再探校園民歌——以唱片音樂學、華語語系為視角

目前，學界雖已出現了多篇校園民歌的研究論文，但其切入的角度多為社會學層面的「民歌運動史」或文學層面的歌詞研究，而缺乏對於唱片維度的深入探討。但唱片公司的介入在民歌作品經典化的過程中具有不容忽視的作用。與此同時，在解嚴後臺灣社會「告別中國」的情境中，民歌因其文本中流露出對中國大陸的鄉愁，而常常陷入「政治不正確」的處境，並出現了對民歌「風花雪月」、「貧血」、「缺乏對體制的反抗」之攻訐。但這些論述其實忽略了民歌作為「華語語系音樂」所蘊含的在地性，也忽略了「風花雪月」可能帶來的抵抗潛能。鑒於此，本文以唱片音樂學和華語語系的論述框架對校園民歌展開再研究。一方面，對民歌唱片之生產、文本、接受三個層面展開論析，檢視唱片與音樂、人和社會文化的互動。另方面，呈現唱片文本中國性、臺灣性交織的複雜狀態，並以「深層的中國性」為著眼，考掘「風花雪月」背後的文化傳統與抵抗潛能。另外，本文對民歌唱片的接受研究不僅涉及臺灣本土也延伸至中國大陸。本文發現，唱片公司對校園民歌存在著清晰的產品圖像，並由此發展出一套特色的產製策略與推廣方式。唱片文本儘管被建構出強烈的中國性，卻是在地的、異質的中國性，且已經呈現出一定的臺灣性表達。至於「風花雪月」的特質，則可視作是中國文化史上的「抒情傳統」在七○年代臺灣現場的回聲，一方面繼承了溫柔敦厚、童心、性靈的美學特徵，另方面仍蘊含著對黨國體制、父權結構、資本主義、美/日新殖民主義等的抵抗潛能。此外，在實際聆聽過程中，臺灣聽眾未必將文本結構中的中國性與地理上的「中國」做連結。而民歌在中國大陸的接受，儘管受到了主流/官方文化的政治收編，卻也通過溝通媒介與文化資本的角色，與中國大陸的社會文化、流行音樂工業以及兩岸地緣政治展開豐富的互動。

關鍵字

臺灣校園民歌；華語語系；唱片音樂學；抒情傳統；中國性

並列摘要

While Taiwan campus folk song, a genre of Taiwanese music during the 1970s, has been explored many times, most of research was in the context of campus folk song movement or lyrics, and there has been no in-depth study on this genre in the context of records. But in fact, records matter because the involvement of record companies facilitated the canonization of campus folk song. Meanwhile, since Taiwan entered the period of “Farewell China”, campus folk song often fell into a “politically incorrect” situation due to the nostalgia for Mainland China in its texts. Also, there have been some critiques considering this genre was too much romantic and lacked the resistance to the dominant power structure. However, this thesis argued that these opinions ignored the locality and the potential resistances behind this genre. In view of this, this thesis tried to restudy campus folk song from the perspectives of Phonomusicology and Sinophone studies. On the one hand, it examined the interaction between records with music, human, society and culture from three levels: production, text and reception. On the other hand, it presented the complexity of campus folk song’s record texts, which variegated with Chineseness and Taiwaneseness. It also interpreted the romantic feature of campus folk song as a continuance of lyrical tradition in Chinese cultural history, which could be described as a kind of deep Chineseness. Also, it investigated the potential resistances behind such deep Chineseness. The discussion on the reception of campus folk song involved not only the context Taiwan itself but also that of Mainland China. This thesis found that the record companies had relatively clear product images of campus folk song, and thus developed a set of characteristic production strategies and promotion methods. The record texts are constructed with strong Chineseness though, it was a kind of localized and heterogeneous Chineseness. And the texts have already presented certain Taiwaneseness. As for the romantic feature, it might be regarded as an echo of Chinese lyrical tradition, which inherited the aesthetic characteristics of gentleness, childlikeness and Xing-ling (native sensibility). Still, such a romantic feature contained potential resistances to party-state system, patriarchal structure, capitalism, new colonialism, etc. In the practical process of listening, Taiwanese audience might not link the Chineseness in texts to the geographical or political “China”. The reception of campus folk song in the Mainland China was affected by the political incorporation of Mainland Chinese mainstream or official culture though, it still showed that as communication medium and cultural capital, Taiwan campus folk song had frequent interaction with China’s society, culture, popular music industry and cross-strait geopolitics.