- 期刊
臺灣民族音樂學對全球音樂史思潮的多元觀點與反思
Multiple Perspectives and Reflections of Taiwan's Ethnomusicology on the Global Music History
摘要
本文探討了臺灣民族音樂學界對全球音樂史思潮的反思與回應。全球音樂史的興起背景是對歷史學領域中空間尺度和關聯性的重視，以及對以歐洲為中心的世界史觀的批判。民族音樂學強調網路、迴圈和跨領域概念，可提供歷史研究的靈感，特別是對社會行動者所建立的各種網路的研究，包括邊陲地區的音樂交流和移民音樂研究，這些試圖跳脫西方民族國家視角的切入點，可以重新定位邊緣群體在話語權上的位置。另一個重要的思維是民族音樂學的全球尺度框架，關注全球經濟文化力量的流動以及一些共同問題，如音樂的日常性和音樂、遷移和認同之間的關係。這些觀點亦有助於擴大對全球音樂史的研究視野。民族音樂學的研究目前更多地集中在呈現當代音樂文化的樣貌，較少深入探討歷史，但本文提議，臺灣作為一個多元文化滲透的地方，擁有豐富的音樂歷史，並與各個時空交織的「他方」建構多重網絡。因此，臺灣的（民族）音樂學者應該借鏡全球音樂史的思維，不僅關注臺灣在全球音樂史中的地位，也深入研究音樂、歷史與網絡的關係。同時，透過民族誌研究方法，探討不同族群和文化之間的音樂交流和多重交織，豐富我們對臺灣音樂發展多面向的理解。
並列摘要
This paper examines the reflections and responses of the Taiwanese ethnomusicology community to the trend of global music history. The emergence of global music history is rooted in an emphasis within the field of history on various spatial scales and forms of interconnectedness, as well as criticism of the Eurocentric worldview in world history. Ethnomusicology underscores concepts of networks, cycles, and interdisciplinary approaches, offering inspiration for historical research, particularly in the investigation of various networks established by social actors. This includes the study of music exchanges in the peripheries, or the third space, and research on immigrant music, all of which attempt to transcend the Western ethnonational perspective, thereby repositioning the marginalized communities with respect to their discourse power. Another significant perspective lies in the global framework of ethnomusicology, which focuses on the mobility of global economic and cultural forces and addresses common issues such as the everyday nature of music and the relationships between music, migration, and identity. This aids in broadening the research horizon of global music history. Although current research in ethnomusicology primarily concentrates on contemporary music culture and offers less in-depth historical analysis, this paper posits that Taiwan, as a region characterized by multicultural permeation, possesses a rich musical history and maintains multifaceted connections with diverse temporal and spatial dimensions. Consequently, ethnomusicologists in Taiwan may adopt the perspectives of global music historiography. This approach involves not only examining Taiwan's position in global music history but also delving deeply into the relationships between music, history, and networks. Additionally, employing ethnographic research methods to explore the multifaceted interactions and music exchanges among different ethnic groups and cultures can enhance our understanding of the development of music in Taiwan.