戰後臺灣客家音樂的建制化歷程：以《中原(苗友)》月刊(1962-1981)的再現為例

許馨文。〈戰後臺灣客家音樂的建制化歷程：以《中原(苗友)》月刊(1962-1981)的再現為例〉。《民俗曲藝》171 (2011.3): 121-79。

Hsu Hsin-wen. “Institutionalization of Hakka Music in Postwar Taiwan: An Analysis of Its Representation in Chuangyuan (Miauyo) Monthly 1962–1981.” Journal of Chinese Ritual, Theatre and Folklore 171 (2011.3): 121-79.

Abstract

本文探討戰後臺灣地方報刊所呈現的客家音樂社會史，分析焦點在於 1960至 1980年代初期客家音樂在臺灣的建制化歷程。我檢視客家音樂如何隨着各種音樂與非音樂機構性活動的發生，以及論述與文化展演的生產與流通，而逐漸成為一種顯著的類型。1980年代以前，客家人在臺灣的社會生活鮮少為史籍所記錄，客系人士的聲音與活動多半僅見於地方報刊。有鑑於此，本文鎖定目前所知戰後臺灣第一份以報導客家事務為宗旨的《苗友》月刊（1962–1964），以及稍後由其改版而成的《中原》月刊（1964–1981）為分析對象，透過這份刊物所再現的當時景況，探究具客家主體意識的音樂文化在臺灣早期的建制與發展。我分析這段時間裡以客家音樂為名的各種文化實踐，如何伴隨組織倡議而興起、模式化。我同時探討個人與機構作為社會能動者，在這段歷程中所扮演的角色。我首先考察 1962年第一屆苗栗縣民謠歌唱比賽的興辦背景與其意義，從而指出其作為臺灣客家音樂建制化發展的一個重要事件，如何造就後續一連串以客家音樂為名之機構性活動的蓬勃發展—如客家音樂協會的組成、「改進」運動的推行、歌唱比賽與音樂會的風行、客家音樂的赴日巡演、歌謠教育課程的施行，以及客家廣播劇、唱片、電影電視節目的製作。其次，我檢視這些機構性音樂活動的建制邏輯，分析它們如何促成客家音樂的傳播。最後，我探究《中原（苗友）》月刊在臺灣客家音樂建制化歷程中的角色，指出其作為客家音樂的改進與推廣機構，不只是記錄此時客家音樂活動的報導者與評論者，更是積極參與、形塑客家音樂社會史的中介者。

This paper explores the social history of Hakka music in postwar Taiwan through community-based media. I focus my analysis on the institutionalization of Hakka music in Taiwan from the 1960s until the early 1980s, examining the processes wherein Hakka music in Taiwan gradually became a distinct category along with the occurrence of musical and non-musical institutional activities, as well as the production and dissemination of related discourse and cultural performance. The social life of the Hakka remained relatively under-documented in official history of Taiwan until the 1980s, and during this time the voices and activities of various Hakka communities were primarily recorded in community-based media. Thus, I examine the early formation of Hakka music culture in Taiwan through analyzing the representation of Hakka music activities in Miauyo Monthly (1962–1964) and its renamed version called the Chuangyuan Monthly (1964–1981). This magazine is understood to be one of the first publications in Taiwan with targeted reportage on Hakka culture and affairs. I focus on the processes by which cultural practices in the name of Hakka music increased with certain institutional initiatives and further became routinized as patterns. I also investigate the role of individuals and organizations as social actors in the processes. My discussion begins with the establishment of the Folksong Contest in Miauli County of Taiwan in 1962 and its significance. I further analyze how this event served as the catalyst for a series of institutional activities organized in the name of Hakka music, such as the grouping of Hakka music associa­tions, the promotion of Hakka music “reform” movements, the organization of increasing Hakka music contests and concerts, the tours of Hakka musical performances to Japan, the implementation of Hakka folksong educational programs, and the production of radio dramas, music records, movies, and TV programs featuring Hakka culture. Moreover, I explore the logics wherein these institutional activities could develop, studying the ways through which such logics facilitated the communication of Hakka music. Finally, I investigate the role of the Chuangyuan (Miauyo) Monthly in the institutionalization of Hakka music, discussing how it worked not only as a reporter and reviewer documenting Hakka musical events during this time, but also as an intervener that actively participated in and shaped the social history of Hakka music.

Also in Journal of Chinese Ritual, Theatre and Folklore:

王櫻芬。〈聽見臺灣：試論古倫美亞唱片在臺灣音樂史上的意義〉。《民俗曲藝》160 (2008.6): 169-196。

Wang Ying-fen. "Listening to Taiwan: The Significance of Columbia Records as the Sources for Taiwan Music History." Journal of Chinese Ritual, Theatre and Folklore 160 (2008.6): 169-196.