Number of Clicks：4034； Number of Full Text Downloads：458； Number of Abstract Downloads：28；
| 發刊日期/Published Date |
2024 / June
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|---|---|
| 中英文篇名/Title | 音樂、文藝機構與身分：中國的《人民音樂》（1950–2019）如何論述台灣流行音樂 Music, Institutions and Identity: How China’s People’s Music （1950–2019） Represented Taiwan’s Popular Music |
| 論文屬性/Type | 研究論文 Research Article |
| 作者/Author | |
| 頁碼/Pagination | 335-376 |
| 摘要/Abstract | 台灣流行音樂對「改革開放」後的中國有深遠影響，本研究分析中國重要的官方刊物《人民音樂》創刊至今（1950–2019）之台灣流行音樂論述，歸結歷經「敵對」、「黃色音樂」、「精神污染」、「合法」，並朝向「媒體流行文化」話語，其轉變涉及「神聖—世俗」對立的感覺結構，且協商中共主導話語與音樂機構實踐，寓意了中共對外來文化的治理方針。本文視《人民音樂》的音樂論述為待分析的社會學文本，盼拓展文化社會學方向。研究發現台灣流行音樂已從神聖—世俗領域，過渡到可被接受的流行文化形式，它的合法化反而造成其逐漸淡出甚至消失在《人民音樂》。 This study discusses how People’s Music (1950–2019) in relation to the path of Taiwan’s pop as a discourse has undergone the ‘hostility’, ‘yellow music’, ‘spiritual pollution’, followed by a ‘legitimation’. The paper then identifies the later decline in importance for social critique and the move towards a ‘media & culture’ discourse after 2001. The paper argues that this has involved the binary structure of a feeling of sacred-profane construction, and negotiates its role as a propaganda institute in the dominant discourse of the Chinese Communist Party (CCP). It reveals the governmentality of the CCP towards foreign cultures. This article problematized the musical discourse of People’s Music as a sociological discourse, in the hope of expanding the direction of cultural sociology. This paper finds that Taiwanese pop has transitioned from the sacred-profane to an acceptable form of media culture, and that its legitimacy has contributed to its gradual absence from People’s Music. |
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