傳世的歌謠，往往承載了該時代的情感與記憶。歌謠有時反映大時代的氛圍，有時反映具體的政治、文化事件，有時，只是個人幽微情感的展現。然而，歌謠的意義並非固定不變的，同一首歌謠在不同時代的接受脈絡中，往往也反映了不同時代的記憶與認同。本文欲擬探討1990年代以降國、臺語流行歌曲對老歌的翻唱挪用與改編。在流行歌手、創作型歌手選擇翻唱、挪用與改編老歌時，可能展現各種不同的創作意圖。但翻唱、挪用、改編的具體行動，卻召喚這些老歌原初攜帶的記憶與認同。本文以具體的流行歌曲為例，分類探討翻唱、挪用與改編老歌，可能具備的種種文化意義。1990年代初，臺灣解嚴後，出現一批「新母語歌謠」的音樂創作者，在相對自由的空氣下，這些創作型歌手一方面創作新的臺語流行歌曲，一方面也將臺語老歌重新編曲演唱。不論是與國、臺語老歌對話，抑或如嘻哈歌曲的「取樣」、乃至於歌手回顧式的作品、拼貼老歌元素等眾多作法，都企圖召喚經典，以及經典背後代表的文化意義，並賦予他在新時代當中的詮釋意義。而這種改編的豐富性，也比單純「翻唱」具備更多對話空間，在其中聽到的，不論就詞、曲、編曲的新創，往往都是兩個(甚至多個)時代、乃至於兩種(甚至多種)樂風的碰撞，召喚記憶的同時，也正寫下屬於當代的記憶與認同，形成重層而流動的情感結構。歌謠代表的記憶與認同，在當代流行歌曲的翻唱、挪用、改編中，產生了新的意義。老歌不再只反映其傳唱時代的政治、文化情境，反而在這些翻唱、挪用、改編中得到新的表現形式。而這些表現形式，一方面召喚歌謠所屬時代的記憶與認同，一方面也表現出當代如何重新詮釋這些歌謠所能反映的當代議題，使歌謠具備的文化意義更加豐富

Songs tend to bear the collective sentiments and the memories of the era when they were created. Some of them represent the zeitgeist among which they came, some the reflection on certain political or cultural events, while some the expression of the subtle, personal feelings of the artists themselves. But the meaning of a song is not solidified after its creation: presented in different times and contexts, a song may represent different collective memories and identification. The study explores the covering and adaptation of classic Mandarin and Taiwanese pop songs in Taiwan since 1990s. Various attempts they may have behind their music, the pop singers and singer-songwriters during that period of time, through their act of covering and adaptation of the classics, called for the collective memories and identification that once embedded in the classics. The study scrutinizes some of the pop songs at that time that were the cover or adaptation of certain classics, divides them into several categories, and analyzes the meanings they may have in cultural contexts. In early 1990s, several years after the lifting of Martial Law, a number of Taiwanese singer-songwriters began writing songs known as new mother-language music. Bathed in an atmosphere more liberal than the past few decades, they began writing new pieces in their native languages, while recomposing and performing certain Taiwanese classics that were written during the Martial Law era. From then on, a series of interaction between the contemporary pop music and the classics began flourishing. Among them were the adaptation of the Mandarin or Taiwanese classics, sampling in hip-hop music, self-collection of the popular pieces, and the collage of elements seen in the classics. These acts called for the connection of the classics, as well as the cultural meanings once embedded in those classics, while producing new interpretations in the songwriters' own time. These acts thus created a space, larger than one by simply covering, for various elements to dialogue in the music. Two different eras, styles, or even more, collided one another through the adaptation of the lyrics, melody, or the re-composition of the classics. While the classics themselves came in presence together with their zeitgeist, these adaptations also created new collective memories and identifications, forming multi-layers of flowing sentiments across the times. The collective memories and identification, once thought to be bound with the songs themselves, were given new meanings through the covering and adaptation of the classics in contemporary pop music in Taiwan. The initial collective memories and the identification, once thought to be bound with the songs themselves and the era when the songs were born, were given new meanings through the acts above. The classics, at the same time, were given new representing forms, loosening their bond with the political and cultural context in which they were born. While the collective memories and the identification embedded in the classics were still called into presence with these acts, the contemporary social issues were also intertwined in the music, giving the classics new interpretations. All together, the meanings of the classics were made more abundant in contemporary pop music