「山地歌曲」作為一種1960 至70 年代的臺灣唱片工業產物，是當代原住民族社會生活中一種重要的社會文化及庶民言說現象。它具有廣大民眾積極參與、多元混雜和共同享受的特性，是原住民族文化最活躍的力量和酵母。它的滲透性與普遍性使它成為山地社會各階層成員日常生活的基本形式；它的產製不僅涉及臺灣社會象徵性權力的運作，更脫離不了多元族群間政治、經濟與文化的複雜歷史。在不同階段的經濟與政治背景下，山地歌曲從而衍生出不同的美學型態與樣貌。因此一部原住民近代歌謠史，正是一部原住民近代生活史，音樂社會史。山地歌曲的研究可以是瞭解原住民社會及歷史發展的有效途徑之一，不但有助於瞭解當代社會與原住民個人的相互關係，也有利於探討當代社會變遷與現代化的問題。然而直到目前為止，臺灣「山地歌曲」相關的研究至今仍然相當有限，很大影響了我們對當代原住民族庶民文化的瞭解。本文研究從現代「山地歌曲」做為出發點，沿着唱片生產的軌跡，蒐集1960 年以後至1979 年左右所出版的黑膠唱片，針對1960 至70 年代三家主要的山地唱片公司：「鈴鈴」、「群星」、「心心」的「山地歌曲」產製與競爭進行比較，並探討聽眾品味與牟利者間的音樂生產及音樂認同的互動經過。本文藉以說明1960 至70 年代戰後臺灣山地通俗音樂的市場生產機制，如何承載特殊歷史文化與記憶，使其成為原住民族人認同與消費的表徵物，而原住民不同世代間的聽覺習慣及社會情境，又如何反饋到音樂的生產及製作。

The so-called “Shan-di music” (aboriginal “mountain music”), a product of the record industry in Taiwan from the 1960s to the 1970s, is an important social and cultural phenomenon, a manifestation of popular literature in contemporary aboriginal social lives. Deemed to be the source of power and liveliness in the aboriginal culture, it encapsulates the dynamics of active participation, multicultural fusion, and the mass sharing of content; it overcomes social stratification and pervades the daily life of all members. Its production reflects the symbolic power at work in the Taiwanese society, embodying the complex multi-ethnic history of politics, economy, and culture. In other words, aboriginal “mountain music” mutates in response to the evolving economic and political climate, hence developing very diverse aesthetic characters, and a chronological account of this music simultaneously reflects the history of contemporary aboriginal life. For this reason, studying the social history of this music is one of the more efficacious ways of acquiring genuine appreciation of aboriginal societies and their historical developments. However, to date, there have been few such studies. Using the aboriginal “mountain songs” issued on records from the 1960s to the 1970s as the basis, this paper compares the record production and competition among three major labels, namely “Ling-ling,” “Chun-hsing” and “Hsin-hsin,” and addresses the interactions among audience’s taste, profit-seekers’ music production, and musical identity. It describes the marketing mechanism of aboriginal “mountain songs” from the 1960s to the 1970s and the re-emergence of aesthetic symbols. It also discusses how the changes of the auditory habits and the social environment among generations of aboriginal people feed back on music production and identity making.