日治時期臺灣尺八音樂活動初探－以尺八的普及 (1933-1937)與臺人尺八家林阿發為中心

A Preliminary Study of Shakuhachi Activities in Colonial Taiwan: Focusing on Its Popularization (1933-1937) and Taiwanese Shakuhachi Player A-Fa Lin

廖晴園(Ching-Yuan Liao)

指導教授 ： 王櫻芬

國立臺灣大學/文學院/音樂學研究所/碩士(2013年)

https://doi.org/10.6342/NTU.2013.00881

摘要

日治時期臺灣尺八活動興盛，但目前仍未見研究。有鑑於此，本論文作為初探，試圖建構日治時期臺灣尺八活動的概況。本文先簡述尺八傳入臺灣的過程，接著探討1933年至1937年的尺八活動，以觀察期間尺八家所扮演的角色以及尺八活動的意義，最後再以臺人尺八家林阿發為例，探討臺人接受尺八的歷程，並論述戰爭時期的尺八活動及其作用。
日治時期的尺八活動隨著日人來臺而傳入，最初是作為自我娛樂的興趣，之後隨著活動的組織化及流派的移植發展而逐漸興盛。1933年至1937年，尺八活動有了進一步的發展。在此期間，日人致力於尺八的普及，提倡以邦樂強化日本精神，並試圖以邦樂感化他人、甚至同化臺人。
日人的尺八普及，雖然未被臺人普遍接受，但1930年代到1945年間仍出現少數的臺人尺八家，其中以林阿發為最具代表。林阿發先在臺灣學習尺八，1936年赴日深造後開始積極參與演出，1940年學成歸臺後更成為臺灣尺八界核心人物之一。在此過程中，他從被動地作為日臺融和的宣傳工具，轉變到主動地與日人一般致力於戰時尺八活動，由此可見其立場之改變。從這些活動也可看到，尺八在戰爭時期扮演強化日本精神、打擊英美文化、慰問將兵遺族的重要角色。

關鍵字

尺八 ； 日本精神 ； 日治時期 ； 邦樂 ； 林阿發

並列摘要

Japanese shakuhachi played an active role in the musical life of Taiwan during the Japanese Colonial Period, but this has been a long neglected subject. This thesis fills this gap by providing a preliminary study on the shakuhachi activities in colonial Taiwan. It first gives an overview of the various stages of its transmission from Japan to Taiwan. Then it focuses on the shakuhachi activities in Taiwan from 1933 to 1937 and analyzes how the role of the shakuhachi players and the significance of shakuhachi activities developed during this period. Finally, by taking the Taiwanese player, A-Fa Lin, as an example, it further explores the reception of shakuhachi by the Taiwanese and the role and activities of shakuhachi during the wartime.
At the beginning of the Japanese colonial period, shakuhachi was introduced into Taiwan as a means of self-entertainment for the Japanese expatriates. With the institutionalization of its activities and the transplanting of its respective schools into Taiwan, shakuhachi activities gradually flourished. The activities of shakuhachi blossomed from 1933 to 1937 as a result of the colonizers' dedication to the popularize shakuhachi, to advocate Japanese spirit, and to assimilate the Taiwanese through hougaku (Japanese music).
Even though shakuhachi did not seem to have been widely accepted by the Taiwanese, there were a few Taiwanese shakuhachi players from the 1930s to 1945. Among them, A-Fa Lin was arguably the most representative. Lin first learned to play the instrument in Taiwan. In 1936, he went to Japan for further study and started to perform publicly. After completing his study in 1940, he became one of the central figures in the hogaku circle in Taiwan during the wartime. In this process, he changed from being propagandized by the colonizer as a model of Taiwan-Japan assimilation to performing actively in the wartime shakuhachi activities. From his activities, it is also clear that shakuhachi took on a new role during the wartime; it served as a tool to strengthen the Japanese spirit, to suppress the American and British culture, and to comfort the soldiers and their families.

並列關鍵字

shakuhachi ； Japanese spirit ； Japanese Colonial Period in Taiwan ； hougaku ； A-Fa Lin

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