http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/15 Sun, 05 Apr 2026 22:36:55 GMT 2026-04-05T22:36:55Z http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/7001 標題: 「黃金家族」的想像與驕傲：從Altan Urag樂團看蒙古音樂與民族認同; The Re-imagination and Pride Construction of “Golden Lineage”: Folk-rock band Altan Urag and Mongol identity 作者: Yi-Fan Hsiao; 蕭禕繁 摘要: 在近代歷史中，蒙古經歷了從遊牧到城市化的轉變，更於1990年經歷民主改革，從共產轉移成民主政體。在這些改變和全球市場化中，蒙古嘗試從傳統和藝術的追尋，來定位自己在世界的位置；而這之中，對傳統音樂的復興，是很重要的部分。自1980年代起，蒙古的菁英份子即著手發展傳統音樂。但是到了現代，受到蘇聯政權和西方的影響，和電視與網際網路的發展，使得城市的年輕一代在創作上，已不受限於「傳統」，而能從現代和傳統元素的融合混雜(hybrid)中，找到自己的「蒙古」與認同的方向。 在這一代的藝術家中，Altan Urag樂團即是其中的一個例子。他們使用傳統樂器（馬頭琴、揚琴等等）搭配現代樂器與技術（爵士鼓組、混音器等等），加上搖滾和重金屬的音樂節奏與型態。自2002年成團後，他們即稱自己的音樂為「蒙古民族搖滾」，訴求是讓城市裡不熟悉傳統的年輕人重新了解喜愛蒙古音樂；之後，他們之後更希望藉著他們的音樂，讓外國人認識蒙古。 本文中，筆者以大略梳理蒙古近代歷史和音樂發展概要起始，先對Altan Urag的民族搖滾音樂和呈現影像作分析，以訪談和個人觀察為輔；接著，從三種不同的角度： Altan Urag、蒙古人�當地、外國人�他者，從他們將蒙古民族搖滾的分類，與對於蒙古音樂的想像，討論蒙古音樂放置在蒙古、在世界的位置。此外，為免二分法過於武斷與籠統，筆者更提出內蒙古和他們發展的音樂，作為介於當地與他者間的一例。 在全球化的衝擊下，蒙古人亟欲對外展現他們的特殊性，但同時也正對內鞏固自己的蒙古認同。認同是一個過程而非結果，是一直在變動的。以Altan Urag為例，筆者認為現代的蒙古人已不再執著於追尋「傳統」，而能夠對融合混雜、但仍彰顯「蒙古」的形式，感到驕傲與認同。; In modern history, Mongolia has gone through the major shift from nomad to city, from communism to democracy. Such transformations made Mongolians to seek for traditional culture to rebuild their pride and identity. The revival of traditional music is an important part of that action from 1980s. Today, however, the traditional culture seems not the only element in the identity building process. The youngsters in city try different ways to create their own “Mongolian” images by combining traditional and modern elements. Altan Urag is such an example. Since 2002, they have played the combination of traditional (Mongolian instruments, vocals, melodies) and modern (drum set, effects units, metal/hard rock style) elements in their “Mongolian folk rock” music. Besides introducing Mongolian tradition to city youngsters through their music, they also intend to show the vary possibilities of their instruments to western world. This article starts with a brief talk about Mongolian modern history and music development. Then I’ll analyze Altan Urag’s most famous folk rock songs and the images they built, using interviews and my observation as references. Afterwards, I separate the masses into three subjects: Altan Urag, Mongolians/local, and foreigners/the other. From their perspectives of categorizing Altan Urag’s Mongolian folk rock and imaginations of Mongolian music, I’ll discuss different positions of Mongolian music in Mongolia and the world. In order to avoid arbitrary dichotomy, I also raise Inner Mongolia as an example in between. Under the impact of globalization, Mongolians are keen to show the world their particularity. Meanwhile, the concept of “Pan Mongol” also deepened within Mongolians. Unlike people in earlier days, nowadays they value their heritage but also try new things in the same time. Furthermore, I argue that the creative way of showing “Mongolian spirit” is more important than just adhering pure “tradition” in this Mongolian identity issue. Sun, 01 Jan 2012 00:00:00 GMT http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/7001 2012-01-01T00:00:00Z http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/25661 標題: 馬來西亞華語藝術歌曲之研究：以音樂家許元良之作品為例; The Studies of Malaysian Chinese Art Songs: Analysis of Khaw Guan Liang's Works 作者: Chien-Yee Yeoh; 楊千羽 摘要: 對於音樂學學術領域而言，馬來西亞華語藝術歌曲研究是一項新鮮的課題。