從多元文化觀點析論台灣當前流行音樂唱片之視覺企劃設計

Analyzing Visual Designs of Current Pop Music Records in Taiwan from Multicultural Perspective

劉玉仙(Yu-Hsien Liu)

指導教授 ： 連德仁

國立臺中科技大學/設計學群/商業設計系碩士班/碩士(2006年)

摘要

通俗音樂提供了娛樂，並且讓人們在機械式的勞動中，獲得暫時性放鬆的機會，後現代通俗文化的興起正是在歡慶消費主義、享樂主義與風格（袁千雯、張茵惠、林育如、陳宗盈譯，2005）。而流行音樂不僅是娛樂商品，更是人文與科技結合的產品（葉龍彥，2000），特別是台灣的流行音樂向來是華人世界之標的，同時也具有反應時代寫照的特質。早期受到日本統治的影響下，導致唱片封面在風格上的呈現存在著權威性、受統治性等符號意涵之訊息傳遞；而光復後至今，台灣的唱片封面設計已開始呈現多元化的視覺圖像，但卻受限於唱片製作、企劃能力不足的情況下，仍無法自製、生產唱片，再加上當時的彩色印刷技術不佳，導致唱片內容或是封面設計的視覺呈現，皆顯得單調、乏味。

本研究以台灣流行音樂市場為主要研究核心，希冀透過唱片封面的視覺設計，探討唱片企劃如何運用市場流行趨勢，將企劃與視覺設計做完美的結合，並推敲未來流行音樂唱片市場的轉向。由於台灣的唱片環境在經過一連串的轉變過程後，其封面設計在編排與視覺效果上，漸漸產生出豐富的多變性。唱片與電影相同，皆有其必然發展的政治、經濟、社會、文化等環境背景來促成此種多變的豐富性（葉龍彥，2000）。然而，若由不同的角度觀察，台灣流行音樂的唱片封面設計，或許更能從中發覺出饒富趣味的風格蘊含其中。

本研究所選用的研究法為實地研究方法中的深度訪談法，並結合文獻研究法中的內容分析方式，進行圖像的文本分析，透過部份訪談內容建構流行音樂當前的市場狀態。希冀能以相關文獻資料與市場觀察、訪談協助消費者瞭解自身所處的環境，為許久沒有新血加入的唱片市場注入新鮮、熱情的活力。本研究即藉由前述之研究方法得知：首先，台灣當前的流行音樂市場，已是分眾市場當道的時代，倘若繼續忽視消費者購買行為與使用型態的轉變，同時也未做出事前規劃，該唱片公司在未來勢必進行歇業的準備；其次，一直以來追隨他國腳步的台灣流行音樂之視覺企劃，目前已逐漸醞釀出本地的文化特色，若持之以恆必然可創造出屬於台灣風味，亦不失時尚流行感的音樂視覺產品。

此議題共分五章做為解析的方向：第一章的部份是概略性介紹台灣早期流行音樂與視覺設計的共生狀態，主要探討台灣戰後的流行音樂，在視覺呈現上仍受到日本統治的影響之現象。除此之外，台灣的流行音樂唱片市場之相關人員，長期以來呈現一個循環性的迴圈，導致音樂唱片製作與企劃上的封閉性，間接造成視覺呈現方面的問題，因此本研究將上述之情形分為四小節進行分析。第一節，從後殖民意識揭開流行音樂的序曲，本節為研究背景的部份；第二節，唱片企劃與設計共譜流行世代的交響曲，該節講述本研究之動機；第三節，為流行音樂的強制傳播形式調音，此為本研究之目的；第四節，流行音樂市場的反覆記號，主要闡述市場的封閉性造成本研究在範圍上產生的侷限性。

