一九六〇年代臺東長光阿美族音樂研究——以《歐樂思－史惟亮檔案》為例

Abstract

本研究以臺灣音樂史1960年代「民歌採集運動」所衍生的臺東阿美族長光部落13首樂曲為主題。此批錄音屬1967年5至6月間一次性採集行動的成果，僅存於《歐樂思—史惟亮檔案》（簡稱《歐史檔案》）中，至今未有文獻進行論述。本論文跨足「民歌採集運動」1967年該次採集事件的脈絡重構，發現僅有李哲洋與劉五男為主要成員，雖憾二者皆已逝世，但因其行前田調知識和經驗，加上擔任當地溝通橋樑的李泰祥，與天主教白冷外方傳道會的關係網絡，造就此次採集成果豐碩。錄得內容除樂曲外，還有採集者李哲洋留下的口述歌者資訊、歌者劉秀英演唱的即興歌詞意涵等，皆牽涉到長光部落1960年代的音樂生活場域。然而，19世紀末大港口事件後而形成的長光部落，承襲自該區域阿美族之歌舞文化，在1950年代基督教傳入後發生了較為劇烈的變化，甚至令豐年祭逐漸式微。但1960年代天主教傳入後，卻因宗教本土化的傳教政策，使長光部落的豐年祭（Ilisin）歌舞（malikoda）另以感謝祭（Kansiyasay）形式保存，且轉而以教會音樂的方式傳播至其他部落。本研究從樂曲場域與當年歌者的群體脈絡中，發掘在該時空背景下，母系氏族（nagsaw）和世系群（laluma’an）與當地基督宗教的互動關係，以及農耕音樂在長光阿美族人生活中所扮演的角色。

In “Alois Osterwalder－Shih Wei-Liang Archive”, there is a unique record of Taiwan Taitung Amis Ciwkangan tribe collected between May and July in 1967. Due to the lack of relevant information, the contextual reconstruction of “The Folk Song Collected Movement” in Taiwan music history and the specific collected movement only done by Che-Yang Li and Wu-Nan Liu is one of the topic. Though both main members passed away, by reviewing their field workdiaries and manuscripts, it turns out that Li and Liu had been experienced and knowledgeable about field work before they’d been to Taitung. Besides, Tai-hsiang Li and Bethlehem Mission Society as the local guider made the amount of this collection. In addition to the songs, the team member Che-Yang Li leaved the oral narrative and the singer Hsiu-Ying Liu leaved the lyric songs in the record, involving the setting of Ciwkangan tribe soundscape in 1960s. Ciwkangan tribe was formed after the late 19 centuries, and inherited the music culture from Hualien Makotaay tribe. However, the extremal change after the Presbyterian Church preach to people in the tribe had made the traditional ritual, Ilisin, decline in 1950s. Fortunately, in 1960s, because of the Bethlehem Mission Society’s preach and the localization policy of catholic, ‘malikoda’, the Ilisin music and dance, has been reserved by ‘Kansiyasay’ as a mass ritual. Thus, malikoda of Ciwkangan tribe is also performed by those Catholic-preached Amis tribes in Taitung and Hualien. From the contextual reconstruction of traditional soundscape-setting and the group of singers, this thesis digs out not only the connection of local female clan (nagsaw), extended family (laluma’an) and Christianity groups, but also the role of music in agriculture.