「歌謠」概念之流變及其在臺灣高中音樂教科書之應用

臺灣歌謠有著國家文化認同的重要性，其背景脈絡既深且廣，不但有著中國歌謠傳統的深遠淵源，又受到了日本與西方民謠的影響。音樂之外的因素如國家政策、社會背景、時代變遷等也形塑出了臺灣歌謠概念的樣貌，而將臺灣歌謠編入教科書更有著國家教育等考量因素。本研究從具合法性的臺灣高中音樂教科書中的臺灣歌謠概念出發，從音樂學的角度探討此一收錄於教科書中的經典概念是如何形成與流變的。本研究首先從相關文獻歷時性地探討臺灣歌謠的內容涵義以及教科書中臺灣歌謠主要的分類方式 (自然與創作的分類方式) 的來源、背景與流變，以勾勒出臺灣歌謠概念背後廣大的脈絡，並發現其潛在的相關議題。再將之對照歷年教科書中的台灣歌謠概念與其課程標準/綱要進行分析，以了解教科書編輯者是如何從相關文獻中選材作編輯，將廣大的音樂學知識形塑成教科書中政府所認可的臺灣歌謠官方概念。本研究結合臺灣歌謠概念的流變與背後許多的影響因素進行討論，反思其在音樂學與音樂教育上的意義，並提供教科書內容編輯上的建議。本研究試圖從教科書中的臺灣歌謠概念進行音樂學與音樂教育的對話，以期之後更多交集的可能性；本研究也以更宏觀的視野，將臺灣歌謠的議題放置於國際上音樂學、民俗學、文學等歌謠與民謠的討論進行對話，藉此釐清、探討、並反思臺灣歌謠的定位與意義。

關鍵字

臺灣歌謠；自然民謠；創作歌謠；音樂教科書；課程綱要

並列摘要

Taiwanese geyao, a term that encompasses folk songs, poetry, and rhymes in Taiwan, has significance in national identity. Taiwanese geyao not only has roots in Chinese geyao with influences from Japanese and Western folk songs, but it has also been shaped by non-musical factors such as national policies, social developments, and the overall temporal context. When compiling Taiwanese geyao for textbooks, even factors such as national education priorities need to be considered. This study aims to explore the inclusion, production, and transformation of the concept of Taiwanese geyao in public senior high school music textbooks in Taiwan from a musicology perspective. To conduct this research, this study analyzes related literature chronologically to trace the origin, context, and transformation of the meaning of Taiwanese geyao and the main classifications of it used in textbooks: natural folk songs (ziran minyao) and composed songs (chuangzuo geyao). To uncover issues lying beneath the surface, in addition to literature analysis, this study also compares the concept of Taiwanese geyao in textbooks with their corresponding curriculum guidelines established by the Ministry of Education in Taiwan, examining how editors compiled such extensive musicological knowledge into government-approved textbook content. In analyzing the factors that went into the transformation of the concept of Taiwanese geyao in multiple contexts, this study considers the implications for musicology and music education, and provides suggestions for compilation of textbooks in Taiwan. Finally, this study attempts to open dialogue about the intersections of musicology and music education from the concept of Taiwanese geyao in textbooks. It further places the issue of Taiwanese geyao into the international context of musicology, folklore, and literature discussions to engage in dialogues, whereby the position and meaning of Taiwanese geyao can be clarified, reflected, and further explored.