第二章主要論述台灣流行音樂文化的現況，藉由整理目前一些流行音樂唱片之相關研究議題的探討方向及結論，瞭解早期文化與政治環境對於唱片封面設計的影響，再藉助文化符號的設計做訊息之傳遞，更套用後現代思想的理論，解析當前流行音樂唱片之設計思潮，因此本研究將上述之情形分為四小節進行分析。第一節，唱片封面設計的相關議題。第二節，文化與環境對早期唱片封面設計之影響。第三節，設計文化符號於流行音樂唱片封面，分為四種方向做探討：（1）文化認知與流行音樂封面設計之關係；（2）符號認知在流行音樂封面設計之運用；（3）認知歷程對流行音樂的封面設計與文化符號的影響；（4）消費行為對封面設計在符號使用的轉變。第四節，以後現代思潮設計唱片封面。

第三章主要探討亞洲流行音樂市場偶像領導權的輪替，是透過訪談與文獻的佐證做為解析方式，探究亞洲各國家塑造出的流行音樂偶像，其分別形成之文化相關的現象與潮流，而此部份共由兩個小節構成。第一節，亞洲流行樂壇再造新世紀男性霸權意識：（1）流行音樂的後結構市場；（2）性別錯置開拓偶像新格局；（3）真實與虛幻的灰色地帶。第二節，亞洲流行音樂的偶像企劃爭奪戰：（1）日韓流行音樂偶像熱潮；（2）華流偶像反攻日韓流行音樂市場。

第四章流行音樂唱片企劃新視覺形象，是透過Roland Barthes在符號學與服飾符碼方面的理論見解，詮釋當前台灣流行音樂唱片封面的設計現象，共分為兩節進行分析。第一節，模仿時尚創造流行：（1）鄰家男孩兼具時尚達人；（2）可愛甜心難敵性感尤物；（3）形象塑造由心出發。第二節，按圖索驥尋找自我：（1）唱片封面設計圖像的挪移與轉化；（2）流行音樂唱片封面設計的文化豐富性。
本研究之未來建議為第五章台灣流行音樂市場的明日世界，經由專業人士的訪談，配合本研究對於當前市場發展的觀察，推測未來從事台灣流行音樂的相關人士，如唱片企劃人員與唱片封面設計師等，在未來工作型態中的轉變，以及台灣的流行音樂唱片封面在企劃與設計上的轉型，製作出符合台灣精神之音樂與唱片設計的潮流，位列引領流行的主導國家之一。因此共分為兩節進行建議與未來發展之方向。第一節，在跳躍的音符與炫麗的畫面中追尋台灣文化；第二節，流行音樂市場的未來進行式。

關鍵字

流行音樂、唱片封面設計、多元文化、視覺企劃

並列摘要

Abstract

Generally speaking, folk music provided people entertainment and let them obtain some opportunities to relax besides tiring work. The latest trend of Post-modern folk culture was celebrating Consumerism, Hedonism and styles (Translated by Qian-Wen Yuan, Yin-Hui Zhang, Yo-Ru Lin& Zong-Ying Chen, 2005). Pop music was not only entertainment goods, but the combination of humans and technology (Long-Yan Yie, 2000). Pop music in Taiwan was the benchmark in Chinese music industry. It also reflected the state of current times. Taiwan under Japanese governance in early years influenced the demonstration of CD cover styles which existed in the delivering of the symbols of authoritativeness and governance. After Taiwan restoration, the record cover designs in Taiwan now represented multiple visions. Due to the limitation of the record production and lack of planning abilities, people in Taiwan still could not produce records on their own. Meanwhile, the poor Chromolithography technology at that time also made the presentation of the record contents or cover designs bland.

The study focused on pop music market in Taiwan and discussed how record planners used the trend through CD cover visual designs and combined planning and visions perfectly, and also predicted the possible trends of future pop music markets. After a series of record environment transformation, CD cover designs in Taiwan had variety of arrangements and visual effects. Similar to movies, there might be a history of records developing in political, economic, social and cultural views (Long-Yan Yie, 2000) to contribute the variety of designs. Nevertheless, maybe we could find some interesting CD cover design styles, if we tried different ways to analyze them.