本研究計畫主要透過田野調查的方式在馬來西亞北、中、南，三個地區收集相關資料，並實地觀察當地的華語藝術歌曲活動。文章結構方面則從縱向和橫向，兩方面切入：在縱向方面，本論文藉由一些華語藝術歌曲的民間組織和人物串聯起馬來西亞華語藝術歌曲的歷史與發展；而橫向部份，則從音樂家許元良的個人音樂生命和作品延伸到社會層面，以深入探討華語藝術歌曲、華人音樂家、華人社會以及馬來西亞社會之間的互動和緊密關係。本研究希望透過這樣的結構安排，可以更完整地勾勒出馬來西亞華語藝術歌曲的風貌。 本論文之研究具有以下五項貢獻：一、以馬來西亞華語藝術歌曲為研究課題，並以多元文化社會為背景，建構了部份的馬來西亞華人音樂歷史。二、以馬來西亞華人音樂家許元良為深入研究的題材，以進一步探討華語藝術歌曲在馬來西亞的發展狀況。與此同時，本論文亦建構了許元良的音樂生活與創作理念，並論述許元良對華人音樂界貢獻，進而討論許元良與華人社會之間的互動關係。三、以許元良帶領的檳城音樂協會合唱團所參與過的各項國內外音樂活動為主，爬梳與分析音樂活動數據，同時以音樂會內容形式與場次進行分析，以呈現多樣化的華語藝術歌曲活動。四、藉由分析許元良的音樂作品，呈現東方、西方、以及馬來民族音樂層面的融合，並展現了東西方，以及馬來西亞本土文化在馬來西亞華語藝術歌曲中的相互融合。五、藉由美國文化人類學家Clifford Geertz的理論，觀察許元良對本身身份認同的看法，進而透過許元良的音樂創作，探究他對國家認同與族群意識的認知。; The study of Malaysian Chinese art songs is a fresh topic in musicology. Based on fieldwork and analysis focusing on the work of the prominent Chinese musician Mr. Khaw Guan Liang, this study sets out to summarize the history of Malaysian Chinese music culture, reconstruct his professional music career and analyze the influences behind his style of music composition. Furthermore, we investigate his perception of national identity and ethnicism. This study has accomplished the following. Firstly, it has reconstructed partial history of the Malaysian Chinese Music based on the Malaysian Chinese art songs with a touch of the local multicultural flavor. Secondly, with emphasis on Mr. Khaw Guan Liang, we further explore the development of Malaysian Chinese art songs. In addition, we discuss the ideology behind Khaw’s compositions and his contributions to the Chinese community. Moreover, with the analysis on 1st hand data, we show the variation of activities and programs that have been held by the Penang Philharmonic Society, led by Khaw. Furthermore, this study has exhibited the harmonious blend of Oriental, Western, and South East Asia music elements and characteristics through the analysis on Khaw’s work. Last but not least, based on Clifford Geertz’s theory, this study has investigated Khaw’s stand in defining national identity and ethnicism, which lies within his work. Sun, 01 Jan 2006 00:00:00 GMT http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/25661 2006-01-01T00:00:00Z http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/51306 標題: 香港想像「中國」： 以金庸武俠電視劇中的歌曲為例; Hong Kong Imaging China in Jin Yong’s Wuxia TV Original TV Songs 作者: Chia-Hsin Chang; 張佳欣 摘要: 香港無線電視台（TVB）自1976年開始拍攝的金庸武俠電視劇系列，可說是八十年代產量最豐富，將金庸系列拍攝得最為完整的一批，同時也被許多影迷奉為經典。而這批武俠電視劇的音樂則是早期大量使用粵語流行曲作為戲劇中配樂的劇集，每部戲都有為其量身打造的主題曲與插曲，除了作為片頭、片尾曲外，亦穿插在戲劇之中作為配樂使用。這同時也是第一批大量將粵語流行曲作為配樂的電視劇集。 不少學者指出，1970年代末開始的香港正處於本土意識崛起的重要時期，而此時娛樂產業與本土意識的產生有著重要的關係。然而，以往的研究多以時裝劇為主要討論對象，卻鮮少以武俠電視劇配樂為開展研究的主軸，更從未這些堪稱經典的影視作品多加著墨，甚至分析音樂。事實上，音樂在這類以建構一個古代世界想像的劇集中扮演舉足輕重的角色，除了能夠幫助推動劇情外，也能夠透過音樂塑造出難以言說的氛圍。然而，在這樣的音樂想像中，是不是只有純粹對古老中國文化的想像呢？或是在音樂塑造遙遠中國的同時，也呈現出香港作為一種文化共同體的想像？此外，為什麼會在劇中使用粵語流行曲作為配樂？音樂如何投射出文化想像？透過音樂，是否能夠反映出當時香港的處境或本土意識？ 因此，本文鎖定1976-1984年間香港無線電視（TVB）製作的一系列金庸武俠電視劇當中的影視配樂為研究對象。筆者認為，這批電視劇與其音樂建構了一種中國想像，這樣的想像與1980年代的時裝電視劇所建構出的香港生活圖像有所不同，但卻都展現出香港的本土意識。 全文分四章，緒論、武俠、音樂、結論。第二章以香港的武俠與電影為重心，重點在於分析探討在1970年代武俠粵語電視劇出現以前的武俠作品中的想像會是什麼樣子，包含早期的武俠電影、製造這類文化商品的大本營－邵氏與無線、六十年代盛傳的武俠中樂等。第三章則著重在透過分析解構音樂想像，首先回顧粵語流行曲，接著進行音樂分析。音樂分析以中西合璧為最重要的前提，將著重在分析音樂如何由原先與小曲類似的風格逐漸加入流行音樂元素而流行化、本土化，發展出屬於香港自己的特殊音樂風格。討論將分為歌詞與音樂兩大部分進行，接著提出幾個特殊場景進行探討。