本文作者以協助Ludja部落整理歌謠的工作經歷為基點，並以個人生活認知 和排灣族文化生活圈（the cultural living circles)內田野工作的結果，討論關於臺 灣排灣族sepaiwan古謠、歌謠的界定與分類以及歌詞中虛詞的詮釋三個面向： 1. 即興應答的古謠，尙有其局內觀的內涵待開展。 2. 排灣族senay歌謠的界定與分類，應尊重其局內觀。 3. 歷來研究者認定歌詞中所謂的虛詞，應有實質或象徵的意義。 之後，隨文介紹Ludja部落比較特別的歌謠： 1. 音階上的增四度音augmented fourth。 2. 複音唱法 polyphonic singing。 本文旨意關注民族音樂工作者在研究工作應把握兩個面向：第一，深入被研 究方的文化體系和社群系統探究與描述；第二，兼顧探討生活圈的文化活動。如 此，使得研究成果能夠在時間和空間的面向得到更深刻的聚焦與延展。

This study is an investigation of the Paiwan senay (songs of the Paiwan aborigines) that resulted from the song-collecting project in the tribe of Ludja, with which the author was involved. With the author’s personal life experience (as a half-Paiwan) and field research in the Paiwan cultural living circles, this paper discusses three aspects of the Paiwan senay and posits the following arguments: 1. Substantial investigation into the Paiwan senay, an improvised call-and-response repertory, is yet to be explored from the viewpoint of an insider. 2. Existing literature on the definition and classification of the Paiwan senay shows a lack of, and should thus take into consideration, insiders’ point of view. 3. Function words in senay, identified as such by past researchers, actually bear substantial or symbolic meanings. Meanwhile, this paper introduces a number of senays with distinctive features, including augmented fourths and polyphonic singing. This study suggests that researchers studying ethnic musics should have a command of two principles: first, to put forward in-depth investigation and description from inside the cultural and communal system of the group studied; and second, to also take into consideration the cultural activities in the group’s living circles. When implemented, the research results may consequently be focused and extended more profoundly in both temporal and spatial dimensions.