallel and independent, relies on if the phenomenon of “cultural entrainment” takes place between the musical elements of these groups. Some other minor factors also influence the continuation of musical heritage, but this ongoing research limits itself solely on the two major parameters mentioned above. Starting from this viewpoint, the research “Observation and speculation on the phenomenon of cultural entrainment--discussing the relationship between the music of Pinpo groups and their neighboring groups” discoveries the musical heritage of the four Pinpo groups separately, analyzes the composition of the musical tradition of each group, and eventually try to realize what parts of their music are inherited from their own musical tradition and what other parts are borrowed from their neighboring groups. |
本系統中英文摘要資訊取自各篇刊載內容。