The spirit of the new curriculum for the nine-year compulsory education is to return the education to the livelihood. Through the curriculums provided by schools, the native music education may be carried out, and through the educational mechanism, a variety of Taiwan music with regional attributes may acquire appropriate teaching progression. However, the nine-year compulsory education can only provide with principle without any substantive prescriptions on teaching progression. Therefore, with the concern for the position of the schools and native music education, qualitative research method has been utilized in the research to investigate on the development of worldwide and Taiwan native music, and the teaching material of aboriginal music from relevant literature. In addition, 270 Bunun songs were collected, analyzed and summarized. Moreover, questionnaire survey and in-depth interviews were also conducted in an attempt to have further understanding about the application status of aboriginal songs in school music curriculum, and the proportion of “singing”, “music theory”, “appreciation”, “instruments” and “creation” distributed in teaching activities. The study has also probed the difficulties that the music teachers have encountered in their using of Bunun songs in the Bunun region. Finally, an outline of rational music teaching progression for the Bunun region has been compiled and the database of Bunun songs for teaching has been established for the use of searching.

With the above study process, following conclusions have been submitted by the researcher：

(1) The current status for the use of aboriginal songs in school music classes：

Aboriginal songs do not take significant proportion in the textbooks currently published, and they are also not the major teaching material. In the teaching aspect, they are still mainly used to be “sung” with supportive “appreciation” activities. “Creation” and “music theory” (sound sense and recognition of music score) are most seldom used in the teaching dimension. There are two main reasons for teachers not to use aboriginal songs as the teaching material: linguistic problem and the difficulty to acquire the song material.

(2) The current teaching status of the Bunun songs taught by the music teachers in the schools at the Bunun region.

The teaching activities of the Bunun songs held in the schools at the Bunun region are mostly included in the native linguistic courses, or proceeded with the chorus established through the participation in the contests of native songs. The teaching in school’s music classes is still mostly based on the content of ratified textbooks, so the music curriculum does not include the teaching activities of the Bunun songs.

(3) To explore the in-depth meaning of music teaching of the Bunun songs, and establish the teaching database of analyzed Bunun songs for music teachers to use in teaching.

Amongst the 270 Bunun songs collected by the researcher, targeting sound group, rhythm, tone, voice range, musical forms and lyrics, etc., a database for searching has been established by using the Linux operation system to include the 270 Bunun analyzed songs. According to “song classification”, “rhythm”, “suggested teaching age”, and “tone”, users may search for relevant information to use in teaching.

(4) Targeting the schools in the Bunun region, an outline of rational teaching progression has been made, so it can be used as the reference for other aboriginal areas to implement native music education.

The music elements of the Bunun songs regarding musical scales, melodies, rhythm, etc., have been summarized by the researcher and edited as an outline of rational teaching progression. In addition, amongst the 270 songs, the researcher tried to find out the material which could echo the teaching progression. The researcher believes that, the process may be further applied to other aborigines for the study and use of their native music.

Finally, based on the conclusions, the researchers has submitted her personal recommendations as the reference for policy making and to be used by the music teachers in the aboriginal areas or those who are interested in the study of aboriginal music.