獨立音樂是什麼： 獨立音樂認同界線的生產與游移

What is "Indie"? The Production and Shifting of Boundaries in the Independent Music Scenes

劉官維(Guan-Wei Liu)

指導教授 ： 陳瑞樺

國立清華大學/人文社會學院/社會學研究所/碩士(2015年)

摘要

關於「獨立音樂是什麼」的說法眾說紛紜，而本篇論文便以這樣的疑惑為開端，重新去說明、解析臺灣獨立音樂的複雜性與界線的模糊。在我的觀察中，我發現臺灣獨立音樂具有幾種特質，像是D.I.Y.自己幹的精神、參與社會運動的傾向以及強烈的臺灣國族主義傾向等等，在這幾種特質的交織下，形構成臺灣獨立音樂獨特的樣貌。而不同的創作者對於獨立音樂的不同解讀與實踐，更建立了臺灣獨立音樂複雜但生動的認同樣貌。
為了捕捉臺灣獨立音樂圖像中的複雜與浮動，我以「認同界線」作為我的理論工具，透過深度訪談與焦點團體訪談的方式，訪談了十組共19人的獨立音樂創作者，試著去回答下列三個問題：（1）臺灣獨立音樂社群的認同界線如何形成？（2）在界線的生產、挪移與模糊的過程中，獨立音樂人是如何經驗、回應被逐漸建構起來的獨立音樂性格與意識型態？（3）在獨立音樂的認同界線中，「音樂介入社會」的宣稱是如何被想像與實踐？而本篇論文的核心便在於探討獨立音樂「被界定」成什麼，並反過來看這些樂手如何回應這些被界定的圖像，從他們的主觀認知出發去檢視他們如何去鞏固、解構「獨立音樂」的想像，以便我們重新認識、再界定獨立音樂。與其說這篇論文要去解答什麼（what）是獨立音樂，我認為最終必須去回答的是獨立音樂如何（how）是獨立音樂。
最後我發現，臺灣的獨立音樂認同想像依附於在地的音樂場景中，對「掛」的認識與想像影響了他們音樂實踐、創作行為模式的形成，是臺灣獨立音樂認同之所在，以「掛」為基礎開散出不同的音樂光景。此外，我認為獨立音樂工作者對於「原真」的詮釋位於其認同形構的中心，透過重新解釋與想像原真的過程去量度彼此的距離，進行畫界，區分出我群與它者。

關鍵字

獨立音樂 ； 認同界線

並列摘要

People have different opinions on the idea of indie music, and this dissertation starts with the various opinions, hoping to redefine and illustrate the complicity and the ambiguous boundary of Taiwanese indie music. In my observation, I discover that there are three elements of Taiwanese indie music, which are the “Do it yourself” (as known as DIY), the orientation of participating in social movement, and the orientation of intense nationalism. With these elements, they form the unique structure of Taiwanese indie music. Also, the complicity and the vividly recognized identity within Taiwanese indie music are further established through different interpretations and practices by different artists.
In order to capture the complicity and the flexibility in the image of Taiwanese indie music, I use “identity boundary” as my methodology by interviewing ten groups of indie music artists, a total of 19 people, through in-depth interviews and focus group interviews about three questions. First, how is the identity boundary in Taiwanese indie music communities formed? Second, what is the indie music artists’ experience during the formation, the shift, and the ambiguity of boundary and how do they react to the gradually established nature and ideology of Taiwanese indie music? Last but not least, how could the indie music artists come up with the claim that “music can intervene the society” and how could they put it into practice? Therefore, the core of this dissertation lies in discussing the definition of indie music and the reaction of the indie music artists to the already defined images of indie music through their subjective point of view to examine how they fortify and deconstruct their ideas of indie music so that we can reunderstand and redefine the indie music. The ultimate answer for me is finding the reason why indie music is indie music.
Finally, I find out that the identity of Taiwanese indie music relies on the local music environment, which means that the recognition and imagination of “guà” (a group of people with the same belief) have influence on the practice and the formation of music producing of the indie music artists. Therefore, the indie music evolved into different styles based on the understanding of “guà.” Furthermore, I believe that Taiwanese indie music artists’ interpretation of “authenticity” lies in the center of their own identity formation. Therefore, they can identify themselves from others through the process of reinterpreting and imagining the authenticity.

並列關鍵字

independent music ； identity boundary

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