Please use this identifier to cite or link to this item: http://hdl.handle.net/11455/97680
標題: 2000年後台灣搖滾樂團的音樂政治性──以農村武裝青年、閃靈與五月天為例
The Musical Politics of Taiwanese Rock Bands after 2000: A Case Study of Armed Youth, ChthoniC and Mayday
作者: 劉郁芳
Yu-Fang Liu
關鍵字: 音樂政治性;文化政治;基進音樂;土地正義;民謠搖滾;身體政治;國族想像;性別越界;資本市場;musical politics;cultural politics;radical music;land justice;folk rock;body politics;national imagination;gender crossing;capital market
摘要: 
搖滾樂經常與反叛、抗爭、革命等政治意識連結在一起,然而深受青少年喜愛的搖滾樂,一旦廣受歡迎又難免於被資本主義的商業機制收編之風險。如何在表達政治意識、社會介入與商業機制的行銷手法中取得平衡,一直是搖滾樂者必須面對的難題。本論文以農村武裝青年、閃靈樂團及五月天樂團,三個創作、表演及行銷風格迥異的搖滾樂團為代表,試圖從他們的創作歷程、創作歌曲、MV、演唱會及社會行動中,探討2000年後的台灣搖滾樂團,如何透過創作與行動傳遞音樂政治性,以及如何與資本主義市場對話,以達到不違創作初衷的平衡。

農村武裝青年的音樂被視為基進音樂的代表,除了透過音樂反應台灣全球化所遭遇到的土地與農村問題,還將台灣民謠與走唱文化融入表演之中,發展出具有台灣特色的民謠搖滾曲風;更實踐其創作的理念:回歸農村生活,將搖滾樂帶到農村庶民空間中,開創出新世紀的在鄉生活。閃靈透過獨特的黑金屬搖滾,從身體形象的展演中,建立其政治主體性;進一步透過音樂重新詮釋台灣歷史,建立海洋視角的史觀與母島台灣的國族認同;並透過音樂祭、陳抗行動,甚至直接參政,實踐其政治理想。五月天利用市場音樂的操作模式,凝聚歌迷的認同、形塑其對主體的想像,催化歌迷的政治行動;更透過創作與展演,重新定義搖滾為一種生命態度,勾勒出後千禧世代的圖像,亦成就了搖滾樂的文化政治性。

台灣的搖滾樂團雖然並非全都進入主流音樂的生產鏈中,卻也無法全然擺脫市場經濟的影響,他們透過全球化的資訊科技,爭取發表與展演的空間,以突破華語圈的限制,經營國際市場;甚至直接利用市場機制,在與資本主義進行拉鋸的過程中,展現自我的理念,更凸顯出搖滾樂的音樂政治性。

Rock music is often associated with rebellion, resistance, revolution, and other forms of political consciousness, which may contribute to the fact that it is particularly popular among teenagers. However, being popular is subject to the inevitable risk of being incorporated into capital mechanisms. On this account, rock musicians have to deal with the dilemma of how to find the balance among expressing a political consciousness, initiating the social intervention, and determining the marketing strategies of business mechanism. In this thesis, three Taiwanese rock bands, Armed Youth, ChthoniC and Mayday, with different styles in creation, performance and marketing were taken as the research subjects to explore how Taiwanese rock bands convey the musical politics through creation and action, as well as achieve the balance between maintaining the original intention of creation and creating dialogue with the capital market from various aspects, e.g. processes of creation, self-written songs, music videos, concerts, and social actions.

Armed Youth, regarded as the representative of radical music, reflects the land and rural problems that Taiwan has encountered during the globalization. By integrating Taiwanese folk songs and the street singing culture with their performance, Armed Youth creates unique folk rock songs with Taiwanese characteristics. The members even personally practice their philosophy of creation: return to rural life, bring rock music into the rural people's space, and create a new rural life in the modern century. With unique black metal rock, ChthoniC builds its political subjectivity through the presentation and performance of body image. By reinterpreting Taiwan's history through music, ChthoniC further establishes a view of Taiwan's history from the perspective of an ocean culture, as well as the national identity for Motherland Taiwan. Moreover, the members practice their political ideals through music festivals and protests, and the vocalist even directly participates in politics as a legislator. Besides, Mayday uses the operating mode of music market to condense the recognition of fans, shape their imagination of the subject, and encourage fans to engage in political actions. Through creation and performance, Mayday redefines rock music as an attitude towards life, maps the post-millennial generation, and also illuminates the cultural politics of rock music.

Taiwanese rock bands, being whether in the production chain of the mainstream music or not, are inevitably under the influence of the market economy. To step out of the Chinese markets and develop international markets, they use global information technology to create an alternative space for presentation and performance. They even directly use the market mechanism to express their own ideologies while finding the balance between capitalism, which specifically highlights the musical politics of rock music.
URI: http://hdl.handle.net/11455/97680
Rights: 同意授權瀏覽/列印電子全文服務,2018-08-22起公開。
Appears in Collections:臺灣文學與跨國文化研究所

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