皇民奉公會的音樂動員運動

Music Mobilization Movement of the Kominhokokai

高沛秀(Pei-Hsiu Kao)

指導教授 ： 王櫻芬

國立臺灣大學/文學院/音樂學研究所/碩士(2009年)

https://doi.org/10.6342/NTU.2009.00858

摘要

皇民奉公會的音樂動員運動

摘要

在日治時期音樂史中，有關「音樂動員運動」層面的討論，過去一直受到忽略。因此，本論文試圖將1941年至1945年間皇民奉公會在台灣的「音樂動員運動」，從主管機構、文化統制、宣傳等層面，來分析其作為一種言說、論述（discourse）的意義，亦即將音樂動員運動視為殖民政府支配人民思想的體系。出發點之一，是希望藉由解讀專制政權的音樂動員運動，找出官方是如何利用音樂進行「社會控制」和「政治動員」的技術。另一方面則是藉由梳理這些全民動員的音樂活動，了解當時的音樂生活。
皇民奉公會在台四年多的音樂動員運動，隨著其「精神母體」大政翼贊會而起舞，其中亦不乏針對台灣的殖民地性格有所修正，第一階段的地方文化論，催生混雜著日本色彩的島國民謠。1943年戰情急轉直下，更使得後方的音樂動員達到巔峰，一波接著一波地襲捲而來，第二階段採「排除異己」以及「頌揚新聲」雙管齊下，禁絕英美唱片並以「國民皆唱」進行全民精神總動員，以教化形塑人民戰爭意識。最後一個階段已屆戰爭末期，音樂回歸到原來的本質－慰安，移動藝能隊慰勞農村漁村等生產戰士，這三個階段映照了音樂在戰爭的扮演的角色。

關鍵字

日治時期 ； 皇民奉公會 ； 敵性曲盤供出運動 ； 戰爭 ； 思想形塑 ； 音樂 ； 媒體

並列摘要

Music Mobilization Movement of the Kominhokokai
Abstract

Previously, the discussion related to “music mobilization movement” was often neglected in the music history during the period of Japanese rule. Therefore, this research aims at investigating the “music mobilization movement” of Kominhokokai in Taiwan through the aspects of administration authority, social governance and propaganda from 1941 to 1945. Subsequently, the significance of the discourse is analyzed by considering the music mobilization movement as the system of colonial government in manipulating the people’s mind. One of the starting points is to discover the techniques for utilization of music in “social control” and “political mobilization” by the authorities, which based on the interpretation of autocratic regime in the music mobilization movement. On the other hand, the former music and live can be examined by coordinating the musical activities of civil mobilization.
In addition, the musical policy of Kominhokokai during the four-year period in Taiwan was initiated by the “spiritual matrix” of Taisei Yokusan Kai (Imperial Rule Assistance Association), which included several amendments directed toward the colony disposition of Taiwan. The initial stage of local cultural theory included local folk songs composed and incorporated with Japanese elements. During 1943, the war situation had intensified and the later music mobilization achieved its peak with revolving waves of influence. Furthermore, the movement for “Exclusion of Objection” and “Praise for New Voice” were simultaneously promoted to ignite Japanese spirit. Besides, the western musical records were banned and “All People Sing” was implemented for civil spiritual mobilization in the purpose of educating war consciousness to the civilians. By the end of the war, the final stage was symbolized by the reverting of music to its fundamental essence – comfort. For instance, the mobilized entertainer groups would exhilarate the warriors from agricultural and fishing villages. In summary, these three stages demonstrated the role of music in war.

並列關鍵字

period of Japanese rule ； Kominka movement ； confiscation of tune platter ； war ； ideological and political education ； music ； media

參考文獻

林姿呈。2007。《從日本時代臺灣音樂會生活探看洋樂在近代臺灣的發聲脈絡》。碩士論文，臺灣大學音樂學硏究所，臺北。

陳芳明。2005。〈文明與殖民〉。序，收於呂紹理著《展示臺灣：權力、空間與殖民統治的形象表述》。臺北：麥田。

許凱琳。2005。《日治時期放送節目音樂內容之硏究(1937-1941) : 以軍歌放送為中心》。碩士論文，國立臺灣大學音樂學硏究所，臺北市。

黃琪惠。1997。《戰爭與美術 : 日治末期臺灣的美術活動與繪畫風格(1937.7-1945.8) 》。碩士論文，國立臺灣大學藝術史硏究所，臺北。

劉紀蕙。2004。〈從「不同」到「同一」：臺灣皇民主體之心的改造〉。《臺灣文學學報》