摘要
台灣的獨立音樂從2000年開始蓬勃發展，從原本小眾參與的地下音樂，逐漸躍升成為萬人音樂大舞台，隨著數位音樂技術與音樂環境的逐漸開放，青年們自行籌組的創作樂團越來越多，獨立音樂的活動與廠牌也逐年成長，同時政府開始支持獨立樂團，每年定期挹注經費讓樂團發片，並且開放藝文特區給獨立樂團表演。於是10年下來，在一次又一次的大型音樂活動中，獨立音樂逐漸找到與消費文化結合的模式，展開了獨立音樂的商業市場。 就在獨立音樂朝商業逐漸靠攏的發展之中，大型活動的音樂與商業偏好選擇，以及音樂藝文展演中心的包票制度，使的底層的年輕獨立樂團面臨表演空間上的限制；而城市中的開放空間如公園或是廣場，則需要有街頭藝人執照，並且還要官方許可，才能在幾個特定的地方表演。於是在這樣的一個音樂環境下，表演者與聆聽者同樣受制於固定的表演場所，而聽眾也只能在某些場合重複著相同的對話模式。 如果獨立音樂作為一種時代與社會連結的映現，是ㄧ種帶領社會進步的建構參與，那麼獨立樂團在當下的城市空間中，是否可以有新的城市空間策略？然後這樣的空間形態又是什麼？ 本研究者從嬉皮文化與文化理論的對應探討，發現透過自發性的舉辦嘉年華與狂歡節，可以對現有的環境與權力結構，進行擾動與衝擊。於是自行舉辦了兩項音樂行動，分別為：五分鐘快閃演唱會與好音樂免費聽計劃，透過兩種不同的形式與概念，來測試城市中開放空間以及公私領域的界線，發現雖然在法律上以及日常生活上，公私領域的界線有一個固定的範圍，但是透過音樂活動的帶動下，依然可以去改變，重新界定一個新的空間形態。 最後將這些心得與過程整理成模式與策略圖表，希望能提供給更多喜愛音樂的人們以及獨立音樂的朋友們，讓更多的人聽見這些特別的聲音！
並列摘要
The independent music ("indie music") in taiwan evolved greatly between 2000 to 2010. Related music scenes expanded from the underground niche market toward massive popularity. With the development of digital music management/distribution and a more open market, people found their own tastes for "band" music, supported indie music labels and took part in festivals. At the same time the government began to fund local bands with original compositions and contribute millions of dollars for the publication of indie music in Taiwan. And the Creative Park was built to accommodate the art markets and music shows. Rapidly improving as they might be, correlated activities were no less commercial than their "major label" counterparts. When the music festivals became commercial events, their organizers or promoters might choose purely highly famous acts who were already in the show biz over fledging, less-known young bands for the stages. Nevertheless, if people wanted to play music in public spaces like the parks, the streets or areas near the MRT stations, they needed busking liscences and had to follow strict city rules, limiting their choices of venues for performances. Such inhibited conversations between musicians and audience were repeated again and again. If indie music is a integral part of the society and metropolitan life, is there any new strategy for the music to survive in the city? And where should the new type of venues be? In this dissertation we review the hippie subculture and cultural theories, and identify how spontaneous cultural events could rise against the established power structure. And through two music events (namely 5MiNs CONCERT, and Free Free - the Free Listening Campaign) we have sponsored earlier, the boundaries of public areas and private areas are observed and challenged. Finally we conclude the boundaries of those are disputable and can be redrawn by actions, thus redefining a more ideal public space type. In the end we share the statistics and observations of the music action, depicting proven strategies to help other indie bands. We are looking forward to a more wonderful city life ane prosperous indie music scene!
參考文獻
延伸閱讀
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