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標題: | 華樂「和」奏-日本關西地區華樂團發展初探 The Development of Chinese Orchestral Music in Japan-An Initial Exploration of Chinese Orchestral Music in Kansai Region |
作者: | Pei-Lan Pao 鮑沛蘭 |
指導教授: | 山內文登(Yamauchi Fumitaka) |
關鍵字: | 華樂,國樂,全球在地化,關西地區,華僑, Huayue,Chinese orchestral music,glocalization,Kansai region,overseas Chinese, |
出版年 : | 2020 |
學位: | 碩士 |
摘要: | 華樂(即台灣所通稱之「現代國樂」,因應不同政治或文化脈絡,各地名稱相異,根據本文的主體背景,以脈絡相近的「華樂」統一稱之)主要演奏的族群多數為生在華人圈的華人。1970年代,中國改革開放之後,形成一股留學風氣,其中一些嚮往國外生活或日本文化的華樂演奏家,藉由留學的機會赴日生活,以在日華僑的身分開拓華樂的耕地,讓日本人對於華樂的認識逐漸萌芽。2000年後,華樂團體「女子十二樂坊」以流行音樂的表演形式在日本急速竄紅,吹起一陣華樂熱潮。因留學生及熱門音樂團體兩者的影響,大部分的日本人對於華樂有了初步的印象與認識。 華僑將華樂帶至日本,不但在日本各地開設華樂器的音樂教室,在日本的關西地區也有華僑設立日本第一個華樂團,藉由授課或是團練,將華樂傳承給日本人。而隨著日本人對於華樂的接受逐漸擴張及加深,日本的華樂拓展之路逐步獨立出華僑之手,由日本人創立之華樂團以及華樂器教室也如雨後春筍般湧出。在這段日本人接受華樂的歷程,無論是華僑的華樂傳承經驗,還是日本人的華樂演出形式,都呈現出華樂在日本獨有的在地樣貌,這個推廣與接受的過程可以說華樂有了全球在地化的發展。 回到華人圈,「華樂的前景為何?」這個議題經常圍繞在近期的華樂相關討論中。對於這個議題,來自學界或是實踐者的建議,多數專注於華人圈內的策略。然而,這樣僅是止步於向內部審視,華人圈外其他民族的華樂發展情況鮮少被關心,視野因此被侷限。筆者試圖藉由探討近三十年間,華樂在日本發展的來龍去脈,梳理華樂在日本的受容與變容情形。希望透過走出華人圈外,經由認識華樂在其他民族中發展的軌跡,提供檢視華樂發展的新方向。 Chinese orchestral music, also known as Huayue (華樂) in Mandarin, especially referring to the Chinese orchestral music in the countries whose majorities are not ethnically Chinese. In this dissertation, the recent 30-year development of Huayue in Japan will be the main studied object. In the 1970s after Chinese economic reform, when the studying abroad was being more manageable, many Chinese Huayue players who longed for experiencing the foreign life and Japanese culture came to Japan for studying as well as living there. Not only did those overseas Chinese introduce Huayue to Japan, but they also made Japanese people begin to know Huayue. In the 2000s, the Huayue ensemble group called 12 Girls Band became famous overnight for its own special performing way as pop music, which facilitated the popularity of Huayue in Japan. Because of the overseas Chinese students and the music group, most of Japanese had the preliminary acquaintance with Huayue. During the reception of Huayue in Japan, not only the methods of learning and teaching Huayue, but also the way Japanese people performed it had their own feature. As the overseas Chinese brought Hueyue into Japan, the music schools for learning the instruments of Huayue were established in many different regions, and the first Huayue ensemble was founded by the overseas Chinese in Kaisai region. With the acceptance of Huayue becoming higher and wider in Japan, more and more Huayue ensembles and the Huayue schools were created prosperously by Japanese people. Since then the growth of Huayue in Japan has been gradually independent from the local Chinese community. The reason that this research was being studied is to offer a new direction to inspect the buildout of Huayue. “What is the prospect of Huayue?” This is the often-stated question in Huayue-related discussion. The scholars and the players of Huayue have little focused on the Huayue outside the Chinese cultural community. However, the situation that there has been extremely little concern of the development of Huayue in non- Chinese community would cause the viewpoints to be limited in the inner inspections of Chinese Huayue. Therefore, in order to understand the reception and the localization of Huayue in Japan, the recent track of Japanese Huayue among these 30 years will be explored in this study. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/19498 |
DOI: | 10.6342/NTU202003638 |
全文授權: | 未授權 |
顯示於系所單位: | 音樂學研究所 |
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