本研究旨在探討原住民的宗教信仰變遷，帶來何種音樂生活與思維的改變，以及外來的宗教音樂與原住民的歌舞，兩個不同的音樂系統在宗教變遷下產生什麼樣的互動與融合。選擇的觀察對象是臺東市的馬蘭阿美族，這個地方的阿美族人與一般認知的原住民不同，是以漢式民間信仰佔大多數，其餘主要信奉天主教及基督長老教會。馬蘭人接觸漢式宗教的歷史可追溯至十九世紀後半，而從四十年前開始蓋宮廟，祀奉漢人神祇，並且元宵節神明遶境或其他宮廟節慶裡，使用開路鼓或鑼鼓陣。但是馬蘭人清楚意識到開路鼓與傳統歌舞分屬不同音樂系統，而區隔兩者的展演場合。戰後初期，基督長老教會與天主教會開始在馬蘭地區積極傳教，兩個教派的音樂影響都在聖詩／歌的學習、演唱，以及編寫阿美族曲調的聖詩／歌。過程中引進了不同以往的音樂觀念及歌唱技術，如西方基礎樂理以及分聲部的合唱能力。但兩個教派對於傳統音樂的不同態度，影響了各自阿美曲調聖詩／歌的運用狀況。天主教積極融入本地文化，所以大量也鼓勵使用阿美族的素材；基督長老教會則從不鼓勵到漸漸開放，但觀念上並不特別強調阿美族，而是與各民族、各國家的音樂文化共同置於上帝所恩賜的思考脈絡裡。
This article aims to discuss the transitions of aboriginal musical life and thought caused by the changes of religion, and the interactions and fusions between the music of aborigine and the one of foreign religions, by studying the case of Falangaw Amis in Taitung. Unlike the most of the aborigines in Taiwan, the people of Falangaw Amis generally identify themselves as practitioners of Chinese folk religion. Only a few of them are Catholics and Presbyterians. The contact with Chinese folk religion could be traced to the second half of 19^(th) century. About forty years ago, the Falangaw Amis people began to build their own temples and to worship Chinese deities. They use the Chinese ＂leading drums＂ (kailu gu in Chinese) in the procession during the First Full Moon Festival (Yuan Xiao). The Falangaw Amis people recognize the ＂leading drums＂ and the traditional music as two different systems and each one could be only used in the proper contexts. After the end of World War II, the number of Presbyterians and Catholics were increased in Falangaw. The major influence on music of the both churches is the hymns, by which the Falangaw Amis people have learned western music theory and four-part singing. New hymns based on Amis tunes are composed as well. However, the two churches do not hold the same attitude toward traditional music. The Catholic Church engaged in the localization of ritual music. Therefore, the Amis hymns are frequently used during Mass. The Presbyterian did not encourage the localization of music at the beginning but later accepted it gradually, by regarding the traditional Amis ballads, together with other native musics of the world, as the grace of God.
