現代華語流行歌詞中的氣氛美學－以中文系詞人（新加坡）梁文福、（臺灣）吳青峰作品為例

The Aesthetic of Atmosphere in Chinese Popular Music Lyrics-A study of lyrics by Chinese literature graduates, Liang Wern Fook (Singapore) and Wu Qing-Feng (Taiwan)

潘雪兒(Hon Sher Erl)

《東吳中文線上學術論文》 30期 (2015/06) Pp. 137-164

摘要

近幾十年來，大眾流行文化的興起與日益蓬勃發展，使得流行音樂成為極普及化的傳播媒介之一。流行音樂在當代雖然是極普遍及歡迎的大眾流行活動，德國哲學家馬克斯‧霍克海默（Max Horkheimer）及提奧多‧阿多諾（Theodor W.Adorno），卻以「文化工業」一詞對流行文化提出批判，而另一學者格爾諾特‧伯梅（Gernot Böhme）則以「氣氛美學」的概念，反駁霍克海默與阿多諾的指責。本文以伯梅的「氣氛美學」理論作為討論依據，以兩位同是中文系專業出身，卻分別來自新加坡和臺灣的寫詞人梁文福與吳青峰的流行歌詞作品為研究範圍。首先，討論以上詞人如何利用關鍵用詞、書寫步驟及整體設計，表現及營造「歌詞空間中的特定氣氛與情感」。接著，以伯梅所認為的「氣氛是聯繫環境性質與個人情境」爲切入點，探討其氣氛營造所展示的人與地互動關係。最後一節則會回歸氣氛美學理論中提及的「對人基本美學需求的重新檢視」，除了肯定兩位寫詞人在文字設計與運用上的特色與深度，更深入探究兩人在創作美學與生命議題關懷上的異同。綜上所述，本文透過肯定流行歌詞中的「氣氛」營造，窺見在華語流行歌詞中隱藏的文化與社會面貌，以及其展現的美學價值，同時藉此實際回應了霍克海默與阿多諾對流行文化的批評。

關鍵字

華語流行歌詞 ； 氣氛美學 ； 梁文福 ； 吳青峰 ； 文化工業 ； 格爾諾特‧伯梅

並列摘要

The emergence and development of popular culture for the past decades has enabled the Chinese popular music to become one of the most promulgated medium for spreading popular culture in the Chinese society. Although popular music is a common and well-received cultural movement in the current society, German philosophers, Max Horkheimer and Theodor W. Adorno, have both criticised such cultural movement as 'Culture Industry'. On the other hand, Gernot Böhme has raised the 'Aesthetic of Atmosphere' concept to oppose the criticism of Horkheimer and Adorno. Thus, drawing from the Aesthetic of Atmosphere, and using Chinese popular music lyrics composed by lyricists that are both graduates of Chinese literature (Liang Wern Fook from Singapore and Wu Qing-Feng from Taiwan), the current study aims to examine how keywords, creative process, and structural design in music lyrics can present a specially created atmosphere and emotion for the public. Following on, as Böhme has suggested that atmosphere is the connection between environmental condition and personal circumstances, the study also explores the relationship between people and environment that is displayed by such an atmosphere creation. Finally, the last section of the study discusses the lyricists' quality and profundity found in their language usage and design, in which both have demonstrated similarities on themes of life and aesthetics of creation. In conclusion, by acknowledging the atmosphere creation and aesthetics value of the Chinese popular music lyrics, the current study investigates the cultural and social aspects hidden in the lyrics, how they present certain aesthetics value, and provides an alternative response to Horkheimer and Adorno's criticism on popular culture.

並列關鍵字

Chinese Popular Music Lyrics ； Aesthetic of Atmosphere ； Liang Wern Fook ； Wu Qing-Feng ； Culture Industry ； Gernot Böhme