Writing Music History in Austria and in Taiwan: Some Preliminary Observations

音樂史的寫作突顯出文化身份認同的議題，在這方面奧地利與臺灣的情形可互為參照。當第一本《奧地利音樂史》於1 977 ~ 1979年出版時，它需要擺脫國族主義影響下建構所謂「奧地利音樂」的音樂史寫作傳統：第一次世界大戰後，以德語為主的奧地利人單獨立國，音樂史家嘗試尋找奧地利與德國在音樂裡相異之處；時移世易，十多二十年後，傾向德奧合併之音樂史家卻努力指出二地音樂相同之處。第二次世界大戰後冷戰期間，奧地利音樂史的寫作則面對似乎獨佔中歐音樂傳統或與鄰國劃清界線的兩難困境。上述《奧地利音樂史》選擇了後者，以現行疆界作為論述範圍；但卡爾-達爾豪斯卻根本質疑以政治國界為單位的音樂史，能否滿足史學及美學的要求。相較之下，臺灣的歷史及疆域不及奧地利之屢經變遷，在文化身份認同上卻也多有掙扎。第一本不以「初稿」或「史綱」為名的《臺灣音樂史》終於在2003年出版，卻因作者善意地大幅論述過去長期被壓抑的原住民音樂，使本書約一半的內容變成了一本「臺灣原住民音樂概論」，減弱了原書題中「臺灣」與「史」的涵意。筆者認為，它應拋開國族主義的包袱，在音樂上避免用族外美學觀評論原住民音樂，並均衡地重視中樂與西樂在臺灣的傳統;在學術上則納入更多國際的研究。

關鍵字

音樂史寫作；國族主義；文化身份認同；奧地利；臺灣

並列摘要

The problem of cultural identity is reflected in the music historiography, and significant parallels can be drawn between Austria and Taiwan. When ”Musikgeschichte Österreichs” 'Music History of Austria' appeared in 1977-79, it had to break away from a tradition of nationalistic search for the ”Austrianness” in music, first in differentiation from (end of the monarchy in 1918), then in unification with the Germans (towards the ”Anschluss” of 1938). Afterwards, it was caught in the Cold War dilemma of either monopolizing the music tradition of Central Europe or breaking ties with the neighbors. But the final decision of not looking over the border was criticized by Carl Dahlhaus, who doubts altogether whether a music history of Austria confined to the present border can do justice to all historical and aesthetic circumstances. While the music historiography of Taiwan is not so troubled by intricate territories and histories like Austria, it also struggles no less with a complicated cultural identity. A 2003 ”Taiwan yinyueshih” 'Music History of Taiwan' attempts to reconstitute the suppressed music of the Aborigines (now only about 2% of the population) as expression of a new identity and solidarity, but it also turns half of the book into more an ”Introduction to Taiwanese Aboriginal Music” than a ”History of Music in Taiwan.” Solidarity on two levels are needed: musically, a more sensitive incorporation of emic viewpoints in assessing Aboriginal music, as well as a more sympathetic coverage of Chinese traditional music (however tainted by pro-Chinese sentiment) and especially Western music (now musical ”mother tongue” of many); scholarly, a closer integration of international research.