客家流行音乐的创作与实践：解析金曲奖入围客语专辑

【外文题名】The Creation and Practice of Hakka Popular Music: A Study on Hakka Albums of Golden Melody Awards Finalists

【作者】 刘兴伟

【关键词】 日常生活 金曲奖 客家 流行音乐 实践

【外文关键词】 Everyday Life Golden Melody Awards Hakka Popular Music Practice

【导师姓名】卢岚兰

【学位名称】硕士

【学位年度】2010

【学位授予单位】暂无

【所属分类】C912.6

【录入时间】2010-01-01

【全文挂接】 读秀挂接

【摘要】過程採用深度訪談法及文本分析法，首先，針對金曲獎2003年（十四屆）設立客語音樂獎項之初至2009年（二十屆）的入圍專輯創作者為訪談對象，並藉由訪談獲取客家流行音樂創作者推薦的文本以作為文本分析之依據。本研究的觀點立基於Certeau認為現代社會及大眾文化中的弱勢者非默默承受體制與主流文化的制約，反而具有能動性，並隨時等待機會予以回擊。研究發現：一、客家流行音樂創作者對客家流行音樂的想像包羅萬象，當客家流行音樂走入金曲獎時，創作者對音樂場域及主流勢力產生繁雜的愛恨糾葛，因而演變成各樣的戰術實踐，以回應強勢的支配力量，力求在維護創造力與認同之際，能同時追求自身的生存空間，體現出創作者作為一種能動，在面對制度框架時，尋求抗衡及協商的機會。二、創作者在創作時對日常生活元素之運用反映出看似細瑣、零碎之物所具有之潛能，一些熟稔的、隨機取得的媒材亦可作為建構認同與抗拒支配的工具。在遊戲式的創作風格中，即使是強調傳統，亦不再是重現過去，而是予以包裝；重視現代則展現創作者當下生命歷程，結合生活經驗而轉化出客家流行音樂創作之多樣性。三、面對強勢流行音樂文化及金曲獎場域，客家流行音樂創作者試圖既服膺體制的既有形式，實則進行各樣的戰術實踐。並在透視強勢力量的規訓、收編後，進行著包含挪用、拼貼、行走、模仿、迎合等的實踐回應。四、身處商業資本主義環境，客家流行音樂創作者亦藉由創作過程表現多重認同，在商業與客家傳統主流力量的相互拉扯下，他／她們在認同與抗拒、傳統與現代間展現不同程度的自我定位，同時創作者會隨當下創作時空環境的影響，而持續地遊移於認同／抗拒及傳統／現代的兩端之間。...

【外文摘要】The research investigated the creation and practice of Hakka popular music against the backdrop of globalization. It explored the ways in which Hakka artists transferred and constructed Hakka popular music with trifling and fragmentary materials when confronted with the dominance of mainstream music in society. In addition, it probed the manners in which they demonstrated practical methods. Finally, it unveiled the complex mentalities when they faced both conventions and innovation. For close scrutiny, the study cited Certeau s theory of The Practice of Everyday Life as theoretical basis.The study was approached by in-depth interviewing and textual analysis. The interviewees included 11 artists of nominated albums of Golden Melody Awards from 2003 till 2009. The standpoint of the research stemmed from Certeau s view that the vulnerable of modern society and popular culture have the initiative and keep waiting for an opportunity to fight back instead of enduring in silence the constraints of systems and mainstream culture.The results are as follows. First, Hakka artists had all-inclusive imagination concerning Hakka popular music. When Hakka popular music touched upon Golden Melody Award, artists had complicated love-hate relationship towards the music field and the mainstream forces. Consequently, varieties of tactic practices evolved to respond to the dominant power. While striving to maintain creativity and identity, Hakka artists pursued their own living space by manifesting themselves as agencies that sought counterbalances and negotiations when faced with institutional framework. Second, the use of daily elements reflected the potential of trifling and fragmentary things in constructing identity and countering domination. In a style of play type, those that put stress on traditions packaged the past instead of reproducing it. Those that lay emphasis on modern displayed the life course of the present, which in combination with life experience was converted into a great diversity of Hakka popular music. Third, in face of strong popular music culture and fields of Golden Melody Awards, artists of Hakka popular music tried to implement all kinds of tactical practices while complying with norms of institution. Coming to understand the discipline of the dominant power, they responded by appropriation , bricolage , walking , mimicry and cater accordingly. Fourth, surrounded by commercial capitalism, artists of Hakka popular music displayed multiple identities by means of creative processes. In the tug of war between business and Hakka tradition, they showed varying degrees of self-positioning between identity and resistance, traditional and modern. In accordance with the current environment of production and creation, they continued to shift between the two ends of identity/resistance, and traditional/modern....