流行音樂中的「台灣性」——以玖壹壹、陳綺貞與老王樂隊為例

Taiwaneseness and Popular Music --Nine-one-one, Cheer Chen and Your Woman Sleep with Others

陳亮圻(Liang-Chi Chen)

指導教授 ： 黃宗儀

國立臺灣大學/理學院/地理環境資源學研究所/碩士(2020年)

https://doi.org/10.6342/NTU202003981

摘要

本研究以三組台灣流行音樂藝人、團體：玖壹壹、陳綺貞、老王樂隊為案例，並從各自面臨「不台灣」的質疑開展出關於「台灣性」的討論。本研究主要與當前「台灣性」的相關研究對話，並且補充「台灣性」多元視角中的可能性。本研究從流行文化研究的視角出發，以三組案例的流行音樂文本結合音樂實踐的角度探討，透過文本與訪談的分析，結合當前論述的整理與討論，總結出「台灣性」的相關論述能夠從庶民文化、性別氣質以及青年主體等三個不同的面向理解。
首先在緒論中整理本研究的研究背景及問題意識，並且爬梳「台灣性」以及各案例的相關討論；第二章玖壹壹為例，探討其重新挑戰了「台客」的框架，並反映出當前的地緣政治想像以及「台灣性」的意義與價值生產集中於特定群體、階級文化，未能真正容納「庶民」對於台灣的不同理解；第三章則以性別化國族性的視角討論「小清新」現象，提出陳綺貞的音樂與個人形象中的叛逆，挑戰了「小清新=陰柔/叛逆=陽剛」的同時，也展現台灣在國族性上跳脫出「陰柔/陽剛」二元結構的可能；第四章選擇近年熱議的「中國腔」獨立樂團現象，並以老王樂隊為案例，討論在獨立樂團看似項中國市場低頭的背後，實際上體現出兩岸青年在特定時代背景下的互動與交流，在文化上相互對話的現象也是探討台灣性不可或缺的向度。

關鍵字

玖壹壹 ； 陳綺貞 ； 老王樂隊 ； 台客 ； 小清新 ； 台灣性

並列摘要

This thesis concerns the concept of Taiwaneseness, and tries to examine the idea via popular music, in order to showcase more diversified aspects to the inquiry of what it means to be Taiwanese. To understand the concept of Taiwaneseness, I argue in the thesis, it’s important to also pay attention to those who have been seen NOT SO. Therefore, the cases I choose in this thesis includes Nine-one-one, Cheer Chen, and indie band Your Woman Sleep with Others. These three cases are very different in terms of musical styles, they have been all under criticism and doubts. They have been criticized for not being suitable to be cultural representative of Taiwan based on different reasons, and the discourses behind those criticisms may reflect the current statement of Taiwaneseness. However, the discourses itself may not be neglected and should be put under thorough inspection and may therefore provide a different method to find a more sophisticated understanding of Taiwaneseness.
These three cases are analyzed in three separate chapters. By analyzing their songs, music videos and representation on the media, combined with inquiries with fans (in chapter2, 3) and musicians (in chapter 4), I claim that they showcase very different ways to reject the criticisms on their lack of Taiwaneseness. In the case of Nine-one-one, they use slangs and jokes in their songs to mutate the style of Taike, and bind the fans with technically simple musical style and lively interaction to identify their lifestyle. I argue through the analysis of Nine-one-one that the concept of Taiwaneseness should be discussed without the class boundary, and include the lifestyles that are not so decent. Though Cheer Chen and the whole Little Freshness are criticized as passive and pretentious, I argue that she demonstrates not only positivity, but also autonomies in her music and challenge the dualism of gender roles. And I extend the argument to the gendered Taiwaneseness, claiming that in Chen’s music and Little Freshness could be a possible breakthrough to create new images of Taiwaneseness. In the last part, I talk about indie band Your Woman Sleep with Others and their accent, which has been criticized as “Mainland accent”. I argue that their conflicted identity which includes Taiwan and Mainland China is actually shaped by complicated factors, and the fact that they bind the youth generation between both sides of Taiwan Strait with their music could provide a new way of talking about Chinese in terms of Taiwaneseness.

並列關鍵字

Nine-one-one ； Cheer Chen ； Your Woman Sleep with Others ； Taike ； Little Freshness ； Taiwaneseness

參考文獻

Armstrong, E. G. (1987). Gangsta misogyny: A content analysis of the portrayals of violence against women in rap music.

Bennett, A. (1997). ‘Village greens and terraced streets’: Britpop and representations of ‘Britishness’. Young, 5(4), 20-33.

Billig, M. (1995). Banal Nationalism. London: Sage.

Butler, J. (1990). Gender trouble, feminist theory, and psychoanalytic discourse. Feminism/postmodernism, 327.

Crang, M. (1998). Self and other: writing home, marking territory and writing space. Cultural Geography. London: Routledge.