本文從《很久沒有敬我了你》音樂舞台劇發想，討論當代原住民音樂研究新 取徑，思考「當代研究者如何在研究方法上呼應國際學術思潮及在地原住民社會 文化變遷」。透過「臺灣原住民音樂研究的發展歷程」「國際學術思潮」以及「當 代原住民音樂景觀」三方面的討論，我主張，原住民音樂研究應不僅止於文本分 析等「解釋」的工作，而應更著重於「理解」，例如：對於音樂事件及其涉及的 各種關係的討論。以在國家音樂廳表演的原住民音樂節目為例，我探索「表演」、 「接合」和樂動（musicking)等理論在當代原住民音樂研究上的運用，期待這 些理論與方法可以讓臺灣原住民音樂研究呼應國際學術思潮，並和其他人文學及 社會科學研究產生對話。

Beginning with thoughts triggered by the musical On the Road, this paper aims to explore new approaches to studying contemporary Aboriginal music. The paper is concerned with how contemporary researchers respond to changes in international academic trends and in Indigenous society and cultures through their research methodology. By discussing “the development of studies of Taiwanese Aboriginal music,” “international academic trends’’ and “contemporary Aboriginal musical landscape,” I argue that studies of Aboriginal music should not be limited to activities of “explanation”，merely following the example of textual analysis. Rather, more emphasis should be put on activities of “understanding”，such as discussions about musical events and relationships involved in these events. Taking programs of Aboriginal music presented in the Taiwan National Concert Hall as examples, I examine how to apply theories of performance, articulation and “musicking” in a study on contemporary Aboriginal music. I hope that these theories and methods may allow studies of Taiwanese Aboriginal music the opportunity to respond to international academic trends, and to participate in dialogues with social science and humanities studies.