臺灣流行歌星演唱場域演變研究－以鄧麗君與江蕙為例

近年來流行音樂的獲利模式漸漸轉為演唱會表演，因此演唱會在臺灣顯得蓬勃。臺灣相關演唱會研究，大多是行銷與消費研究，鮮少談到演唱會背後代表的社會或文化意涵。因此本文將從研究臺灣在華語與臺語歌壇的知名歌星－鄧麗君與江蕙演唱場域演變研究，進而探討演唱會的文化意涵。以維克多．特納（Victor Turner, 1920-1983）的閾限（liminal）與交融（communitas）理論，探討演唱場域的象徵意涵。本文發現演唱場域可視為社會結構的象徵，演唱場域的演變可視為一種過渡儀式（The Rites of Passage）。流行音樂的過渡儀式，早期由友人或專家等少數人作為閾限，但愈接近明星地位，則愈由廣大的樂迷作為閾限。現今流行的演唱會則可視為一種演唱場域演變的終點，也是一種樂迷認同的儀式，和巨星誕生的儀式。

關鍵字

流行音樂；演唱會；特納；過渡儀式；閾限

並列摘要

Popular culture could be seen as a reflection of contemporary life, and popular music was an important element of popular culture. Pop music created great impacts of Taiwanese society. Studies about concert performance were also an area worth of focus on. In this paper, researcher focused on famous singing stars in Chinese and Taiwanese music business: Teng, Li-Chun and Jiang, Hui. With Victor Turner's theories of liminal and communitas, researcher discussed about the symbolic meaning of field condition of stage performance. Researcher figured out that the field condition of stage performance could be seen as a symbol of social structure, and evolvement of field through time was "The Rites of Passage". For a singer in early years, friends and professionals were the liminal. When he/she turned to a star, countless fans became the liminal. Concert performance was the final of field development, and were also the ritual agreed by the fans, the ritual of the birth of a star.

並列關鍵字

Pop Music ； Concert ； Victor Turner ； The Rites of Passage ； Liminal

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