「普遍藝術價值」與「特殊民族認同」的對位： 戰後台灣音樂場域中的「古典音樂」，1945-1980

Abstract

本文以Bourdieu的實作－場域理論觀點來描述和解釋「古典音樂」這種「外來」音樂在戰後台灣如何成為具有較高價值的音樂，而從1945到1980年左右，「古典音樂」又怎麼和台灣的「中華民族」認同彼此糾纏在一起。我根據文化資本的「具身化」狀態與「對象化」狀態的差別，把來到台灣的「古典音樂」分解為兩條支流，一是habitus（習氣）所包含之創作、演奏與鑑賞音樂的「普遍」原則，二是這些原則的產物，也就是人們稱為古典音樂的音樂類型。「古典音樂」作為創作、演奏和鑑賞音樂的原則似乎是音樂「藝術價值」標準的源頭，並且，「古典音樂」正是透過這種藝術價值的信念從多方面發揮特殊的作用。首先，古典音樂以及按照古典音樂之原則所創作出的作品自戰後以來就是音樂藝術價值的代表，藝術價值也是適用於所有音樂的基本原則。其次，藝術價值是音樂場域相對自主性的基礎，受到「古典音樂」影響的作曲家們雖然具有強烈的「中華民族」認同，他們試圖創作出具有中華民族特殊性的音樂，但他們使用的創作原則是來自古典音樂的原則，他們的價值判斷標準依然是立基於古典音樂的藝術價值。於是，音樂家與聽眾們透過藝術價值來對抗國民黨政府試圖在音樂場域中推行的「動員價值」。最後，由於古典音樂是受到國際普遍承認的音樂類型，因此古典音樂有助於使中華民國贏得國際支持，也是外交活動不可或缺的一部份，在冷戰的背景下尤其如此。 我從這幾個方面來看待「古典音樂」怎麼和台灣權力場域中某些重大事件跟潮流共同參與了台灣音樂場域與民族認同的歷史。在1950年代，「古典音樂」既是藝術價值的源頭，也是藝術價值較高的音樂，但當時國民黨政府推行的「正統中國音樂」也同樣介入了音樂場域；與此同時，以美國為首的古典音樂國際交流在台灣揭開序幕，成為中華民國外交的常態活動。在1960年代，作曲家們試圖創作出能夠代表「中華民族」又具有藝術價值的音樂，結果引起了「中國現代音樂論戰」以及其後的一系列「民歌採集」，卻根據「古典音樂」和「藝術價值」的原則把異於既有「中華文化」的元素（如原住民的音樂）引進「中華文化」裡面，而和國民黨政府展開攻防戰；與此同時，隨著經濟增長、教育擴張、唱片產業發展和親美的年輕人不斷增加，古典音樂的市場更加蓬勃，藝術價值的信念也更鞏固。在1970年代的外交危機引起的「回歸現實」潮流中，音樂場域也以自己的方式呼應了「回歸現實」：第一是作曲家群體創造了第一個屬於作曲家的國際組織，因而比以往更積極參與文化外交活動，而「民歌採集」則進一步從作曲家當中分化出「民族音樂學者」；第二是藝術價值的信念使1960年代的「熱門音樂」在1970年代進一步發展出「（創作）民歌」的風潮，因而也和「民歌採集」連結在一起；第三，在外交危機下，「古典音樂」作為普遍受到國際承認的文化活動再次成為1970年代後半關於文化政策的焦點，在當時關於「精緻文化」的論述中，「古典音樂」不僅是外交活動的必要元素，而且也能協助造就「現代化」的生活倫理和社會秩序，此時「古典音樂」的藝術價值將成為發展某種「文明」的條件。1970年代圍繞著「古典音樂」的這三股潮流似乎一方面進一步削弱或改寫了「中華民族」的內涵，另一方面則增強了人們對「台灣」的關懷，因此，「古典音樂」及其藝術價值或許也參與了1980年代權力場域中「中國認同」崩潰、「台灣意識」興起的過程。

