為響應聯合國教科文組織(UNESCO)從2003年起所推動的《保護非物質文化遺產公約》，台江國家公園管理處於2012年針對台江地區的數魚歌推動研究與影音採譜記錄。研究團隊歷經三年的田野調查，前後共訪查二十九位長居於台江地區之數魚工，採錄五十餘首數魚歌；接續，於2014訪台灣民間音樂學者、西拉雅語言專家與文史工作者之後，集中呈現各曲之樂譜與說明其音樂內涵，並探究這些數魚工個人背景、過去學習數魚歌的方法與目前及未來傳承之狀況、數魚歌的功能及淵源、其音樂內涵與台江地區之在地文化以及族群間(尤其是西拉雅族與閩南人之間)潛在的融合關係。研究結果之要點有：一、受訪者背景絕大多數為50~80歲以漁業為正職，少數有其他兼職之台江地區在地居民。二、漁工們過去皆以自學方式習得數魚歌，而對於今後之傳承，鑑於市場結構的變化，大多不持樂觀看法。三、數魚歌的功能，除了數魚者需聽到自己的聲音才不致數亂掉之故外，更在於讓買賣雙方都能清楚聽到數目，以利公證。四、數魚歌的淵源以由中國人引進台江地區之可能性最大。五、數魚歌的音樂特質最重要者為順應台語語言聲調而多為五聲音階之調式，又具誦唸、臺灣民間歌仔、跳鼓陣、牽亡歌等台灣民間音樂之風格，推想漁工們吟唱數魚歌受帶有臺灣本土音樂記憶所影響，但虛詞的即興運用又有西拉雅族文化融合的可能。六、數魚歌由似誦念到較具曲調性的音組，其由簡入繁的延展順序與北京官話為基礎的國語明顯不同。此現象對臺語如何從語言演化發展到曲調民謠的研究具相當之意義。

In response to “Convention on the Protection of Intangible Cultural Heritage” promoted by UNESCO since 2003, Taijiang National Park office began to endorse in fry-counting song studies, audio records, and video documentations in the Taijiang area in the southwest coast of Taiwan in 2012. Through a three-year field study, our research team interviewed 29 fry-counting workers and recorded over 50 fry-counting songs. Music scores were gathered and their meanings were deciphered after interviewing Taiwanese folk music scholars, Siraya language specialists, history workers and reviewing literature in 2014. The team also researched into the personal background of fry-counting workers, how they learned fry-counting songs, past learning methods, current usage and future learning, function and origin of songs, music connotation and the underlying relationship among local cultures and ethnic groups in the Taijiang area (especially among Siraya and Hoklo). We found: (1) Though some are part-time, most of the interviewees are residents in the Taijiang area and full-time workers in fishery aged from 50 to 80. (2) The workers are self-taught in fry-counting songs. As for future learning, most of them are not optimistic in face of changes in the market structure. (3) In addition to counting outloud for oneself in case of miscounting, workers also sing fry-counting songs for fairness, making sure both the buyer and seller heard the number of fish. (4) Fry-counting songs were most likely introduced to the Taijiang area by the Chinese. (5) The musical trait of fry-counting songs is consistent with Taiwanese linguistic tones and pentatonic scale, combined with Taiwanese folk music styles such as those of Taiwanese opera, drum dance and burial (soul-guiding) songs. Fry-counting songs are possibly influenced by local Taiwanese music, but they also contain improvisations including function words that may have come from Siraya culture. (6) Fry-counting songs develop from recitation to more melodic rhytms. This simple to complex progression is obviously different from Mandarin of Chinese language, and can be a meaningful reference for studies on the development of Taiwanese from spoken language to ballads.