1943年黑澤隆朝等人在臺灣進行的音樂調查，是臺灣音樂史中一個重要的里程碑。由於其調查範圍廣泛、手法細膩，黑澤並於1973年出版了《台灣高砂族の音樂》一書及相關有聲資料，成果可說相當豐碩。致使今日學者的研究，仍不斷引證或採用這些歷史資料。但是，黑澤隆朝的調查研究中所呈現的族群音樂特色，在今日各族群社會中，卻產生了不同的聲音。本論文從黑澤文獻及有聲資料，在今日族群社會中，引起不同反響的現象為出發點，針對其中所引起的音樂形式傳承以及傳統意識建構等問題，進行探討。首先針對黑澤隆朝錄製賽夏族音樂中，呈現了平行四度的二聲部唱法，探討此並非大眾的傳統，或只是一種當時所呈現的現象；再者以黑澤隆朝錄製的馬蘭阿美歌謠中的「向神明祈禱」及「祈雨歌」為起點，論及半個多世紀以來馬蘭音樂風格的改變，從而探討馬蘭阿美人對於所謂音樂傳統的意識建構。兩個部份都涉及今日看待早期研究與歷史錄音時亟待思考的面向，內容並擴及研究臺灣原住民音樂時，所將面對的傳統與現實間之若干問題。

The investigation of Takatomo Kurosawa carried out in Taiwan in 1943 is a milestone of the history of Taiwan music. His research reports as well as some of the field recordings were published in 1973 as "The Music of Takasago Tribe in Formosa". The musicologists today continue to cite and adopt the result of this work because of its significance. Nevertheless, there are various reflections in aboriginal societies upon some points of view of Kurosawa regarding the musical features of different ethnic groups. This article aims to investigate the issues of the transmission of musical form and the conceptualization of tradition based on the reflections on the research of Kurosawa. First, it proposes that the parallel singing in fourth of Saysiyat music in Kurosawa's recording is only a particular case at that time instead of a musical tradition. The second part starts with the analyses of the songs "Pray to Divinities" and "Pray for Rain" of Falangaw Amis, and then illustrates the style change of Falangaw music in the last half-century to observe their conceptualization of the musical tradition. Both the discussions will approach the perspective today on the early researches and the historical recordings, including the issues about the difference between the tradition and the reality in the research of Taiwan Aboriginal music.