本文將以「蘭嶼之戀」在卑南、阿美、排灣三個原住民族間傳唱 的版本作為討論重點，並試圖藉著這首歌曲討論陸森寶先生（卑南族人，族名BaLiwakes，日本名森寶一郎，1910-1988）作品中「傳統」與「現代」的關係。接受過日本師範教育的陸森寶創作了為數甚多的歌曲，「蘭嶼之戀」是流傳最廣的作品之一。它不僅在卑南族南王部落的日常聚會、節日、喜慶活動中常常被演唱，也常見於原住民藝術工作者舞台表演的曲目。而因為它在阿美族部落中是如此地流行，也有很多人以為這首歌是一首阿美族民歌。在市面上，我們更可以發現這首歌曲以不同標題，出現在不同專輯中。這些專輯以不同方式編排，包括那卡西、吉他、以及「世界音樂」式的電子合成伴奏，並由不同原住民族歌者演唱。 「蘭嶼之戀」以「流行歌」的風貌呈現，而創作者則是接受了日本人引進的西方音樂教育的原住民知識份子，這兩著之間看似互相衝突，實則具有關聯性。基督宗教的聚會禮拜及日本人引進的「唱歌」（しょうか）課程，使得西方音樂音階調性、節拍等觀念進入原住民社會。這些觀念的引進，為原住民「流行歌曲」的形成做了準備。在相當程度上，我們可以說，「唱歌」的引進與「流行歌」的形成、傳播，象徵了原住民社會的「現代性」。陸森寶所受的西式音樂教育，主要來自台南師範「唱歌」師資養成課程的訓練，而他的多首作品，如本文所討論的「蘭嶼之戀」在原住民部落間被當成流行歌曲傳唱。因此，從「唱歌」與「流行歌」的角度，我們可以藉著了解陸森寶作品內容及流傳的狀況，窺視原住民當代音樂風貌形成的一個轉折。 然而，從「現代化」的角度來看陸森寶的作品，並無法深入理解 其音樂語言及風格，也無法完全解釋為何他的作品在他自己的部落內和其他原住民部落間受到歡迎。藉著作品內容的分析以及作品形成背景的討論，我們可以發現，他的創作元素有一部分來自傳統，而且現在他的作品也被卑南族人當成senay（卑南語，指非祭儀場合的歌唱）曲目的一部分，在日常歌唱場合中被廣泛地演唱。討論他的作品和senay 的關係，將有助於我們了解他作品的「傳統性」。

Taking versions of the song “Love of Orchid Island”circulated among Puyuma, Amis, and Paiwan villages as examples, I aim to discuss relations between “tradition” and “modernity” suggested by compositions of Lu Sen-bao （Puyuma Aborigine, Puyuma name: BaLiwakes, Japanese name: Mori Ho Ichiro, 1910-1988）. Influenced by Western music education that he received at Tainan Teachers College, he composed a considerable number of songs. “Love of Orchid Island” is one of the popular ones among his compositions. It is not only sung at ordinary get-togethers and festivals in his home village, Nanwang, but also performed on stage by Aboriginal artists. Because it is so popular in Amis villages, many consider it an Amis folksong. Furthermore, one may find this song in various recordings under different titles, and the tracks are arranged in a variety of styles, sung by singers from different Aboriginal groups, with the “nakasi bands,” guitars, or world-beat-style synthesizers as accompaniments. It seems ironic that the composer of “Love of Orchid Island” was an Aboriginal intellectual who had received Western music education introduced by Japanese colonialism, while the song have been circulated in a form of “popular song.” I will argue, however, these two things are not irrelevant. Christian services and “shoka” (Japanese term, meaning “singing”)programs introduced by the then Japanese colonialist government brought in concepts of Western music about scale, meter, etc., to Aboriginal societies, and the introduction of these concepts helped to form Aboriginal “popular music.” To some extent, we may say that the introduction of “shoka” as well as the formation and circulation of popular music represent the “modernity” of Aboriginal societies. Lu Sen-bao received Western music education from the training programs for prospective “shoka”instructors when he studied at Tainan Teachers College. Many of his works, nonetheless, such as “Love of Orchid Island,” become “popular songs” circulated among Aboriginal villages. Therefore, we may look into a pivot point in the course of the formation of Aboriginal contemporary music, through examining Lu Sen-bao’s works and the dissemination of his works, by means of discussions about “shoka” and “popular song.”