Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/108322
Title: 從俗唱到聖詠:以卑南族下賓朗部落為中心的研究
Senay and Pahirahiraw:A Research in Pinaski of Puyuma
Authors: 錢善華
孫大川
Chien, Shan-Hua
Sun, Ta-Chuan
賴靈恩
Lai, Ling-En
Keywords: pahirahiraw
senay
temilatrilaw
misahur
mangayaw
pahirahiraw
senay
temilatrilaw
misahur
mangayaw
Issue Date: 2016
Abstract: 本論文是以卑南族下賓朗音樂中的「聖詠」與「俗唱」為研究對象,探討哪些歌謠是屬於「聖詠」的範圍、哪些則是「俗唱」的類型,以及流動於兩者之間的歌謠形式。 第一章為緒論,說明研究之動機目的,以及研究範圍與方法,並回顧過去對於卑南族音樂的相關研究。第二章是卑南族的歌謠分類,從族人的觀點來探討分類的概念,主要區分為「聖詠Pahirahiraw」與「俗唱Senay」,以及流動轉換於兩者之間的歌舞音樂〈temilratrilraw〉。第三章從神聖的祭典儀式,以屬於女性祭儀的小米除草儀式到除草完工禮,與屬於男性祭儀的少年猴祭到大獵祭為主要研究範圍,探討屬於「Pahirahiraw」系統的儀式歌謠如何運作於儀式之中,以及儀式歌謠與性別角色之關係。第四章探討生活中的Senay歌謠,因演唱時機而區分為「儀式性的senay歌謠」與「生活中的senay歌謠」。因地緣關係與歷史因素,卑南族與其他周邊族群有著不同程度交流的關係,所以由音樂的要素如音組織、調式、旋律結構以及歌謠中的聲詞構造,去分析探討何者為卑南族歌謠,何者為他族歌謠。第五章是從下賓朗部落族人透過身體與聲音的記憶,如何以歌謠的傳唱來傳承部落的歷史文化、祭典儀式,分別從女性與男性的角度來探討族人如何復振傳統文化與祭儀。最後為本研究之總結,並嘗試提出可能的後續研究方向。 簡而言之,卑南下賓朗族人對於歌謠的概念區分為「聖詠Pahirahiraw」與「俗唱Senay」。「聖詠」主要運行於儀式之中,從演唱形式分析出最重要特質就是演唱角色主要分為三個:「提詞者」、「應詞者」及「和腔者」,三者在儀式中各有其功能與任務。而「俗唱」則沒有角色的明顯區分,因著無限制的彈性與包容性,流動於「神聖」與「世俗」之間,藉由歌舞音樂〈temilatrilaw〉與senay 歌謠的運作,將人們從神聖的場域逐步轉換回到日常生活的軌道。
This dissertation studies “Pahirahiraw” and “Senay” of the Puyuma music at Pinaski, investigating the domain of Pahirahiraw, the type of Senay, and their in-between forms. In Chapter 1, I present the motivation of this study, research scope, research method, and literature reviews on Puyuma songs and music. Chapter 2 presents the classification of Puyuma songs and music from the tribal people’s point of view: “Pahirahiraw”, “Senay”, and “temilatrilaw” flowing around between them.Chapter 3 presents the rituals of Puyumas and the role of genders. Rituals like misahur, and muhamud are held for the preparation of growing millets, in which ritual performers are women, the person responsible for farming and food. And the rituals like mangayangayaw and mangayaw, where ritual performers are men, the person responsible for protecting home as well as declaring the territory.Chapter 4 discusses Senay songs causally chanted in daily life. Because Puyuma has complex geo-relations with surrounding tribes, historically causing diverse styles of their Senay. So, we attempt to identify the Puyuma songs from the elements of music, such as scale texture, mode, melodic structure, and non-lexical vocables in liturgical songs. Chapter 5 presents how the Puyumas at Pinaski, from the perspective of women and men, pass their heritage on to their next generations through singing (vivid memories of music) and dancing to revitalize their traditions and culture. Finally we conclude research result and present future works. In summary, we can classify the Puyuma songs into two kinds: Pahirahiraw and Senay. In Pahirahiraws, three types of singers are very distinctive: person to send message, person to respond, and followers, and each has their own role and unique mission. Singers in Senay, however, are less restricted and free to move around between Pahirahiraws and Senay. Through temilatrilaw and Senay, the Puyumas people are brought back to their ordinary life from the sacred space.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=%22http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G0894610039%22.&%22.id.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/108322
Other Identifiers: G0894610039
Appears in Collections:學位論文

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