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Taiwan.gig？原住民音樂數位化研究:以「Amis旮亙樂團」為例
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| 作者 |
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謝宗翰 |
| 學校系所 |
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國立東華大學民族藝術研究所 |
| 地點 |
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全臺 全部
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| 研究內容 |
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[ 摘要 ]
本研究的目的在於探討台灣原住民族傳統音樂的數位化過程，對象以「Amis旮亙樂團」為例，探索數位科技如何與原住民族音樂結合。本論文肇因於〈世界民族取樣音色庫〉中缺乏台灣的取樣音色而起，透過文獻探討發現過去民族音樂學或是人類學對於原住民族音樂的研究，是以保存、教育為主，而本研究則是以如何活化所採集的音樂元素為方向。研究方法綜合了田野訪談、實地採集傳統樂器聲音，進而以軟體製作取樣音色庫，其中並涉及樂譜的設計與教學。研究發現，經由數位混音技術，作者創作了《歡樂的一天》－交響樂版與《島嶼想像》兩個作品外，並為「Amis旮亙樂團」建構了一個取樣音色庫。本研究的結論是，數位化不僅使Amis民族樂器的音色突破了先天的限制，典藏其傳統音樂，而且使創作更快速方便，促進音樂自學的能力，吸引更多社會人士對原住民族音樂的興趣。然而，實驗也發現，完全依賴科技可能造成音樂演奏技術的退步、部落傳統倫理價值的解構、原住民族音樂風格受到稀釋等問題，這是數位化對未來的一個不確定預言。綜合觀之，數位化關係到在地知識的建構，只有部落族人自己有能力掌握數位技術，才能把文化衝擊降到最低，所以數位化音樂不只是一種技術而已，更含蘊了文化再現的無限潛能。
[ 英文摘要 ]
This study investigates how digitalizing indigenous music will affect and effect a tribal culture during the process. While focusing on “Amis Kakeng (Indigenous) Musical Group,” this research derives from an absence of Taiwanese music within the TASCAM’s “Sample Library of Its Kind” database. To complete this lack, the researcher pursued a literature review and found out that musicological and anthropological studies of “aboriginal” music used to concentrate on tasks of reservation or education, whereas this study has placed much stress on how to activate the sampled musical elements. By means of field work, sound-sampling from traditional indigenous music instruments and software, this study also involves designs of musical scores and digital education. In addition, I have re-created a symphonic version of “A Happy Day” and “Imagination of Island” through a sound-mix process; while constructing a sample library for the “Amis Kakeng Musical Group.” Apparently, digitization has contributed to break through the original restrictions of Amis musical instruments and treasuring its traditional music. Given that digitization makes music composition much easier and convenient, the possibility of music self-learning and popularity towards indigenous music becomes increasing. However, the study concerns that this process may cause problems of degeneracy in musical playing skills, of breakup traditional tribal ethics, and/or of diluting the indigenous musical features, if we over rely on digital technique. Since digitization may have impacts on the construction of local knowledge, tribal people must possess the digitization technique in order to minimize cultural disintegration. In conclusion, digitizing music is not just a kind of technique, but also has potential to cultural presentation and representation.
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