「聲音地景」（Soundscape）意指生活空間中看不見卻無處不在的各種聲響，除了包圍當時人們的聽覺感官，更是記憶、生活與文化的重要組成。聲音地景此一概念起源於「世界音景計畫」（World Soundscape Project, WSP），是一九六Ｏ年代晚期加拿大作曲家穆瑞．謝佛（R. Murray Schafer）在西門菲莎大學（Simon Fraser University）所進行的國際性研究計畫，接著於一九七Ｏ年代推進了「溫哥華音景」（The Vancouver Soundscape）與「五個鄉村音景」（Five Village Soudscape）兩項計畫，這些計畫開啟了城市與鄉村空間中聲音的紀錄與意義的闡述，說明在人工音與自然音之外，聲音地景包含了不可見的環境聲音，記憶、意像、文化及社會的種種聲響都在其中。人類五感知覺與藝術實踐相關的領域中，風景圖像的描繪呈現了視覺感官熟悉的城市與鄉村，樂音則創造了愉悅的聽覺享受、自然世界的模仿與人們情緒的激昂，而聲音地景的紀錄與分析則引動著截然不同的感官記憶與歷史想像。本文擬就常民生活為主軸，以日治時期音像資料、文獻考掘 與寫實文學作家呂赫若的日記，分就殖民現代性與聲音地景，現代化的聲響－糖業與交通運輸、日常生活與消費文化，聲音機器－電影、蓄音器與收音機，淺談日本帝國主義所帶來「殖民現代性」（Colonial Modernity），揭示殖民與現代性的悖論，重構日治時期城市與鄉間的環境聲響，聽覺現代性與「混種」文化的美學輪廓形塑。

“Soundscape” refers to sounds that looming around in spaces of daily life while may not be heard or noticed. It is in them that human’s auditory sense immerses in a period of time, and thus they are also vital components of memory, life and culture. The concept of soundscape originated from World Soundscape Project (WSP), an international one founded by Canadian composer R. Murray Schafer, at Simon Fraser University in the late 1960s. Then in 1970s, Schafer advanced another two projects, namely The Vancouver Soundscape and Five Village Soundscape. Those projects began with recording of sounds in city and countryside, then elaborating on their respective meaning. In so doing, soundscape is considered to include all sounds (and memories, images, cultural and social meanings within) not be noticed or examined, other than simplistic distinction of natural and artificial sound. In human’s five senses and their related artistic practices, images of landscape present city and countryside familiar to visual perception, and music engenders aural delight, mimesis of natural world and excited emotion in people. Record of soundscape and its analysis lead to different memories of senses and historical imagination. This article centers on folk life and consisted of three parts: colonial modernity and soundscape, sounds of modernity (sugar industry and transportation, daily life and consumer culture), and sound machine (cinema, phonograph, radio), to illustrate colonial modernity brought by Japanese Imperialism and paradox between colonialism and modernity. With records of sounds and films in Japanese -ruled period, documents and a realist author Lu Heruo’s diaries, I attempt to reconstruct the soundscape of city and countryside of Japanese period, aural modernity, and its aesthetic formation of “hybrid” culture.