1922年，臺灣音樂家張福興在日月潭採集並記錄了邵族的音樂，此為台灣原住民音樂首次以西洋音樂學術背景所做的正式採集與記錄，在此之前，台灣原住民的音樂僅止於文人雅士於歌詞及其含意之簡要記錄傳寫，關於曲調之保存記錄則幾乎完全付諸闕如。爾後日本音樂學者田邊向雄、黑澤隆潮等人繼踵其事，更以近代的聲音保存科技，記錄了珍貴的台灣原住民音樂。戰後國民政府時代，許常惠及史惟亮等民族音樂學前輩，幾次浩浩蕩蕩的台灣民謠採集行動，更擴大了原住民音樂之採錄範疇與研究成果。審視近百年來民族音樂學者關於台灣原住民音樂之研究，大抵建構於西洋音樂和漢人音樂的思維之上，其音樂的形式如調式、音階、樂句、樂段之分析，則多數依附於既有的西洋音樂及漢人音樂的理論架構；然而屬於南島民族的台灣原住民族，畢竟有其獨特的生活背景和文化傳統，長期以來，我們對於台灣原住民族音樂的記錄、研究、了解是否有若干之既定框架呢？本文的目的在以邵族音樂為例，由歷來對邵族民族音樂的採集、記錄、研究為對象，探討原住民音樂的採集方式和其可能衍生的問題。此外，多數原民音樂採集者對於採集對象之語言無法完全掌握，常須透過翻譯理解歌詞的意義，因而自歌曲的「下標命名」開始，盯充滿了採集者的想像，「標題」是否符合歌謠之真意是一個層面，歌詞的內容是否不明甚或曲解，乃至於衍生之樂句或樂段切割是否恰如其分，則又是另一個層面。因而在時間的縱深之下，被採集對象的社會、歷史變遷及與周邊民族之間的互動往來，是否也牽動了民族音樂本身的逐漸質變？上述種種因素如果不加以辨明釐清，則所謂「原住民民族音樂學」研究或許將無法另開新境，只能淪為西洋音樂和漢人音樂的附庸而已。職是之故，民族音樂學的跨界合作可能是深化民族音樂學研究的重要模式。本文也將由邵族的社會及歷史、文化變遷，採討邵族音樂的內容成分，反襯歷來的音樂採集紀錄和研究中的若干問題。

Fu-Xing Chang, a Taiwan musician, who collected and recorded Shào zú music in 1922, was the first record to formally gather the aboriginal music from the academic background of Western music. By this time, the aboriginal music in Taiwan just appeared in lyrics or the summary of the song by literati and the record-keeping on the melody was totally lacking. Later, Japanese music scholar like Tanabe Takao and Kurosawa Takatomo recorded the precious music of Taiwan aborigines by the sound-saving technology. During the post-war era of the national government, several mighty collection actions for Taiwanese folk songs conducted by the ethnomusicology predecessors such as Chang-Hui Hsu and Wei-Liang Shi extended the scope of the collection and research in aboriginal music. For the past century, most studies on Taiwan aboriginal music by the folk music scholars are constructed in terms of Han Chinese music or Western music. The musical forms like tuning, scales, phrases or the analysis of music section, are mostly attached to both Han Chinese and Western music theory only. However, Taiwan aborigines, part of Austronesian, have their own background and traditions. How can we record, research and understand them just by certain established framework? The purpose of the study is to explore the way of music collection for indigenous music and the problem may derived by the analysis of the music gatherings, records and studies of the past years, Shào zú songs for example. In addition, the majority of Aboriginal music collectors failed to understand the language of the target songs because they grasped the meaning of the lyrics only by interpreters. This way, the songs would be full of the explanation of the collector's from the beginning. On one hand, we don't know whether the ＂title＂ fits the real meaning of the songs or not; on the other hand, the lyrics might be misinterpreted and the phrases might not be put into the right segments. Therefore, we should also concern the social and historical changes of the target aborigines and their interactions with the nearby ethnics, which may also affect the gradual qualitative change in the national music. If the above factors can't be clarified, it might be hard for the so-called ＂aboriginal ethnomusicology＂ studies to open a new territory and it would still something belongs to the Han Chinese music and Western music. Thus, the cross-border cooperation may be an important mode for the studies on folk music. This study will also discuss the composition of Shào zú music by the social, historical and cultural changes, contrasting the music collection records and the derived issues.