臺語流行歌曲社會關懷精神發展研究

The Development of the Social Solicitude in Taiwan Pop Music.

劉兆恩(Chao-en Liu)

指導教授 ： 顏崑陽

淡江大學/文學院/中國文學系碩士班/碩士(2013年)

https://doi.org/10.6846/TKU.2013.00455

摘要

本論文主要探討臺語流行歌曲對臺灣社會情況之反映。雖然此一議題歷來並不乏歌謠研究者提出，然而卻不能指出此一現象的發生根源以及發展流變。職是之故，本文採取歷時性研究角度切入，研究範圍橫跨1932年至2012年，試圖藉此揭明臺語流行歌曲社會關懷精神之發展。在時代分期上面，本文則分為日治時期、戰後戒嚴時期、解嚴後時期三大區塊。
首先，日治時代揭示的是關懷精神的奠基期，其難能可貴之處即在臺語流行歌曲創生之初，便能發展出關懷社會的創作論及作品，為關懷精神傳統樹立了創作的指標與模範。
及至戰後戒嚴時期，其主要的特色除了賡續日治以來傳統，更加入了「日本曲臺語歌」此一元素。雖然當時部分音樂人對此多有微詞，然而不能否認的是透過對「日本曲臺語歌」的再製，臺語歌曲仍然持續肩負反映社會之任務。
另一方面，戒嚴時期國府對各項文藝的箝制也是此期的重要特色之一。透過文藝、語言、禁歌三大政策的推行，國府一方面發展各項利於統治之文藝，一方面亦壓迫各種不利其統治之文學，在這其中，臺語流行歌曲之社會關懷精神動輒觸當局之逆鱗，自是受到相當程度的打擊。
這種種的困境，到了解嚴之後終於煙消雲散。解嚴後隨著言論自由的解放，以及「非主流音樂」的大暢與發展，臺語流行歌曲的關懷能量一次爆發，在此階段都能看見新一代的創作者對社會議題的關注與開拓。本文所列之各項書寫題材分類，即說明了當代創作者對社會關懷精神傳統的接續與創新。

關鍵字

臺語 ； 流行歌曲 ； 社會關懷 ； 臺灣歌謠 ； 臺語歌曲

並列摘要

This thesis mainly explores the reflection of the state of Taiwanese society through popular music sung in the Taiwanese language. While there is no shortage of music scholars who have proposed this topic over the years, the origin of this phenomena and the course of its development have yet to be clearly discerned. With this as its task, this paper takes a historical research perspective, the scope of its research spanning from 1932 to 2012, and in doing so attempts to reveal the development of a spirit of social concern in Taiwanese music. The historical content of this paper is divided into three periods: the Japanese colonization period, the post-war period of martial law, and post-martial law period.

Primarily, what is revealed in the Japanese colonization period is the foundation of a spirit of concern. What makes this period so remarkable and valuable is that even at the early onset of Taiwanese popular music, these socially conscious works could be created, establishing standards and models for the tradition of this spirit of concern.

With the arrival of the post-war period of martial law, in addition to continuing the tradition of the Japanese colonization period, the element of ‘Japanese songs with Taiwanese lyrics’ was incorporated. While many musicians during the time expressed a degree of criticism toward this, it cannot be denied Taiwanese music was still able to continue to reflect society through its reproduction of ‘Japanese songs with Taiwanese lyrics.’

Furthermore, the censorship of all realms of the arts by the government during the period of martial law is another feature of this time period. Through implementing policies directed at the arts, language, and banned songs, the government aided the development of arts that enhanced its authority and repressed all varieties of literature unfavorable to it. During this period, the spirit of social concern in Taiwanese music was a constant nuisance to the authorities and subjected to a large-scale assault.

These sources of adversity began to fade away with the end of the period of martial law. The opening of language rights following the post-martial law period and the onset and development of ‘non-mainstream music,’ the capabilities of socially conscious Taiwanese music set off, and the concern of this new generation of musicians for social issues could be clearly observed. The categories of the writing themes listed in this paper illuminate the extension and innovation in the tradition social concern by contemporary artists.

並列關鍵字

Taiwanese language ； popular music ； social consciousness ； Taiwanese music ； Taiwanese lyric music

參考文獻

陳芳明，《臺灣新文學史》，臺北：聯經出版社，2011年10月初版。

陳明章口述、江文瑜整理，〈從《戀戀風塵》到《戲夢人生》──陳明章談歌曲 創作〉，《中外文學》第25卷第2期，1996年7月。

江文瑜，〈從「抓狂」到「笑魁」──流行歌曲的語言選擇之社會語言學分析〉， 《中外文學》第25卷第2期，1996年7月。

蕭義玲，〈重建與發明──臺灣歌謠傳統的建立與形象再現〉，《中正大學中文學 術年刊》第7期，2005年12月。

陳培豐，〈從三種演歌來看重層殖民下的臺灣圖像──重組「類似」凸顯「差異」 再創自我〉，《臺灣史研究》15卷2期，2008年6月。