呂鈺秀。〈達邦社戰祭歌謠作為口傳音樂文化遺產的研究〉。《民俗曲藝》192 (2016.6): 167-97。
Lu Yu-hsiu. “The Study of Tapang Mayasvi Ritual Music as Oral Cultural Heritage.” Journal of Chinese Ritual, Theatre and Folklore 192 (2016.6): 167-97.
Tsou’s mayasvi ritual song is an oral tradition passed down from generation to generation with its lyrics full of elusive archaic words. As the intangible cultural heritage that belongs to ethnic group’s collective memory, it has a long history and held by societies. The existing two large societies of Tsou are Tapang and Tfuya, which have differences and similarities in aspect of mayasvi ritual song. It was found in observation of two societies’ historical texts of music that due to the different transcription concepts of researchers, the music scores have shown diversity and made it difficult to affirm which society mayasvi ritual songs belongs to. Therefore, this paper firstly analyzes existing texts of music, attempts to transcribe with definition and paradigm by observing the repetitious practice and actual performance of Tapang’s mayasvi ritual song.
According to the study, singing mayasvi ritual song is accompanied with regular body waggling or foot moving. This is inherent metre and rule of transcription of Tsou’s ritual song. Furthermore, singing polyphony in ritual song can be divided into two modes that one arranges position and melody direction and the other one join in singing occasional by following individual musical sensation and singing emotion. As for the difference between Tapang and Tfuya’s ritual song, researchers generally mark where ritual music grows by different recording locations. However, as a result of the cognitive difference between insider and outsider, the interpretation of historical texts should build on analysis of music itself.
Finally, this paper discusses the recording of mayasvi ritual song by Takatomo Kurosawa in 1943, which is the first preserved sound archive of Tsou’s mayasvi. However, because of the limits of recording singers, form, place and technology, music has lost its own authenticity. Therefore, researchers must be especially careful in application of the historical texts.
Also in Journal of Chinese Ritual, Theatre and Folklore:
呂鈺秀。〈賽夏音樂中的時間疊置與延展〉。《民俗曲藝》166 (2009.12): 125-40。
Lu Yu-hsiu. "Overlapping and Extending of the Time in Saysiyat Music." Journal of Chinese Ritual, Theatre and Folklore 166 (2009.12): 125-40.
呂鈺秀。〈達悟落成慶禮中anood的音樂現象及其社會脈絡〉。《民俗曲藝》156 (2007.6): 11-29。
Lu Yu-hsiu. "The Musical Phenomenum and Social Context of Tao's Anood (Ballad) in an Inaugural Ceremony." Journal of Chinese Ritual, Theatre and Folklore 156 (2007.6): 11-29.
呂鈺秀。〈民族音樂學研究概念與採譜方法論─以其於臺灣原住民音樂研究之應用為例〉。《民俗曲藝》142 (2003.12): 119-44。
Lu Yu-hsiu. "The Concept and Transcription of the Study in Ethnomusicology: Some Application Cases in the Aboriginal Music of
." Journal of Chinese Ritual, Theatre and
Folklore 142 (2003.12): 119-44. Taiwan