環境時代的迥異，臺灣原住民族獨有的文面文化(太魯閣族、賽德克族、泰 雅族)，經歷日本帝國及國民政府殖民政權造成的斷代史，影響原住民族傳統部 落古層樂器文化臨危斷層近百年光陰。
1987 年解除長達 38 年的戒嚴史，1996 年行政院原住民(族)委員會正式成 立，漸而復振太魯閣族部落樂器，諸如:馘首笛 3-5 孔(太魯閣族語 Pgagu)、口 簧琴 1-8 簧(太魯閣族語 Lubug Qowqaw)及木琴 4 音律(太魯閣族語 Tatuk)。 口傳文化的原住民族群，於日治時期才在日本學者伊能嘉矩、森丑之助、黑澤龍 朝、竹中重雄及佐久間財團等學者、團體的研究，有了紀錄馘首笛和口簧琴的文 史記載。
筆者於 2010 年參與行政院文化建設委員會文化資產處辦理的泰雅族口簧琴 技藝傳習研習、2014 年宜蘭縣原住民族部落大學辦理的泰雅族馘首笛傳習班文 化學程，啟發筆者對原住民族文化傳承的信念，與部落傳統器樂和音樂的脈絡探 索。
太魯閣族部落特殊器樂:馘首笛、口簧琴、木琴中，馘首笛在耆老心靈仍罣 念神秘樂器面紗，間接影響部落文化推展而甚少留????研究文獻。所幸在日治時期 學者調查部落樂器實務，現????於國立臺灣博物館館藏的「泰雅族族笛五孔」(編 目號 AT002593)，屬花蓮港廳摩古伊波社(Mok-Ibox Sha /秀林鄉銅門村榕樹部 落)，凸顯傳統馘首笛在太魯閣族生活文化領域的器樂觀。
專注研究於太魯閣族樂器馘首笛製作傳習為軸，透過調查部落耆老田野影像 紀實範疇，冀望從社區文化、學校鄉土、專班通識教育、培育器樂與表演藝術人 才等相關藝文活動。活絡部落樂器的生活態樣，銜接傳統知識、現代環境到未來 展望，透過古層器樂展示為媒介，認識與教學精神文化與民族生命的無形價值。 特別是傳遞先祖 Gaya 習俗與歲時祭儀中器樂與生活的緊密聯結，為筆者在此研 究的初衷，以及對臺灣古層原住民族文化傳承盡綿薄之力。

Due to historical interruption caused by Japanese and Nationalist government colonial regimes, the specific culture of ancient musical instrument within the so-called Indigenous tattoo family (Truku, Seediq, and Atayal peoples), is almost at risk for about a hundred years.
In 1987, the thirty-eight years of martial law period was finally lifted along with the establishment of the Council of Indigenous Peoples in 1996, a wave of revitalizing Truku ancient musical instruments has gradually taken place; such as headhunter’s flute hole 3-5 (pgagu in Truku), jew’s harp hole 1-8 (lubug qowqaw in Truku), xylophone scale 4 (tatuk in Truku). Limited by Indigenous oral culture, it is not until the Japanese occupation period where the written records of headhunter’s flute and jew’s harp appeared by Japanese scholars and organization, such as Ino Kanori, Mori Ushinosuke, Kurosawa Takatomo, Takenaka Shigeo and Sakuma Foundation, etc.
In 2010 and 2014, through participation in the Atayal Jew’s Harp Skills Inherited Study Workshop organized by the Cultural Heritage Department, the Cultural Construction Committee, the Executive Yuan and the Cultural Program of the Atayal Headhunter’s Flute Inheritance organized by the Yilan County Indigenous Tribal College, I was deeply inspired to dedicate myself to the transmission and the exploration of ancient musical instruments.
Among those specific Truku musical instruments, such as headhunter’s flute, jew’s harp and xylophone, headhunter’s flute remains the most mysterious and taboo instrument in the mind of our elders. Therefor it results in difficulty for the promotion of tribal culture and lack of relevant research. However, thanks to previous Japanese scholars who once investigated the practice of traditional musical instruments, the collection of the Atayal Five Hole Flute (Number AT002593) was preserved nowadays in the National Taiwan Museum. It acutely belongs to Truku’s Mok-Ibox Sha in Hualien harbor hall (also known as Rong-shu tribe, Dowmung village, Xiulin township). The practice of headhunter’s flute highlights the worldview of Truku people.
The research of the Truku headhunter’s flute showcases my multiple teaching experiences by integrating in-depth field studies and documentary filmmaking on tribal elders within community cultural activities, local education, general education of Indigenous class, talent cultivation program for musical instruments and performing arts, etc. In order to revitalize tribal musical elements in daily lives and to articulate tradition knowledge to contemporary context and future prospect, I explore the curation in ancient musical instruments as a medium, to introduce and to educate the intangible value of spiritual culture and Truku way of life. Inheriting ancestral Gaya and annual rituals is a way to rejuvenate and to repopularize the close connection between musical instruments and life. That is indeed the original intention of this research, so as to contribute myself towards cultural heritage of Taiwanese Indigenous peoples.