Austronesian-speaking peoples spread across Taiwan, insular Southeast Asia, the Pacific Islands, and Madagascar, making the realm of the Austronesian language family “the largest in geographical extent before the European colonial expansion of the past five centuries,” as linguist Robert Blust pointed out (2019). While music is a prominent art form among Austronesian-speaking peoples, it has been largely overlooked in comparative studies of Austronesian cultures, and Austronesian music has never become a central subject of musicological inquiry. Under the framework of area studies, the musics of Austronesian-speaking peoples are often divided into Oceanic and Southeast Asian musics. Such a division downplays the diversity of musical traditions within Southeast Asia and Oceania and overlooks cultural and musical connections among Austronesian-speaking peoples across these regions. To address the limitations of the area studies framework, I coin the term Australism to refer to a pan-Austronesian framework that brings together research on Southeast Asian music and Oceanic music. Based on my studies of Taiwanese Indigenous chants, I propose a “PERC” model to examine how the components of “parallelism,” “exchange,” “ritual,” and “chant/dance” interrelate in manifesting Austronesian linguistic, musical, and cultural characteristics. I argue that this model may facilitate consideration of cultural connections among Austronesian-speaking peoples and bridge diverse case studies on Austronesian musics, thereby fostering and advancing Australism as an evolving academic discipline.