過去文獻提到戰爭時期的臺灣音樂時往往以「禁鼓樂」一詞簡單帶過。但是近年來有學者指出，1941年皇民化政策趨緩後，日人雖然一方面對臺灣音樂進行負面統制，一方面又在第二放送的播放臺灣音樂，且「新臺灣音樂運動」有擴大為全島性運動的趨勢，因此認為臺灣音樂得到了所謂「有條件的復活」的機會。不過不論是臺灣音樂被禁情形或是上述兩個復活的例子目前都尚缺乏深入研究。 有鑑於此，本文以臺灣的漢人音樂為焦點，以黑澤隆朝所記錄的1943年「臺灣民族音樂調查團」來臺見聞為基礎，輔以當時報章雜誌等相關史料，試圖勾勒當時日人的臺灣音樂政策。 本文發現，調查團來臺期間（1943年1月底至5月初）正好是日人之臺灣音樂政策的重要轉型期。首先，漢人傳統音樂雖禁止公開演奏，孔廟儀式也改成神式祭典，但宗教音樂已能自由進行，而孔廟釋奠禮也因調查團而得以重現。其次，第二放送的開播使得臺灣音樂節目得以重現於廣播。再者，「新臺灣音樂運動」正以新的面貌蓄勢待發，打算擴展為全島性運動。但是這些「復活」只不過是「有條件的復活」，因此孔廟的重現仍須以「皇民鍊成」和「大東亞文化復活」的口號加以正當化，第二放送的臺灣音樂節目也壓低漢人傳統音樂比例，改以新式臺灣音樂提振士氣、培養皇民精神，而「新臺灣音樂運動」更是擴大對臺灣音樂的改良創新，以進一步推動皇民化運動，並為大東亞音樂建設效勞。

The musical life in wartime Taiwan used to be simplistically described by the cliché “jin guyue” (literally “the banning of drum and music”). But recently some researchers have pointed out that, after the softening of the kominka or Japanization policy in 1941, there appeared to be a revival of Taiwanese music as a result of the intervention by the Japanese. On the one hand, the Japanese tried to control Taiwanese music. On the other hand, they also promoted it in order to further facilitate the Japanization of the Taiwanese people. There were two examples of such so-called “conditional revival” of Taiwanese music: one was the reappearance of Taiwanese music on the radio, and the other was the expansion of the so-called “New Taiwan Music Movement”. So far neither these two examples nor the banning of Taiwanese music during the wartime have been researched in depth. In view of this gap, this paper takes the music of the Han people in Taiwan as its focus and uses the observations made by Kurosawa Takatomo as a member of the “Taiwan Music Investigation Team” in order to outline Japan’s colonial policy toward Taiwanese music. This paper shows that the period of the team’s visit happened to be an important turning point in t. First, although the Japanese banned the public performances of Han music and replaced the Confucian ceremony with Shinto-style rituals, religious music resumed its activities, and Confucian traditional ceremony was held to facilitate the work of the Investigation Team. Secondly, with the starting the Second Broadcast in October 1942, Taiwanese music was allowed to reappear on the radio. Thirdly, the New Taiwan Music Movement is now getting ready to turn itself into an island-wide movement. However, these seeming revival of Han music is only “conditional revival”. Thus, the holding of traditional Confucian ceremony had to be altered and explained in certain ways in order to meet the need of the Japanization movement and the rhetoric of the Dai Toa Kyoeiken (Great Asia Co-prosperity Circle); the radio program promoted innovated Taiwan music with Japanese and wartime elements to raise morale and to propogate the Japanese spirit; the New Taiwan Music Movement was making further reformations of Taiwanese music in order to enhance the Japanization movement and to contribute to the creation of the music of the Great Asia.