排灣族傳統鼻笛音樂研究及現況之探討--以Butsul亞族為例
Abstract
根據文獻記載，部分南島語系族群有使用的鼻笛的記錄；獨特的是，台灣原住民中的排灣族與魯凱族使用的鼻笛屬於罕見的雙管鼻笛系統，以排灣族在鼻笛方面的推廣與傳習最為重視。然而，隨著時代轉變，人與人溝通的媒介更為多樣化，使鼻笛在排灣族社會中的功能與以往不同。
排灣族鼻笛之所以再度被重視，主要是1995年下半年度行政院文化建設委員會以及1997年國立傳統藝術中心籌備處，分別委託中央研究院民族學研究所研究員胡台麗主持「排灣族鼻笛、口笛技藝保存與傳習規劃報告」與「排灣族鼻笛、口笛技藝保存計畫」，後者邀請錢善華、賴朝財擔任協同主持人，對鼻笛做更深入的研究探討。
近年來，排灣族除了傳統鼻笛外，更出現了新的鼻笛形制。賴朝財參與傳統鼻笛的推廣傳習過程後，激發出不同面向的思考；於2001年與2008年以「西洋音階理念」分別製作出雙管旋律鼻笛及新式六孔單管鼻笛，使之應用更為廣泛。此外，大陸學者葉紅旗撰寫博士論文〈台灣原住民樂器研究〉時，驚嘆排灣族鼻笛音樂之美及其獨特性，但也觀察鼻笛傳承上面臨的危機。於2008年與大陸製笛名家常敦明討論後，以「十二平均律理念」製作新式六孔雙管鼻笛。
現今原住民歌舞音樂的研究成果相當豐碩，但器樂方面仍有相當大的研究空間，因此，本文以排灣族的代表樂器—鼻笛為研究主軸。從樂器形制與音樂特色討論排灣族傳統鼻笛與新式鼻笛之異同處外，也試從文化觀、社會觀、音樂觀等方面對兩者發展脈絡進行相關探討，期望本文所提出的建議，可成為日後推廣與傳承之助力。
According to historical documents, some of Austronesian people have been using the nose flutes. It is particular that the nose flutes which are used by Paiwan and Rukai in Taiwan’s indigenous belong to the uncommon double nose flute system, and the Paiwan is especially zealous to promote and continue the tradition. However, as the times change, the nose flute doesn’t play the same role as before in Paiwan’s life anymore. Due to “Paiwan nose and mouth flutes preservation and inheritance project” and “Paiwan nose and mouth flute skill preservation project” directed by HU, Tai-Li, in 1990s, a researcher in Academia Sinica Institute of Ethnology, Paiwan’s mouth flutes and nose flutes could revive again. The latter project invited CHIEN, Shan-Hua and LAI, Chao-Cai as co-projectors for further research in nose flutes. During the promotion, LAI, Chao-Cai made some improvement. He made new double nose flute and single-pipe nose flute based on Western scale. Furthermore, in the doctoral thesis “A study of Taiwan indigenous instruments” of a Chinese scholar YE, Hung-Chi, he admired the beauty and the uniqueness of the Paiwan nose flute music. Nevertheless, he observed a crisis of the nose flute heritage. In 2008, after discussing with Mainland flute-making master, CHANG Duen-Ming, YE made a new six-hole type double nose flute based on Equal Temperament. Nowadays the achievement of indigenous music studies is extremely bountiful, while we still have to make progress in instrumental aspect. Therefore this thesis is focus on the representative instruments of Paiwan - nose flute. Which discussed the formation and musical features differences between the new and the traditional nose flutes. In addition, the context of both in values of culture, society and music are discussed. It is expected that this proposal could boost the promotion and the transmission of nose flute in the future.
According to historical documents, some of Austronesian people have been using the nose flutes. It is particular that the nose flutes which are used by Paiwan and Rukai in Taiwan’s indigenous belong to the uncommon double nose flute system, and the Paiwan is especially zealous to promote and continue the tradition. However, as the times change, the nose flute doesn’t play the same role as before in Paiwan’s life anymore. Due to “Paiwan nose and mouth flutes preservation and inheritance project” and “Paiwan nose and mouth flute skill preservation project” directed by HU, Tai-Li, in 1990s, a researcher in Academia Sinica Institute of Ethnology, Paiwan’s mouth flutes and nose flutes could revive again. The latter project invited CHIEN, Shan-Hua and LAI, Chao-Cai as co-projectors for further research in nose flutes. During the promotion, LAI, Chao-Cai made some improvement. He made new double nose flute and single-pipe nose flute based on Western scale. Furthermore, in the doctoral thesis “A study of Taiwan indigenous instruments” of a Chinese scholar YE, Hung-Chi, he admired the beauty and the uniqueness of the Paiwan nose flute music. Nevertheless, he observed a crisis of the nose flute heritage. In 2008, after discussing with Mainland flute-making master, CHANG Duen-Ming, YE made a new six-hole type double nose flute based on Equal Temperament. Nowadays the achievement of indigenous music studies is extremely bountiful, while we still have to make progress in instrumental aspect. Therefore this thesis is focus on the representative instruments of Paiwan - nose flute. Which discussed the formation and musical features differences between the new and the traditional nose flutes. In addition, the context of both in values of culture, society and music are discussed. It is expected that this proposal could boost the promotion and the transmission of nose flute in the future.
Description
Keywords
台灣原住民, 排灣族, 鼻笛, 新式鼻笛, Taiwan indigenous peoples, Paiwan, nose flute, modern nose flute