論陳裕剛「臺灣國樂發展分期」學說及其學術影響

國樂在臺灣至今歷經超過一甲子的發展，對於國樂整體回顧的討論篇牘眾多，有些著眼於淵流背景，有些則側重型態內容的演進。在國樂發展分期的論述方面，當以陳裕剛1993年發表的《影響臺灣地區四十年來國樂器樂發展之因素》最為擲地有聲，對其後至今二十餘年來的國樂論域有顯著的影響。今逢作者陳裕剛教授逝世三週年之際，筆者僅以回顧角度研探該文的為文背景及研究方法，討論作者「臺灣國樂發展分期」學說在國樂學術領域產生的效應。除了1993年發表的四個分期之外，本文參照作者在2000及2013年發表的二篇演講文，以完整回顧探討陳裕剛「臺灣國樂發展分期」學說之內容。此外，本文根據原文的研究方法，試循作者思路加以補述內容，以此紀念故人治學之精神研究發現陳裕剛對於臺灣國樂發展的分期係以社會經濟與政策環境為背景，論述音樂發展的歷時過程，以歷史音樂學的時序方法，佐以民族音樂學的社會文化研究角度，建構出立體交織的人事時地物，包含音樂社會敘述的各種縱橫向度。「臺灣國樂發展分期」的學說發表至今受到各種研究的肯定與引用：文中提出的對國樂識別本土化與在地風格化的建議，在二十餘年後對照發現，樂界今日對此已有共識期待。足見陳裕剛對於國樂領域的研究和相關發展策略的建設，具有顯著的影響力。

關鍵字

陳裕剛；國樂；臺灣國樂發展

並列摘要

Chinese music in Taiwan has been developed more than 60 years, and accumulated many articles and discussions concerning review on the whole history, some emphasizing on historical backgrounds and some on the inner changes of forms and contents. Considering theories of developmental stages of Chinese music, the article Factors Influencing the Development of Chinese Music in Taiwan in the Last Forty years, deliveredby Chen Yu-Kang in 1993, is recognized as a milestone, having obvious influence on discussions of Chinese music in the following twenty years. This year is the third anniversary of Prof. Chen Yu-Kang's death, the author aims to probe into the background and research methods of this article, discussing the impacts made by Chen's theory of developmental stages of Chinese music in Taiwan. In addition to the theory published in 1993, this review also referred to two other Chen's speeches in 2000 and 2013 to complete the research on Chen's theory of developmental stages of Chinese music in Taiwan. Besides, the review, based on Prof Chen's research methods, tried to add some supplements according to Chen's train of thought to commemorate the scholar spirit of the predecessor. The study result demonstrates that prof. Chen theory of developmental stages of Chinese music in Taiwan has, based on the social. economic and policy circumstances of that time, discussed the diachronic process of musical development, and, according to chronological method from historical musicology with the social-cultural aspect of ethnomusicology, built multiple-dimensional and intertwined historical events, including various social dimensions of musical practice. The theory of developmental stages of Chinese music in Taiwan has been affirmed and quoted by different researches since it's published: after twenty years, its suggestions on the localization and stylization of Chinese music seem gradually to reach a consensus and have a common expectation among musical circle today. All proves the significance influence made by Chen Yu-Kang on researches of Chinese music and related strategies of developments.