[ 摘要 ]

台灣原住民族擁有多樣性的歌樂以及器樂，從各個時期的研究紀錄者的文獻資料上已呈現出豐富的史料。儘管台灣原住民族在歌樂的內容以及樣式上已高度發展，但是其器樂依然還保持著古樸的樣式，而口簧琴就是台灣原住民族普遍使用的一種樂器。從過去文獻史料得知，台灣原住民族口簧琴除了娛樂的功能之外，也可以透過口簧琴的吹奏來傳遞男女之間綿綿的情意，雖然音樂學者已經蒐集口簧琴音樂與語意傳遞溝通功能的各項資料，但是音樂與溝通之間卻還未整理出系統化的結果，讓人無從深入了解口簧琴音樂旋律與語意溝通之間的多面向。因此，本論文試著從歷史、社會環境以及分析的面向研究口簧琴，深入探討將口簧琴當成相互溝通媒介所形成的人文關係，以釐清口簧琴如何成為台灣原住民族的溝通工具。



章節內容部份呈現如下，第一章口簧琴導論，為了與筆者碩士論文『泰雅族口簧琴音樂研究』在口簧琴概述做區隔，因此導論分三大部份，即學術分類、音樂範疇與漢族文獻。第二章整理研究台灣各個時期口簧琴的文獻資料，並且以每個時期所做之文獻重點一一詳述。第三章則描述現存的台灣原住民族口簧琴，並從多簧的音組織構成，以及單簧泛音旋律的吹奏，以科學的原理解釋口簧琴的發生方式，並提出台灣原住民族口簧琴的吹奏經驗與科學的對照。第四章是本論文的核心重點，從筆者的田野調查以及過去研究的成果整理發現，口簧琴的溝通型態共有四種：語音模擬化、語意曲調化、肢體情境化以及以簧代歌化四種型態，然後再從這四種溝通型態建構出台灣原住民族口簧琴的人文意涵。第五章則討論台灣原住民族口簧琴的文化傳承與產業發展，其對於台灣原住民族口簧琴的影響，並提出筆者的個人看法。



台灣原住民族的口簧琴過去是用來傳遞愛意、娛樂、撫慰以及多種意涵，但現在僅單純用於樂器的吹奏。綜觀上述的使用，我們可以統稱口簧琴是具有溝通的功能。本論文重點在於研究過去吹奏者的心意與口簧琴之間的相互關係，並且建構出已被遺忘的台灣原住民族口簧琴溝通的傳統。



關鍵詞：口簧琴、擬聲語



[ 英文摘要 ]

The indigenous peoples of Taiwan have a variety of vocal music and instrumental music that many researchers have documented with abundant evidence. It is very unique that their vocal music is extraordinarily highly-developed, but their instrumental music still remains in a primitive level. Jew''s harp is one of important instruments for Taiwan indigenes. According to the past research, Taiwan indigenous jew''s harp was used not only for entertainment but also for communication of messages. Although a number of data in musical notations and documents are provided, we do not know exactly how jew’s harp was used by Taiwan indigenes to communicate. Therefore, this dissertation will study Taiwan indigenous jew’s harp in historical, social, and musical analytical aspects to figure out its relationship between musical melody and social functions. Consequently, we hope to prove the significance of Taiwan indigenous jew’s harp for human beings.

The research is primarily based on my own field collections; other major works have also been consulted for comparison. The first chapter provides a general introduction and classification of jew’s harp and then displays the music which is notated. It also traces the historic contacts with the Chinese. Chapter two collects the documents which were recorded on Taiwan indigenous jew’s harp to further facilitate our understanding of the role of jew’s harp in the tribal societies. Chapter three describes the subsistent Taiwan indigenous jew’s harp, discusses the tuning of jew’s harp played with many tongues, and reasons how the overtones sounded by jew’s harp with single tongue vibrated. Chapter four is the core of the study. As we know, jew’s harp is used as a main medium of communication to express what the player wants to convey. Therefore, this chapter focuses on how Taiwan indigenes play the jew’s harp to communicate. There are four types of communication found through the field investigation and other major works: onomatopoeia, particular melody played with jew’s harp, gestures while playing the jew’s harp, and the melody of vocal music played with jew’s harp. According to the findings, the human significance on Taiwan indigenous jew’s harp is certainly established. Chapter five concerns the cultural dissemination and economic effects of Taiwan indigenous jew’s harp.

From what was mentioned above, we can realize that for Taiwan indigenes, jew’s harp is not simply a musical instrument but also a medium to convey the messages of love, recreation, consolation, and many other meanings. To sum up, we can obtain the conclusion that Taiwan indigenous jew’s harp does have a function of communication. This dissertation mainly focuses the relation between what Taiwan indigenes want to convey and the way they play jew’s harp, and tries to fill in the blank of the tradition of Taiwan indigenous jew’s harp.





key words：jew’s harp、jaws’ harp、onomatopoeia