依據清代和日據時代的文獻記載，弓琴和口簧琴曾經普遍出現於台灣原住民的許多不同族群中。然而時至今日，弓琴的製作和演奏傳統僅見於少數布農族部落，而過去在台灣原住民族之間常見得到的繩口簧，現今除了泛泰雅族群（泰雅族、賽德克族與太魯閣族）尚且保留部分傳統之外，就屬布農族的單簧口琴具有相對上較完好的傳承。至於四弦琴∕五弦琴，從日治時期學者黑澤隆朝的調查記錄看來，彼時曾是普及於布農部落之間的樂器，然而現今幾已失傳。筆者於2010至2014年間持續針對布農族這三項傳統樂器進行田野調查，觀察到其演奏傳統快速凋零的現況，也深覺幸運可以及時記錄下幾位僅存耆老的製作及演奏技術，而隨著耆老辭世，這批記錄的珍貴性也越形凸顯。本文內容主要奠基於數年間所累積的田野調查記錄，同時亦參考清代迄今之相關史料，析理出布農族這三項樂器在文化背景、樂器形制、製作技術和演奏實務等各個面向的全面性知識。此外，本文亦將探索布農族各式樂器弓琴、口簧琴、四弦琴∕五弦琴、和杵音－在音階和旋律表現上的相通性，甚至再從此一立足點出發，進一步比較布農族器樂音樂與複音歌樂之間的對應與互動關係。

Based on the literatures from the Qing Dynasty and Japanese colonial period, the musical bow and Jew's harp were once widespread in many different ethnic groups of Taiwan aborigines. Today, however, the tradition of musical bow manufacturing and playing is found only within a small number from the Bunun tribe; while the Jew's harps, before prevailing in Taiwanese aboriginal tribes of the past, living tradition could only be found preserved in some of the Pan Atayal ethnic groups, including Atayal, Seediq and Truku, and in the Bunun ethnic group. For the latter, the single reed Jew's harp shows relatively more intact heritage in terms of manufacturing and playing. As for the four-stringed zither/five-stringed zither, according to the survey recorded during the Japanese occupation, it had been a popular musical instrument among the Bunun tribes, but now has almost vanished from its history. Having undertaking field-investigation constantly on these three kinds of Bunun traditional instruments from 2010 to 2014, the author noticed these musical traditions have been disappearing among the tribes at a breakneck pace and felt lucky to record and preserve some of the manufacturing and performance techniques at a time, which proved itself precious, since the elders passed away one by one within a short period of time. Rooted in the fieldwork records gathered in these years and historical literature since the Qing Dynasty hitherto, this thesis has analyzed the comprehensive knowledge of these three kinds of musical instruments, from the aspects of historical background, the structure of musical instruments, manufacturing techniques and performance practices. Besides, parallelism in terms of scale and melodic expression among Bunun musical instruments-including musical bow, Jew's harp, four-stringed zither/five-stringed zither, and pestles ensemble-will be explored, and then a further step is made and extends this research to the comparison between the vocal polyphony and the instrumental music of the Bunun tradition.