; This thesis focuses on the 1980s when Hong Kong Television Broadcasts Limited (無線電視台,TVB) aired many martial arts TV series based on stories from novelist Jin Yong’s(金庸) famous Chinese martial arts novels. These series depict the imperial period of ancient China. To enhance the stories’ setting, the original songs include theme songs and incidents have to create the feeling of ancient China acoustically. The original soundtracks of these TV series try to use the structure of Western Pop songs with added elements to let listeners recall ancient China. The composers included special signs to allow those living in the Chinese cultural region to recall collective cultural memories, especially connected to ancient China. I argue that all music are trying to make listeners to remind the ancient China by the sense of hearing, however, it is generated from the perspective of the Hongkongese, which is an imaginative China from Hong Kong. This article investigate the organization of these songs and examine how to remind listeners about the ancient China by music. First, I discuss Hong Kong’s social and political background in 1980s to show how this background affects music. Second, discuss the importance of wuxia product made from Hong Kong. Finally, I will try to combine the musical and social factors to connect to the imaginative feeling of the music. Fri, 01 Jan 2016 00:00:00 GMT http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/51306 2016-01-01T00:00:00Z http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/70994 標題: 「音聲」與「精神」之間？ 論日本樂團Sugar Babe相關論述中的雙歧性; Between Sound and Spirit? Ambivalence in Discourses on the Japanese Band Sugar Babe 作者: Jie Wang; 王婕 摘要: 　　本論文以活動於1973-76年的日本樂團Sugar Babe及他們唯一一張作品《SONGS》為研究主體，以其相關樂評為研究分析材料，揭示該樂團及其作品如何受到外在環境條件的影響，在三個不同的時空脈絡下獲得不同的評價──包括70年代中期非主流的日本Rock文化圈，90年代主流化、大眾化的日本Pops，及2010年後盛行之City Pop風潮；同時，透過分析樂評論述，歸納出在不同脈絡影響下不同年代的媒體論述建構模式，其結果將進而影響不同時空中聽眾對於他們音樂的理解與認知，並造成其歷史定位逐年提高。本文一方面檢視Sugar Babe相關評價，梳理影響評價基準之外部環境及條件的改變，另一方面則同時強調出Sugar Babe樂團成員所主張及擁護的「真實」，其實是蘊藏在那Pop聲響背後強烈的「與主流對抗之Rock精神」。筆者主張，除了歷史脈絡及評價基準的改變造成Sugar Babe的經典化歷程，《SONGS》相關論述中存在之「Pop聲響」及「Rock精神」這樣的雙歧性質更加奠定其經典性，促使其成為超越時空仍能被人傳述、獲得如此高評價，同時仍能繼續啟發、影響後來音樂家之「歷史名盤」。 ; 　　This thesis examines the Japanese band Sugar Babe who were active from 1973 to 1976, and their only published album, SONGS. Taking the reviews in the press as the main research materials, I attempt to clarify how the reception of the band and their album was affected historically by external contexts, and changed accordingly in relation to the dominant scenes in three different periods: the alternative Japanese Rock scene in the mid-70s, the mainstream J-POP scene in the 90s, and the revival of City Pop after the 2010s. In doing so, this thesis also illuminates different patterns of formation of the narrative concerning Sugar Babe in different times and contexts, which hugely influenced the audience’s receptions of the band and their music, leading to the gradually rising evaluations of the band after their breakup. Though Sugar Babe’s music is often praised for its ‘pop sound’ by music writers and their listeners, the thesis points out that ‘the truth,’ or the belief that the band members embraced, is actually the ‘rock spirit’ that always rebelling against the mainstream of Japanese popular music scene. In conclusion, I argue that it is the ambivalence in discourses on the band which makes their music simultaneously boast the ‘pop sound’ and ‘rock spirit,’ thus catalyzes SONGS into one of the most influential and timeless albums in the history of Japanese popular music scene. Wed, 01 Jan 2020 00:00:00 GMT http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/70994 2020-01-01T00:00:00Z