The study used in-depth interview and combined content analysis to analyze the illustrations, and constructed the situation of current pop music market environment through the result of the interviews. The study hoped to help consumers to realize the environment where they were by related references, market observation and interviews, and also refreshed the record market. By using the methods mentioned previously, we knew that current pop music market in Taiwan is like small numerous markets. If record companies continued to ignore the transformation of the consumers’ purchase behavior and their using styles of CDs, meanwhile, they did not prepare any plans in advance, and then they might face the unfavorable situations in the future. Secondly, vision designers who followed the oversea trend for a long time gradually developed Taiwan local culture styles in their designs. If they continued to work on it, they could create some goods of Taiwan local flavors which were also trendy.

The study divided into five chapters. Chapter one was briefly introducing the situation of pop music and vision designs which brought benefits to each other in early years in Taiwan. We focused on analyzing the phenomenon of influence of Japanese governance on pop music vision presenting after Taiwan restoration. Besides, workers related to pop music industry had low mobility which led pop music production and planning to a close system in this industry, and indirectly caused the problems in vision presenting. Therefore, we analyzed them in four sections. Section one was discussing about the background of post-colonial consciousness. Section two was explaining the reason why we tried to do this research. Section three was about the purpose of this research. And section four was about the close system of this music industry caused the delimitations of this research.

Chapter two was talking about the state of current pop music culture in Taiwan. Through collecting current issues and its conclusions related to pop music records, we could know more about how the cultural and political environment affected the CD cover designs in early years. And then, we used culture symbol designs to deliver the messages and we also used post-modernism to analyze the thought of current pop music record designs trend. Therefore, we analyzed them in four sections. Section one was discussing the issues related to the CD cover designs. Section two was discussing the effects of culture and environment on CD covers designs in early years. Section three was discussing designing cultural symbols on pop music CD covers in four directions. First of all, the relation between culture cognition and pop music CD cover designs. Secondly, symbol cognition application to pop music CD cover designs. Thirdly, to realize the influence of the cognition process on pop music CD cover designs and cultural symbols. And fourthly, to design a CD cover in post-modernism thought.

Chapter three was discussing the replacement of icons’ leadership in Asia pop music markets. It was analyzed through interviews and some references in order to discuss pop music icons created by Asia countries and the phenomenon and trend related to culture. And we analyzed this in two sections. Section one was about Asia pop music industry brought the consciousness of male hegemony back in new century, like pop music post-structure market, misplacing the genders to develop the new patterns of pop icons and blear area between reality and unreality. Section two was discussing the competition among recode planners fighting for Asia pop music icons, like Japanese and Korean pop music icons gained popularity among Taiwan people, and Taiwan pop music icons also gained their popularity among Japan and Korean.

Chapter four was about the new vision image of pop music record planning. According to the analysis of Roland Barthes’s semeiography and clothes symbols, it explained the phenomenon of Taiwan current pop music cover designs in two sections. Section one was about imitation created fashion, like the boy from the next door who was also a fashion expert, sweetheart was beaten by sexy icons, and to form their images at heart. Section two was talking about the designers who learned from others and gradually developed their own styles, like the transformation of CD cover designs, and the enrichment of pop music CD cover design culture.
Chapter five pointed out the conclusion of this study. Through interviews with experts in this industry and observation of current market developing to predict Taiwan pop music related workers, like record planners and CD cover designers, their future working styles transformation, and tried to find the trend that was fit in with the spirit of Taiwan pop music and record designs, even made Taiwan lead the trend of CD cover designs. Therefore, we used two sections to give the suggestions and talk about the development in the future. Section one was about chasing Taiwan culture in a musical note and splendid vision. Section two was talking about the future of pop music market.

並列關鍵字

Pop Music, CD Cover Design, Multi-Culture, Visual Planning

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