七零年代校園民歌對現今流行音樂與社會的影響

在70年代中期前，台灣所能聽到的國語歌曲，多是一些描寫男歡女愛的商業化流行歌曲，再加上政府強制若干比例的愛國歌曲，這些音樂無法獲得當時年輕知識份子的認同，因此逐漸有了所謂民歌運動。這運動最早濫觴於1975年，其後還有由李雙澤將民族意識與本土文化結合，所發表的美麗島作品，曲調親和平易。最後一波民歌風潮，即是大家熟知的校園民歌。民歌運動早期歌詠青春，旋律清新自然、歌詞樸素，並有濃厚的中國風和大學校園氣味，1970年代後期，台灣社會運動風起雲湧，人心鼓舞，在侯德健、羅大佑及李泰祥的介入，民歌運動有了質的躍進，與初期的純樸無瑕多了人文關懷和社會責任。可惜整個民歌運動仍舊缺乏以台灣本土常民語言—台語來創作作品，這種發展路線與台灣1990年代後的政治氣氛和文化主流的轉變背道而馳，決定了民歌運動必然衰敗的命運。對台灣流行音樂熟悉的人都知道，當年這波校園民歌的風潮裡，前前後後為台灣的樂壇、演藝圈挖掘出多少的人才，如李宗盛、羅大佑、丁曉雯等等。從歷史、文化、社會的角度來看這場校園民歌文化運動，讓我們深切成受到音樂反映出大時代之背景，進而綜合不同的藝術形式，表達出人們來自心底最真實的聲音。

關鍵字

校園民歌；楊弦；李雙澤；金韻獎

並列摘要

Before mid 1970's, popular music in Taiwan was mainly related to love songs. With the limitation of producing patriotic songs in a certain percentage made by governments, young college generation in that period, therefore, triggered the creation of so-called folk songs. Beginning in 1975, Shuang Ze Li's songs are based on the combination of the culture and national consciousness. The latest period of folk songs followed and is known as the campus folk songs.In the beginning of folk song movement, the melody and lyrics are comparatively simple, and are affected by China culture and literature. In the late 1970s, the social movements were relatively active. With the involvement of De Jian Hou, Da You Lou, and Tai Shung Li, there was a significant improvement on the development of folk songs. The works in this period were created with more humanity. However, within this period, no Taiwanese language-based works were created. This decreased the further development of folk songs in the 1990s when the politics and social activities emphasized indigenous consciousness.The development of folk songs is relatively critical to the following development of modern popular songs, and inspires many famous popular music singers and composers. Its development and declination reflect the changing of underlying politics and culture. Its form is combined with different kinds of arts, and delivers the thinking of people in that period.