口簧琴雖然是台灣原住民族過去普遍的樂器之一，但是卻只有泰雅族發展出口簧琴舞蹈的表演方式。這種表現方法在人類學者的觀察裡，藉其訪查所得似乎僅定義在男女嬉戲或是表達愛慕的範圍，就算是音樂學者加入研究之後，除了同意人類學的觀點外，對口簧琴肢體動作的音樂旋律也缺乏記錄。因此，筆者從口簧琴肢體動作與音樂旋律的觀察，了解肢體動作與溝通之間的關係，整理出三個口簧琴肢體動作與音樂的表現形態：手勢口簧的頑固音響與肢體動作、聚會口簧的節奏語句與身體搭配、敘事口簧的多簧吹奏與情節表達。泰雅族文化的社會組織gaga，其意義非常複雜，它可說是道德規範、祖訓，禁忌，也可說是泰雅族整個社會文化所遵循的整體。從泰雅族gaga 的文化觀，筆者建構泰雅族口簧琴肢體動作乃至口簧琴情節化形成的原因，不論從單純的口簧琴肢體動作，或是獵頭情節的口簧琴肢體動作，都可以從gaga 了解口簧琴真正的內在意義。這個意義除了點出口簧舞肢體動作的意義表達，筆者也採取人類學者的觀點，探討泰雅族口簧琴肢體動作，在泰雅族gaga 所呈現的文化概念：一、臨場戲劇形式。二、隱喻式內涵。三、社會脈絡呈現。泰雅族獵頭稱之為mgaga，很明顯與gaga 的文化觀有關，透過gaga 的觀點來
看口簧琴這個樂器所展演的型態，可以深入理解「物」與「特質」之間關係被改變的過程，讓原本所指涉的外在現象被理解，將形式喻事物於本質後，架構出實質的內涵。

Jew’s harp was a prevailing musical instrument among Taiwan indigenes, Atayal is the only Taiwan indigene developed a unique body movement with playing jew’s harp. In the light of anthropologist researchs, they defined the function of jew’s harp with playing and courting among the young. Even though the documents of anthropology were deficient in notating the melody of body movement with playing jew’s harp, musicologist agreed with the opinions of anthropology. Therefore, this article try to understand the relationship between body movement with playing jew’s harp and communication from the observation of melody of jew’s harp. There are three modes of body movement with playing jew’s harp：gesture with playing jew’s harp in drone, limbs movement with syllabicating in drone and narration through playing jew’s harp with plural tongues. It has complicated meanings for gaga in the culture of Atayal. Gaga stand for morals, words of ancestors, taboos, even the cosmos of culture of society that Atayal must obey. This article try to construct how the body movement with playing jew’s harp are shaped from the points of Atayal’s gaga. It is clearly that body movement with
playing jew’s harp result from the idea of Atayal’s gaga, and then we could comprehend the connotation of jew’s harp in the cultural significance of Atayal’s gaga. In addition to understanding the function of body movement with jew’s harp, this article probe into the Atayal cultural idea through jew’s harp with plural tongues to perform the head-hunting scene. There are three view points borrowed from the perspectives of anthropology.：the immediate dramatic shape, the metaphoric content, and the social context. It is helpful in comprehending the cultural significance of jew’s harp in Atayal’s gaga. The head-hunting is named as “mgaga” in Atayal language. Obviously mgaga has kind of relationship with gaga. In the light of the research of body movement with playing jew’s harp, we could understand the conjunctions between external phenomenon of body movement with playing jew’s harp and intrinsic quality of Atayal culture.