本研究從Lum的「臉譜論」與Anderson的「想像共同體」，進一步提出「音樂臉譜」與「音樂想像共同體」的概念，藉此探討農村高齡婦女卡拉OK歌唱活動的意義。卡拉OK活動區域模糊，增添主唱角色的不確定性，而這種模糊性往往可讓歌者不露聲色地進入不同情境，扮演不同的自己，如同戴上音樂臉譜，暫時脫離社會角色，達到心靈自由與自主的效果。音樂臉譜對主唱者而言是角色扮演、氛圍創造或自我辨識的歷程，除非主唱者自己說分明，否則無人能肯定當下演唱的他（她）是否為真正的他（她）。 在音樂想像共同體中，「想像」並非清晰可見的關係，但在音樂的引領下卻「具體化」關係的事實。音樂中所含的音高、節奏與和聲通常將社會環境與文化脈絡融合在聽覺的體驗，形成歌曲的隱喻，而這種隱喻或許正確切反映高齡婦女難以用語言表達的共同心境，在集體歌唱中，感受歌唱的快感、建立女性歸屬感與強化自我信心；再者，高齡婦女透過歌唱深化親屬間的關係，達成一種心照不宣的行動默契；最後，歌唱活動促進農村高齡婦女彼此合作、強化團體的感覺，在集體歌唱中共構大龍山的想像共同體。

Karaoke activities not only fulfill people's feeling of happiness but also offer the opportunities of interpersonal association, emotional conversion, selfconfidence, and multi-sensory learning. For elderly women in particular, when they sing, they put on the music mask of Karaoke as if they were a role in that piece of music. The intimacy feeling among females is acquired through singing Karaoke together in a room. The caring and affectionate traits of females are fully revealed under that circumstance. On the other hand, Karaoke music also provides an imaginary community to hold people together. The concept of an imaginary community cannot be clearly seen in their daily life; however, music strengthens their relationship. Through singing together, music promotes the sense of cooperation among rural elderly women, and thus creates the Dalongshan imaginary community.