傳統音樂復振困境探討——以蘭嶼達悟族karyag 拍手歌會夜晚的歌之旋律為例

karyag拍手歌會夜晚的歌之音樂結構模式，僅以re與mi兩個音高拖長音，致使即便提供了早期錄音，耆老也一遍又一遍的示範演唱，在音高變化很小、起落音可能性較多的情況，加以裝飾音變化的多樣性，讓族人不知聆聽重點，無法自主學習。
但透過分析24段雷同的獨唱旋律，統計多數歌者所演唱的樂句數目、每個樂句所使用的起落音、歌詞應套入的樂句、拍手歌唱的特徵音高節奏，以及裝飾音的分析探討，了解了音高排列的關係體系（德文：Bezugsystem）後，karyag結構顯得清晰可辨，聆聽變得有了意義，學習上也有了記憶的依據，對於復振karyag旋律提供了幫助。

The musical structure pattern of the night songs in the karyag hand-clapping singing party only uses two pitches, re and mi, to drag out the long notes. Even though early recordings were provided and the elders demonstrated their singing iteratively, the learners did not know the key points of the songs. Due to the little changes in pitch, the many possibilities of beginning and ending tones, and the variety of decorative changes, the learners were unable to learn the songs on their own.
However, by analyzing 24 seemingly“same”melodies, counting the number of phrases sung by most singers, the beginning and ending tones used in each phrase, the phrases that should be included in the lyrics, the characteristic pitch rhythms of the song, and the ornamental tones, the structure of the karyag becomes clearly recognizable after understanding the pitch arrangement of the“reference system”. The meaning of listening becomes clear, and the basis of memory is established for the people to recover the song. This helps to revitalize the karyag melody.