如果在阿美族It專統歌謠」和「現代歌謠」之間可以劃出界線，這條界線該怎麼劃?黃貴潮的說法或許值得思索。他指出，阿美族傳統歌謠多以虛詞演唱，其現代歌謠則大都有實詞歌詞;而在唱片的推波助瀾之下，這些附有實詞的歌曲開始以「流行歌」的面貌流通於部落O曾經編寫阿美族現代歌謠，並參與1960年代鈴鈴及心心唱片公司「臺灣山地民謠」唱片製作，黃貴潮提出上述看法，可謂就阿美族歌謠變遷現身說法O為了檢證他的說法，本文將藉著訪談黃貴潮及其他相關資料的爬梳，描繪1960-1970年間「唱片時代」的阿美族音樂，並藉由探討歌詞從虛詞(vocables)到實詞(lexicallyrics )的轉變，檢視阿美族歌謠的變遷O

If we can draw a line between “Amistraditional song" and “Amismodem song，" how should we draw this line? The Amis self-educated scholar Huang Kui-chao's remarks may shed light on this issue. He points out， while lyrics of most Amis traditional song consist of vocables， Amis modem song generally contains lexical lyrics. Furthermore， thanks to vinyl records， those pieces with lexical lyrics began to circulate among Aboriginal villages in the form of “popularmusic." Arranging and composing several modem Amis song， and participating in the production of ‘'TaiwaneseMountain Folk Song" albums released by Ling-Ling and Shin-Shin Records， Huang uses his own experience as an example to explain changes in Amis song. To examine his argument， I first describe Amis music in the 1960-1970“Record Period，" by means of transcriptions of interviews with Huang and related resources， and then I discuss changes in Amis song through analyzing the shift of lyrics from vocables to lexical lyrics.