臺灣客家流行音樂研究（2000－2017）再思考：論現有研究中的音樂分析方法

Rethinking Taiwanese Hakka Popular Music Studies (2000-2017): On Current Methods of Analyzing Music

馮祥瑀(FENG, Hsiang-Yu)

《臺灣音樂研究》 26期 (2018/05) Pp. 71-98

https://doi.org/10.29785/FJMR.201805_26.0003

摘要

本文回顧2000－2017年間客家流行音樂研究中的音樂分析方法，借用Nettl（1992）、王櫻芬（2012）以及陳俊斌（2012）的「再研究」概念，觀察其中所使用的音樂分析方法來回應王櫻芬（26）與陳俊斌（2012）所提及的臺灣民族音樂研究的兩個現象，並延續兩位學者對於臺灣民族音樂研究的回顧。第一個現象為：碩博論文占臺灣音樂研究極大比例；第二個現象為：2000年後臺灣的音樂研究在研究對象以及研究方法上的轉變。我認為在客家流行音樂研究也存在上述現象，但有些許不同。而雖然早期民歌研究的方法雖漸漸隨著研究對象改變而不再適用，但仍有學者以其分析流行音樂作品。為解決此狀況，我欲藉本文深入闡述，並提出可能的研究方向，試圖克服目前在研究方法上的問題。本文一共分為五個段落，首先將「客家流行音樂研究」定義為一種將客語演唱或重新改編客家傳統民歌的流行音樂作為研究主要對象的科學性寫作。接著整理2000－2017年間提及或以客家流行音樂為主體的學位論文、受補助研究計畫、專書論著以及學術期刊，將其製作成統計圖表並從中回應王櫻芬（2012）以及陳俊斌（2012）所提及的第一個研究現象，再討論5篇學位論文中對於客家流行音樂作品分析的問題。討論的文章數量雖少，但其在客家流行音樂作品分析上具有代表性，我將其與楊兆禎（1982）的方法做比對，發現兩者之間並無差別。接著討論其成因、研究的意義以及困境，最後從西方的民族音樂學研究議題省思客家流行音樂研究未來可能的研究方向。

關鍵字

客家流行音樂 ； 研究方法 ； 民歌 ； 民族音樂學

並列摘要

Paying attention to notions of restudy (Nettl 1992, Wang 2012, Chen 2012), this essay reviews the analytical method utilized in Hakka popular music between 2000-2017 in Taiwan to respond two phenomena mentioned by Chen (2012) about the ethnomusicological research in Taiwan while restudying the study of music of aborigine in Taiwan. The first phenomenon is that the master theses and dissertations take irreplaceably major proportion in ethnomusicological research in Taiwan, and the second phenomenon is that a shift of research subject and method, from folk music recording and analysis to other relative issues of traditional music since the 2000s. In this essay, Hakka popular music study refers to a type of scientific representation concentrating on a type of popular music composed with Hakka dialects, traditional musical elements, ethos, and western popular music style. With such definition, this essay collects theses and dissertations, granted research projects, academic journal papers, and books-all for depicting a map and constructing a brief history of the study of Hakka popular music in Taiwan; furthermore, a statistic column is presented to testify the first phenomenon that the master theses and dissertations of Hakka popular music does take major proportion. However, their method of analyzing popular music is problematic. By comparing five representative master theses after the 2000s with a writing of Yang (1982) focusing folk tunes and lyrics, I find that it is problematic because there is little difference between each other. Such means that despite the second phenomenon too exists in study of Hakka popular music in Taiwan, it is slightly different as many researchers still utilize the old method to study a new subject. This may result from an academic tradition since the 1970s and a power relation between scholars and behind the researched subjects; therefore, it should not be applied to Hakka popular music studies in the future. On the other hand, a reflective review on recent studies is needed, it not only stimulates the academy to think carefully about scholarly influence of ethnomusicological researches but leads to new paths of studying Hakka popular music.

並列關鍵字

Hakka popular music ； methodology ； folklore ； ethnomusicology