:::

詳目顯示

回上一頁
題名:文化匯流:以臺灣二個公部門國樂團的音樂現象為例
書刊名:臺灣音樂研究
作者:陳靜儀
作者(外文):Chen, Ching-yi
出版日期:2013
卷期:17
頁次:頁39-66
主題關鍵詞:文化匯流國樂國樂團音樂匯流跨界TransculturationGuoyueChinese orchestraCrossoverKuajie
原始連結:連回原系統網址new window
相關次數:
  • 被引用次數被引用次數:期刊(2) 博士論文(1) 專書(0) 專書論文(0)
  • 排除自我引用排除自我引用:1
  • 共同引用共同引用:3
  • 點閱點閱:85
臺灣國樂的發展在文化匯流的過程中,已持續地與中國、歐美,甚至其他地區的音樂文化相互交融,因此,音樂扮演著非常重要的角色。回顧近幾年來臺灣公部門國樂團的展演活動,其每日的音樂實踐很明顯地被個人美學、意識形態、行為與論述以及社會的歷史記憶不斷地重塑,儼然變為一種新的跨界形式,這與過去的國樂相比,的確給予聽眾相當新穎的展演形式,同時,這樣的現象反映時代的變遷,國樂的表演風格與內容已與往常大家所熟悉的傳統呈現方式有著截然不同的音樂經驗,而不斷發展與變化。也就是說,臺灣的國樂已被形塑為一個新的「混雜」音景,不再只有以單一泛中國音景為主,而是朝向結合二種以上跨文化的元素與跨領域的表演形式。在本文中,筆者以台北市立國樂團和臺灣國樂團這二個國樂團2008年之後的音樂展演活動為例,試圖討論文化匯流的現象,如何影響臺灣近年來的國樂發展,並探討全球和本土音樂家之間如何進行音樂協商的過程,以及在音樂活動和音樂生產過程的互動關係。
The process of music making in Taiwan's guoyue has been undergoing a process of musical negotiation among Chinese, Taiwanese, European and other cultures. A review of the daily musical activities of two Chinese orchestras reveals how musical practices have been reshaped towards a new crossover genre which is constructed by historical memories, individual ideologies, narratives and behaviours. In this chapter, I attempt to further discuss the transculturation phenomenon of guoyue in the context of Taiwan from 2008, exploring the musical interaction between global and local musicians in musical activities and production. This paper will describe how and why guoyue musicians tend to impose various elements into guoyue, which have resulted in the creation of kuajie. The concept of transculturation will be specifically applied to the current development of guoyue in Taiwan through a review of cultural production between Chinese orchestras and musicians (local and international). The second part will focus on the transculturation phenomenon using four examples revealing differing approaches to transculturation in guoyue. Finally, I will return to the concept of transculturation in light of the examples and develop it further to propose an understanding of guoyue as a transcultural music.
期刊論文
1.Chen, Hui-Shan(2009)。Changing Tendency of Western Music Tradition in Taiwan。Fontes Artis Musicae,56(3),287-298。  new window
2.鍾耀光(20080300)。創作跨界新曲是與世界對話的必經之路。新絲路,1,36-39。  延伸查詢new window
3.Amae, Yoshihisa、Damm, Jens(2011)。“Whither Taiwanization?” State, Society and Cultural Production in the New Era。Journal of Current Chinese Affairs,40(1),3-17。  new window
4.Craig, Dale A.(1985)。Trans-Cultural Composition in the 20th Century。Tempo, New Series,156,16-18。  new window
5.Wong, Isabel K. F.(1985)。The Many Roles of Peking Opera in San Francisco in the 1980s。Selected Reports in Ethnomusicology,6,173-188。  new window
6.Yang, Mina(2007)。East Meets West in the Concert Hall: Asians and Classical Music in the Century of Imperialism, Post-Colonialism, and Multiculturalism。Asian Music,38(1),1-30。  new window
7.Han, Kuo-Huang、Gray, Judith(1979)。The Modern Chinese Orchestra。Asian Music,11(1),1-43。  new window
8.Tylor, Diana(1991)。Transculturating Transculturation。Performing Arts Journal,13(2),90-104。  new window
9.黃一農(20061200)。中國民歌〈茉莉花〉的西傳與東歸。文與哲,9,1-16。new window  延伸查詢new window
10.Kartomi, Margaret J.(1981)。The Processes and Results of Musical Culture Contact: A Discussion of Terminology and Concepts。Ethnomusicology,25(2),227-249。  new window
學位論文
1.Geisler, Herbert George(1990)。A Cross-cultural Exploration of Musical Preference among Chinese and Western Adolescents in Hong Kong(博士論文)。University of Michigan。  new window
2.Madrid-Gonzalez, Alejandro Luis(2003)。Writing modernist and Avant-Garde Music in Mexico: Performativity, Transculturation, and Identity after Revolution, 1920-1930(博士論文)。Ohio State University。  new window
3.吳美葉(2010)。臺北市立國樂團跨界演出之研究(碩士論文)。國立臺南藝術大學。  延伸查詢new window
圖書
1.Appadurai, Arjun(2006)。Disjuncture and Difference in the Global Culture Economy。Malden:Blackwell。  new window
2.Born, Georgina、Hesmondhalgh, David(2000)。Western music and its others: Difference, Representation and Appropriation in Music。University of California Press。  new window
3.Epstein, Mikhail(1995)。After the Future: the Paradoxes of Postmodernism and Contemporary Russian。Cambridge, MA:University of Massachusetts Press。  new window
4.Ortiz, Fernando、de Onís, Harriet(1995)。Cuban Counterpoint: Tobacco and Sugar。Duke University Press。  new window
5.Rama, Angel(1982)。Transculturación narrativa en América Latina。Mexico:Siglo Veintiuno。  new window
6.Warden, Nolan(2006)。Cajon Pa'Los Muertos: Transculturation and Emergent Tradition in Afro-Cuban Ritual Drumming and Song。MA:Tufts University。  new window
7.Warden, Nolan(2007)。Afro-Cuban Traditional Music and Transculturation: The Emergence of Cajón pa'los Muertos。Saarbrücken, Germany:VDM。  new window
8.Zheng, Su(2010)。Claiming diaspora: Music, transnationalism, and cultural politics in Asian/Chinese America。New York:Oxford University Press。  new window
其他
1.Martinez, Laura(2008)。Cultural Hybridity in Mexican Rock Music, in Network for local and Global Sounds and Media Culture,http://norient.com/academic/martinez2007/, 2012/01/13。  new window
圖書論文
1.Rosaldo, Renato(1995)。Foreword。Hybrid Cultures: Strategies for Entering and Leaving Modernity。Minneapolis:University of Minnesota Press。  new window
2.Wong, Isabel K. F.(1991)。From Reaction to Synthesis: Chinese Musicology in the Twentieth Century。Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology。Chicago:University of Chicago Press。  new window
3.Frith, Simon(1987)。Towards an Aesthetic of Popular Music。Music and Society: The Politics of Composition, Performance and Reception。Cambridge:Cambridge University Press。  new window
4.Riddle, Ronald(1978)。Music Clubs and Ensembles in San Francisco's Chinese Community。Eight Urban Musical Cultures: Tradition and Change。Urbana:University of Illinois Press。  new window
 
 
 
 
第一頁 上一頁 下一頁 最後一頁 top
:::
無相關著作
 
QR Code
QRCODE