In this paper, I use Bourdieu's practice-field theory to describe and explain how "classical music", a kind of "foreign" music, became a music of higher value in post-war Taiwan, and how "classical music" was entangled with Taiwan's "Chinese" national identity from 1945 to about 1980. I differentiate the "classical music" that had came to Taiwan into two streams according to the difference between the “incorporated state” and the “objectified state” of a cultural capital: one were the "universal" principles of music composition, playing, and appreciation in habitus, another were the products of these principles, namely the type(s) of music that people call “classical music”. "Classical music" as a principle for the creation, performance, and appreciation of music seems to be the source of the standard of "artistic value" of music, and it is through this belief in artistic value that "classical music" have an influence in different ways. First, classical music and musical works based on the principles of classical music have had the greatest artistic value and represented this value of music since the post-war period, and artistic value is a fundamental principle that can be applied to all genres of music. Secondly, artistic value is the base of the relative autonomy of the musical field. Although the most prominent Taiwanese composers influenced by "classical music" have a strong "Chinese" national identity and they indeed tried to create music that has Chinese national characteristics, the principles of their compositions were those of classical music, and the criteria for their value judgment are still based on the artistic value based on classical music. As a result, musicians and audiences used artistic values to counter the "mobilization value" that the Kuomintang(KMT) government tried to promote in the musical field. Finally, since classical music is an internationally recognized genre of music, it could help to win international support for the R.O.C. and has been an integral part of diplomatic activities since the post-war period, especially in the context of the Cold war. From these aspects of “classical music”, I show how "classical music" participated the music field in Taiwan and the problem of national identity here along with certain major events and currents in Taiwan's field of power. In the 1950s, "classical music" has been both a source of artistic value as well as a genre of high artistic value, but the "orthodox Chinese music/songs" promoted by the Kuomintang government at that time also intervened in the music field; at the same time, international activities of classical music led by the United States began in Taiwan, and it became a regular activity in the diplomacy of the R.O.C. from then on. In the 1960s, some composers who had studied abroad attempted to create music that could represent the "Chinese nation" while having greater artistic value, which led to what I call "Chinese Modern Music Debate" and a series of "Folk Songs Collecting"(民歌採集) followed from that. However, in composing and collecting “folk songs” according to the principles of "classical music" and "artistic value," these composers and their followers unintendedly introduced some elements that were different from the “Chinese culture” that KMT government wanted to impose at that time(such as the music of the aboriginal tribes), so there was a battle between musicians and KMT governments around the ear of 1967. At the same time, with economic growth, educational expansion, the development of the recording industry, and the increasing number of young people who were pro-American, the market for classical music became more prosperous, and the belief in its artistic value more consolidated. In the 1970s, with a few major diplomatic crises, the musical field echoed the current of so-called "return to reality" in Taiwan in its relatively autonomous way: firstly, the group of composers created the first international organization for composers, and thus participated more actively in cultural diplomacy than ever before, while the "Folk Song Collecting" and its impact further separated "ethnomusicologists" from mere composers; secondly, the belief in artistic values made the "hit music"(「熱門音樂」) that was popular from the 1960s further develop into the 'folk song' trend in the 1970s, and this was somehow linked to the more scholarly movements of 'folk song collecting'; thirdly, in the midst of the diplomatic crises, 'classical music' as a universally recognized cultural practice once again became the main point of cultural policy in the second half of the 1970s, and, in the discourses on 'refined culture'(「精緻文化」) prevailing at that time, 'classical music' was not only a necessary element of diplomatic activities, but also an essential element of cultural policy. In the discourse of "refined culture" at that time, "classical music" was not only a necessary element of diplomacy, but it also could contribute to a "modern" ethics of life and social order, where the artistic value of "classical music" function as a condition for the development of a kind of "civilization." These three currents about "classical music" in the 1970s seemed to weaken or rewrite the meaning of "Chinese nation" on the one hand, and on the other hand, these currents enhanced the concern of "Taiwan", not as a province of R.O.C. including its mainland territory claimed by the government, but in its own right. Therefore, "classical music" and its artistic value may have also participated in the collapse of "Chinese identity" and the rise of "Taiwan consciousness" in the field of power in the 1980s.