- 學位論文
策展作為應用民族音樂學實踐—以「無心插柳—《音樂與音響》雜誌創刊45週年回顧特展」的製作為例
Practicing Applied Ethnomusicology via Curating—The Production of the 45th Anniversary of Music & Audiophile Exhibition
摘要
《音樂與音響》雜誌（1973—1998）是一份重要的音樂出版品，是許多音樂友早年追尋音樂、音響新知的共同讀物。2018年是《音樂與音響》雜誌創刊的第45週年，本計畫以展示的方式，在讀者、文物收藏家，與創刊者張繼高的家人的協助下，透過資料的爬梳與再現，刻畫與詮釋這份刊物在臺灣音樂史上的地位。 本計畫以應用民族音樂學作為學理基礎，透過文獻整理、物件的蒐集，與口述訪談來發展展示架構，轉化相關的音樂知識為展示內容，希望增進現世代與上個世代的連結，進一步彰顯「策展」作為應用民族音樂學實踐的重要性。 本文作為這項計畫執行歷程的反思報告，內容分為四個部分。首先爬梳《音樂與音響》雜誌目前的研究現況，闡述應用民族音樂學的概念，並且連結策展設計與應用民族音樂學之關係；第二部分為整個展覽策劃的前置作業，包含實地觀察其他展覽的展示手法與觀眾行為，以及將前述之文獻探討結果轉化為展覽內容，進一步構思本場製作之風格調性；第三部分記錄實際製作的過程與執行成果，包含物件的選擇、概念發想與展示手法之設計、動線規劃、現場調整；最後一部分對前置準備、執行過程、展覽實際發生的情況與觀者回應做綜合的評量，並且回歸到應用民族音樂學的理論與方法，進行反身性的思考，希望能夠給予往後有意策劃音樂展覽，以及對於音樂展覽有興趣之讀者一份實務參考。
並列摘要
The publication of Music and Audiophile magazine (1973-1998) gained popularity in the history of Taiwanese music. Many music lovers were readers and fans of the magazine. The year of 2018 is the forty-fifth anniversary of the publication of Music and Audiophile. This project aimed to explore the significance of this publication in the history of Taiwan music and used the form of exhibition to express its research finding. With assistance from the readers of this publication, the collectors of related cultural artifacts, and the family of the founder Chang Chi-Kao, the exhibition was able to be completed in December, 2018. This thesis is a reflexive report of the whole process. Informed by theories and practices in Applied Ethnomusicology and based on archival and object research, this thesis intended to put theory into use, with a hope to enhance the connection between the present generation and the previous generation and to highlight the form of curating as a method of practicing Applied Ethnomusicology. This thesis comprises four parts. Part one reviews current studies on Music and Audiophile, and it analyzes the relationship between curatorial design and Applied Ethnomusicology. Part two discusses the preparation for the exhibition, including the on-the-spot observation of display and audience behavior, the transformation of the aforementioned literature into exhibition plans, and the consideration of exhibition style. Part three is a record of the whole process of the production, including the selection of objects, the design of concept ideas and display techniques, the planning of the moving line, and the adjustment of the site. Part four is a reflexive evaluation of the preparation, the implementation process, and the happenings during the exhibition. By presenting a practical case this thesis hopes to contribute to the future practice of music curatorship and Applied Ethnomusicology.
參考文獻
延伸閱讀
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