- 學位論文
原住民創作歌手及其獨立音樂組織經營之研究：以野火樂集為例
A Study of the Aboriginal Composer–Singers and Music Organization Management : Based on the case of Wild Fire Music
摘要
音樂，呈現社會總體文化現象的縮影，音樂創作則得以見察一個時代的面貌與精神，它能投射出主流文化與次文化的意識型態，也掩映著當代社會流變的軌跡。 90年代後臺灣社會「本土化」的意識擴展，給予了向來被忽略、隱藏的原住民創作歌手一些機會。在此時期，唱片製作公司也開始挖掘許多具「原住民」身份的歌手或是創作歌手，使得眾多歌手紛出，開始大量的發行唱片，在市場高度接受下，造就一股「原浪潮」時代。 一直到現今，台灣音樂產業受多元文化特性及文化全球化的影響下，消費端的閱聽群眾擁有能自由選擇聆聽方式。位於產製端的音樂組織也因相異運作模式，為音樂市場帶來多樣化的音樂類型。檢視創作端，原住民創作歌手因聽眾的分眾化，發展與一般創作歌手大不相同。是否「原浪潮」的消退即代表閱聽人對於原住民創作歌手的關注也僅限於特定的社群裡？而出版現代原住民創作音樂的「野火樂集」獨立音樂組織又該如何運作組織，才能讓原住民創作音樂有機會在自己的土地上再向下用力紮根？ 「野火樂集」獨立音樂組織以雙品牌運作模式，同時顧及文化及商業理念，是與一般音樂製作公司的運作概念有所衝突的，其如何在當代音樂產業之中繼續維持自主性以及同時顧及組織運作是為本研究關切之重點。 根據研究分析結果，發現「野火樂集獨立音樂組織」在建構組織型態時的考量顛覆產業原有固有運作模式。其組織自有一套運作模式，重組了文化與音樂交會的可能性，以市場上少有的雙品牌姿態，架高了組織運作的規格及視野。「野火樂集獨立音樂組織」不僅維持與「原住民創作歌手」多重發展的合作關係，同現也展現獨立音樂組織在有限的人力資源中有效的整合創作端、產製端、市場端、社會端。顯示「野火樂集獨立音樂組織」除了讓獨立音樂保有文化、實驗、美學性格之外，也將「中介」角色發揮至極大的作用。
並列摘要
Music epitomizes the cultural phenomena in the society. Music creation has a keen observation of the faces and spirits of an era; it projects the ideologies of macro and micro cultures alike, and offers a glimpse of contemporary social flux. The popularization of the ideology of “localization” in the late 1990s in Taiwan offered some opportunities to the long neglected and unseen aboriginal singers or composer-singers. Record labels started to dig out singers or composer-singers with aboriginal identity during this time, which contributed to the birth of various singers and the production of plenty records that were highly accepted on the market and created the time of “Aboriginal Wave”. Up until now, music industry in Taiwan has been influenced by multiculturism and globalization of cultures. Audience on the consumption side enjoys the freedom of choosing their ways of listening, while music organizations on the production side brings multiple types of music, depending on their differences of working models. When examining the creation side, it is found that the aboriginal composer-singers had a very different development because of the demassification of their audience. Does the subsidence of the “Aboriginal Wave” mean that the audience’s concern for the aboriginal composer-singers is limited to certain communities? And how can Wild Fire Music, an independent music organization that publishes modern aboriginal music composition, work and run to open an opportunity for aboriginal music composition to again take root downward in its own soil? Wild Fire Music operates with double branding model, taking its cultural and business concerns into account. Such working model is incompatible with those of other record labels. The focus of this study is on how Wild Fire continues to keep its autonomy as well as its operation in the music industry. According to results of studies and analysis, Wild Fire’s founding considerations undermined the conventional working model in the industry. They reconstructed the possibilities of encounters between culture and music, and the double branding position that is rare on the market heightened the standards and views of the organizational operation. Besides maintaining a multiple cooperative relationship with composer-singers, Wild Fire also displays an efficacy with its limited human resources in integrating the sides of creation, production, market, and society. This shows that Wild Fire not only keeps the cultural, experimental, and aesthetic characteristics of indie music, but also brings the role of intermediary into full play.