摘要
2015年是臺灣現代民歌四十年紀念，它一方面引發懷舊風潮，一方面也爭議不斷。在本土化思潮下，1970年代的民歌被指缺乏土地性、人民性、抗議性。本深度報導，試圖脫離「貧血的民歌運動」、「被閹割的民歌運動」等標籤性論述，著力於還原歷史當事人的親身經歷，亦嘗試加入批判觀點，以呈現關於臺灣現代民歌的多元論述。 本深度報導首先描述現今臺灣有代表性的民謠歌者的生態，展現當下的時代氣息、以及反省過往的必要性。次兩章則圍繞民歌時代標誌性人物的生命故事，還原1970年代的時代背景、人物風貌、以及「唱自己的歌」的社會土壤。第四、五、六章以批判視角，反思民歌的現實性、階級性等，以及70年代的歌曲管控，試圖挖掘引發民歌爭議的根本原因。第七章將報導重點拉回音樂本身，從音樂美學、創作方法等角度切入，令音樂逃離意識形態及功能性的束縛，討論現實主義美學的達成方式與空間。最後一章探討音樂與時勢的關聯，試圖為讀者提供更多元的視角來看待台灣民歌時代。
並列摘要
It is the 40th anniversary of modern Taiwan folk music in 2015. The memorial is reminiscent of the past, but on the other hand, controversy as well. The folk music in 1970s was considered to be far away from the land and people, and lack of protests under the spirit of localization. This report is trying to critically show different aspects of modern Taiwan folk music based on the personal experiences of people at that age without the influence of existing label, such as “anemic folk song” or “castrated folk song”. First of all, this report shows the current status of folk singer and the atmosphere of folk music in Taiwan right now, leading to the necessity of reflecting on the past. Then in chapter 2 and 3, the author is trying to recover the people, the time and the society of “sing our songs” in 1970s with the stories of folk singers at that time. In later chapter 4 to 6, the author tries to be more critical, showing the main reasons of the controversy at that age. In chapter 7, the author is back to music, discussing the possibilities of realistic aesthetics. The last chapter is about the relationship between music and the timing, trying to provide more perspectives for readers to think about the folk music of Taiwan.