二十六首泰雅爾詩歌探源

Abstract

1958 年泰雅族的長老教會出版了第一本泰雅語聖詩集，該聖詩集中使用了當時被認為是泰雅族的曲調，來編寫聖詩。這類聖詩在1980 年版的泰雅聖詩集中共有26 首，且被歸類成為「泰雅爾詩歌」，並一度在聖詩序言中被列為泰雅族的「古曲」。然而，這26 首聖詩其實並非泰雅族的「古曲」，且來源非常多元。

為了瞭解泰雅聖詩集中的這個矛盾現象形成的成因，本論文以「泰雅族聖詩歷史的發展脈絡」、和「泰雅爾詩歌音樂本身」兩個脈絡著手，進行討論。本文第一部份先從泰雅聖詩出版之前，泰雅族所接收和使用的聖詩出發；再討論七版泰雅聖詩集主要的發展與變化，和26 首泰雅爾詩歌形成的脈絡；最後再陳述26 首泰雅爾詩歌在現今泰雅族教會使用的情況。第二部份則著重26 首泰雅爾詩歌的音樂，首先討論26 首泰雅爾詩歌的來源，隨後分析7 首泰雅創作聖詩中呈現泰雅音樂變遷的現象；最後再釐清13 首使用外來曲調的泰雅爾歌， 其轉化外來曲調的歌詞及曲調之手法。

26 首泰雅爾詩歌曲源多元的現象，也正反應了基督教進入泰雅部落時，泰雅族自身所保留的文化，以及所接觸到多元外來的文化。雖然這些26 首泰雅爾詩歌的曲調並非泰雅的真正傳統的音樂，但在聖詩集編輯的過程中，這些聖詩形成有別於西洋的泰雅爾詩歌；此外，透過外來歌曲的歌詞和曲調之轉化，也使得這些聖詩內化、融入進泰雅的文化之中。

The earliest record about the adaptation of “Atayal” tunes to Christian hymns is the first Atayal Presbyterian hymnal published in 1958. In the revised version of 1980, the number of the indigenized hymns increased to twenty-six; they are described as “ancient tunes” in the preface and as “Atayal hymns” in the content page. Despite their being labelled as “Atayal”, the melodies of these twenty-six “Atayal” hymns do not have authentic Atayal origins. Careful investigation shows that these tunes came from many different sources.

This thesis thus studies this paradox through two dimensions: the historical development of the Atayal hymnals and the musical elements of the “Atayal” hymns. The first part of the thesis deals with history. It traces the introduction of Christian hymns to the Atayals, the developments of the Atayal hymnals, and the actual use of the twenty-six Atayal hymns by today’s Atayals. The second part focuses on the music.

It investigates the melodic sources of the twenty-six Atayal hymns, the musical transformation of the seven hymns composed by the Atayals, and the conversion of non-Christian or non-Atayal tunes into twelve Atayal hymns. The diversity of the melodic sources of these hymns reflects the interaction of cultures in the context of post-war evangelization. When converted to Christianity, the Atayals embraced the cultures brought by missionaries from various backgrounds without losing their own traditions. The twenty-six “Atayal” hymns, though not authentic “Atayal” tunes, developed into a category distinct from Western ones in the editing process of the hymnals. They testify to the integration of foreign elements into Atayal culture.