台語歌曲中的職業與社會寫實主題試探－兼論「主流」與否的界定問題

Social Realism and the Portraits of Occupations in Taiwanese Pop Music-A Critique to the Categorization of "Mainstream" and "Non-Mainstream"

吳國禎(Kok-Cheng Go')

《文史台灣學報》 1期 (2009/11) Pp. 76-86

https://doi.org/10.29511/TSLH.200911.0003

摘要

本文將就學界看待台語歌曲的幾項觀點進行再探，諸如將黑社會或風塵界主題逕視為職業類歌曲的代表特色，以及將此類型作品指為「悲情調」等看法，文中透過台語歌曲中職業類主題作品的表列整理，與「行船人」、「江湖」等詞彙在台語當中概念的辨義，呈顯此一類型主題的多元性，並透過歌詞文本的羅列，回答台語歌曲當中「商業體制習用傳統典範」的真正結果究竟為何，與所謂「悲情調」的觀點進行對話。本文並將依循以往流行音樂研究的標準，探尋所謂主流／非主流界線在台語歌曲市場機制當中，是否一如華語流行音樂所呈顯的壁壘分明，或是在某些時期、某些作品中存有流動的可能性。

關鍵字

台語歌曲 ； 流行音樂 ； 文化工業

並列摘要

This paper re-examined several prevailing and stereotyped perspectiveson the Taiwanese pop music. An example of the stereotyped perspectives is that the occupations portrayed in the Taiwanese pop music are predominately gangs and the sex industry, such as bar girls. Songs with the two themes was categorized as ”songs of sorrows” in previous studies. This paper re-investigated the diverse types and genres of occupations that were delineated in the Taiwanese pop. It discussed the multiple meanings of the terms widely referring to ”sailors”(KiaN-Chun-Lang) and ”the Real World”(Kang-Ou) in the Taiwanese pop. In doing so, it clarified the misunderstanding idea in which the Taiwanese pop is monotonous and full of sorrows. Furthermore, this paper explored if a boundary between mainstream and non-mainstream genres is existent in the market of the Taiwanese pop music, since the classification of mainstream and non-mainstream genres is widely discussed in the pop music studies. This paper concluded that, in general, the boundary between mainstream and non-mainstream genres in the Taiwanese pop is much more blurred thanthe Mandarin pop.

並列關鍵字

Taiwanese songs ； pop music ； Culture Industry

參考文獻

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