本文以卑南族當代音樂為例，探討原住民音樂現代性及原住民對此現代性的回應。以音樂電影舞台劇《很久沒有敬我了你》做為個案研究的對象，我試圖探討「唱歌」教育及音樂客體化與建制化對於當代原住民音樂的影響。「唱歌」（しょうか）這個詞指涉日本政府在十九世紀末從西方引進的音樂教育系統，它隨著日本殖民統治，成為台灣現代教育的一部份，這個殖民遺緒奠定西方音樂在台灣發展的基礎，也對當代原住民音樂的形塑產生重大影響。本文將簡述這個音樂電影舞台劇以及劇中使用的音樂，並從這部作品中使用的陸森寶作品連結到有關「唱歌」的討論。最後，我以陸森寶到陳建年等卑南族人的音樂所連結的南王部落音樂發展歷程為例，討論原住民音樂現代性與原住民性的相關議題。本研究借用「接合」模式，聚焦做為主要接合機制的「表演」之討論，藉此試圖提出有關文化意義的音樂學解讀，並進一步探討這樣的研究取徑與社會人文學科接合的可能。

On the Road is a musical play production of the Taipei National Concert Hall performed in 2010 in collaboration with Aboriginal musicians. With combinations of various distinct elements, this musical has hybrid features. Focusing on the performance of contemporary Aboriginal songs in this musical, I examine concepts of the musical modernity of Taiwanese Aborigines and the Aborigines’ responses to modernity. I argue that beneath the simple plot of the musical about how a Han-Taiwanese musician brought the Aboriginal musicians to perform at the Hall, there is another story being narrated through the performance of the songs. This hidden story is an Aboriginal musical story spanning the time from the period of Japanese colonial rule (1895-1945), when Westernized school songs (shoka) were introduced into Aboriginal society, to recent years when Aboriginal musicians have achieved recognition in Taiwan’s music industry. This story shows not only the objectification and institution-alization of Aboriginal music enabled by Western musical techniques, but also an articulation of aboriginality as a response to modernity. I will provide a description of the musical play, and then discuss works by the Puyuma musician Baliwakes used in it. Finally, I examine issues related to musical modernity and aboriginality, and rethink methodologies in studies about music and culture. I use an “articulation” framework in this study, and focus my discussion on the performance as the primary mechanism connecting various distinct elements. By so doing, I aim to provide a musicological reading of cultural meaning, and consider possibilities of articulating approaches of musicology and that of social sciences and humanities.