國家古典音樂人才培育的補助機制－以文建會「音樂人才庫」為例

「音樂人才庫培育計畫」是文建會藝文補助機制中，少數歷經政黨輪替及主委更迭仍得以延續的政策。為何一向被界定為「小眾」且屬「文化菁英」培育的古典音樂，卻能在眾多的補助政策中被延續？執行補助機關的定位如何趨向穏定、效能如何提昇？以及音樂人才的表現與國家文化政策效能之間的關係，如何在有限的供需資源間建立認同與持續？　　筆者長期致力於表演藝術之關懷與實務參與，發現許多目前或過去曾入選為「音樂人才庫」之學員，持續於國內外之音樂學業與樂壇努力中，且因臺灣國內對於整體古典音樂產業之行銷規劃與平台架構、以及國人對於音樂消費之習慣，仍以流行音樂與國外樂手為優先，使得大批於國外競賽或樂壇嶄露頭角之音樂家，未能有適當平台之建置發展規劃與機會一展所長，反倒由國外之經紀公司積極接洽與培植因此「音樂人才庫」之制度本身、以及臺灣古典音樂整體產業部分，國家部門與民間單位是否能做更有效之整合與配套分工，使音樂人才能更為臺灣整體古典音樂產業與表演藝術能有更橫向之跨領域連結，以及縱向往下扎根培植的新氣象，是一個值得觀察的問題。　　本研究以文建會「音樂人才庫」為案例，研究公部門人才培育的補助機制為探討課題，以Bourdieu 四個資本觀點切入，將由家庭經濟（個人經濟資本）、家庭與學校教育（文化資本）、國家相關政策與產業培力（社會資本），以及個人藝術成就與國家之形象對應（象徵資本）等四個面向切入分析，探討獲入選之學員，其文化資本、經濟資本、社會資本與象徵資本，是否有其他變數之可能與現象，並藉此試圖找出這些變項之外的其他路徑。再輔以訪談包括歷屆受培訓學員、執行補助機關之基層行政承辦人及民間藝術產業負責人等，爬梳此古典音樂人才庫自創辦至今之現況，從主辦單位之變遷、制度內容之說明，以及參與之學員之親身經驗分享，了解國家政策與補助機制所依循的運行立場，以及組織轉型及定位的相關看法。　　經由本論文的研究整理，探討國家補助機制的執行效能及文化價值，如何為音樂家做良善完備之規劃行銷、消費者對於古典音樂之消費與信息傳遞，以及整體國家之形象建立，能提供自政策至產業面向之觀察與研究整理，裨益我國的音樂人才培育機制形成完整紀錄及具體建議。

關鍵字

古典音樂；音樂人才庫；人才培育計畫；國家補助機制；國際音樂比賽

並列摘要

“The Music Talent Bank Development Plan” is one of the few policies continuously in use among the many subsidy mechanisms of the Council for Cultural Arts despite changes of the ruling party and legislators. Why is it that “classical music” has long been defined as a “minority”, and is only continuously in use to “develop the ‘cultural elites’”, despite the existence of many other subsidy policies? How can the subsidy authorities achieve steady positioning and performance improvement? Additionally, in terms of the relationship between music talents’ performances and the effectiveness of the national cultural policies, how can we establish identity and continuation with such limited supply and demand resources? 　　Based on the author’s long-term commitment in caring for the performing arts and participating in practical undertakings, it was found that many members selected as members of “The Music Talent Bank”, in the past or at present, have continued to render efforts in music studies and in performing circles at home and abroad. In addition, because of the marketing planning and platform structure of Taiwan’s overall classical music industry, as well as local people’s music consumption habits, popular music and foreign music performers remain a priority. A considerable number of musicians who are discovered through overseas music contests or performing circles therefore are not given appropriate opportunities to establish and develop a platform where they can show their talents. Instead, they are contacted and trained by foreign agents. Hence, regarding the “Music Talent Bank” system itself and Taiwan’s overall classical music industry, the issue of whether or not the government sectors and private units should engage in more effective integration and supplementary labor division to enable music talents to engage in cross-disciplinary links with the overall classical music industry and performing arts in Taiwan and engage in vertical downward cultivation of new talents remains an issue worthy of further investigation. 　　In this research, with the “Music Talent Bank” under the Council for Cultural Affairs as the case study and the public sectors’ talent development subsidy mechanism as the issue of discussion, the four capitalistic perspectives of Pierre Bourdieu, family economy (personal economic capital), family and school education (cultural capital), national policies and industrial empowerment (social capital), and personal art achievement and corresponding national image (symbolic capital), were adopted in the analysis. The cultural capital, economic capital, social capital, and symbolic capital of the selected members were explored to find whether there were other possible variables and phenomena, through which an attempt to find other paths outside of these variables was made. Supplemented by interviews with the trainees over the years, grass-root administrative undertakers of subsidy authorities, and art industry in-charges from the private sector, the current situation of the classical music talent pool since its founding was explored. The change of organizers, descriptions of the system contents, and the personal experience sharing of the participating members were also explored, thereby gaining an insight into the standpoint of the national policies and subsidy mechanism and organizational transformation and positioning-related views. 　　Through the study compilation in this research, the exploration covers: the implementation performance and cultural value of the national subsidy mechanism, how to engage in sound and comprehensive planning and marketing for musicians, consumers’ classical music consumption and message delivery, and establishment of the overall national image, thereby providing observations and study compilations related to the policy aspect and the industrial aspect and keeping a complete record of the formation, all of which shall contribute positively to the formation of the music talent development mechanism, as well as the provision of specific suggestions.

並列關鍵字

classical music, music talent bank, talent development plan, national subsidy mechanism, international music contest

參考文獻

蔡如歆(2009)，《從組織行為架構探討現代戲劇團隊行政人員留任因素》，國立台北藝術大學藝術行政與管理研究所所碩士論文。

郭彥豪(2005)，《政府扶植臺灣流行音樂產業之策略研究》，臺中健康暨管理學院國際企業學系碩士論文。

施韻涵(2004)，《台灣學校音樂之西化與本土化》，國立成功大學藝術研究所碩士論文。

張斐雯(2000)，《西洋嚴肅音樂在台灣流傳概況研究(1949-1999 年)》，國立臺灣師範大學音樂研究所碩士論文。

CULTURE SECRETARY ARGUES ART IS 'HEART' OF GOVERNMENT》。台北，財團法人國家文化藝術基金會網頁。

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國家古典音樂人才培育的補助機制－以文建會「音樂人才庫」為例

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