| Summary: | 博士 === 國立臺北藝術大學 === 音樂學系博士班 === 101 === This dissertation is about the vocal music of Paiwan. It studies the transition of this music from tradition until its later development. An extensive collection of Paiwan vocal music from different region and a thorough analysis of changes against different music backgrounds are provided. With on-the-spot fieldwork and careful study, the author intends to demonstrate the wisdom and depth of Paiwan vocal music.
The first part, Introduction, explains the motive, purpose, subject, methodology and procedure of this study. Mostly importantly, it explains music functionalism and semantics as the theoretical foundation of its methods. Literature review covers previous studies presented as literal, visual and audio records spanning four periods. The chapter on Paiwan literature and art describes the migration history of and the classification among Paiwan, whose society is known for its stratification and various and rich art forms include sculpture, glazed bead, tattoo, noseflute and songs. These cultures have drawn scholarly attention since the Japanese Occupation Period.
The second part offers a typology of the vocal music of Paiwan, which shows the richness of this music and its close relationship with the daily life of Paiwan. There are songs for children, work, love, warrior, maleveq, daily entertainment and common ritual. Among them, songs for children and love are known for their refrains, while songs for warrior dances and wedding ceremonies are known for their crying tunes. These types have long attracted the attention of ethnomusicologists because of their distinct characteristic and content, and have also been frequently documented in many works.
The third part focuses on the analysis of the structure and aesthetics of Paiwan vocal music. Previous researchers have not paid much attention to vocables and vocal composition. The study of vocables is closely related to lyrics, composition of song, singing habits and habitual treatment of vocal music. The author has tentatively completed a classification of Paiwan vocal music composed of vocables. The study of vocal is based on the knowledge of acoustics from anthropology of voice and the study of Dr. Wu Rung-Shun. By collecting voices from Paiwan vocalists belonging to different periods and analyzing these vocal performances with computer software, the author successfully turns audio contents into visual to show the transition of Paiwan vocal music throughout different periods. The study of aesthetics is based on the theory of semantics of music, a knowledge developed to understand the meaning of music. Borrowing from this knowledge, this chapter intends to understand the formation and consolidation of meanings in Paiwan vocal music after it went through different times. Lastly, there is a study of word formation, which is the best way to understand the formation of Paiwan lyrics. The author’s conclusion of several types of word formation will help to explain many questions regarding the language and expression of Paiwan songs.
The vocal music of Paiwan indeed changes according to the changes of time and Paiwan lifestyles. The close relationship between music and hierarchy in the old Paiwan society no longer exists. In other words, the music of Paiwan is not at all fixed. It transforms itself and develops new form and content, following the footsteps of people’s life and culture. .
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