| Summary: | 博士 === 國立臺灣師範大學 === 音樂學系 === 104 === 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.
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