1930年代殖民地臺灣之音樂相關論述研究：以「流行歌」為出發點

Abstract

近年，關於日治時期臺語流行歌之研究有逐漸增加的趨勢，而紀錄片「跳舞時代」（2003年上映）以及音樂劇「四月望雨」（2007年首演）所引發的廣大迴響，也說明了它受到各界矚目的傾向。然而，關於「流行歌」在當時是如何被談論、評價，則較少有研究論及。本論則著眼在臺灣流行歌盛行的1930年代之音樂相關論述，針對流行歌發祥地臺北的音樂、刊載流行歌相關論述的雜誌之動向、以及流行歌與臺灣大眾歌謠論的論調進行考察。 觀察1930年代的殖民地臺灣之音樂相關論述後，會發現當時的臺北已經出現各式各樣的新式音樂，臺灣原住民音樂及漢人音樂相關研究也逐漸增加，但其中關於「流行歌」的論述並不多。然而，在有限的漢文言論空間之下，漢文文藝雜誌同人提倡的歌謠採集及新歌創作運動之中，具有創作歌謠性質的「流行歌」扮演了重要的角色。另一方面，在台日本人的歌謠論述則著重分析臺灣歌謠之歌詞中透露的思想與民情，藉以理解臺灣本島人之民族性。綜觀當時的臺灣歌謠相關論述，少有針對音樂性的分析，多以歌詞分析為主。在臺灣總督府積極推動國語普及運動之背景下，學校唱歌以及國語普及歌謠成為宣傳工具之一；然而，傳唱於民間的「流行歌」其反映時勢的特性以及傳播思想的功能，也開始漸被當時的人們所重視。

In recent years, there has been increasing trend in studying on Taiwanese popular songs in Japanese Colonial period. The tremendous response and feedback from the documentary “Viva Tonal” (2003 release) and the musical “April Rain” (2007 debut) also has demonstrated the widespread attention it has received. However, there was comparatively little study on how Taiwanese popular songs, which were called as “Ryukoka”, was either discussed or valued during that period. This research focus on the deliberation of Taiwanese popular songs, analyses the trend of magazines which reviewed the popular songs in its original place, Taihoku (Taipei), and examines the inspection on the popular songs and Taiwanese pop music in the 1930s. After observing the discourses on Taiwanese music in the 1930s, one would notice that there was a variety of new music introduced in Taiwan during that period, and there were increasing academic works on Taiwan aboriginal music and Han Chinese music as well; however, among those, there was not sufficient study on “Ryukoka”. Nevertheless, under the oppressed discussion on Han language, “Ryukoka” characterized by its creativity, has played an important role of connotations of the lyrics and new music creation movement, promoted by the people behind Han Language Modern Literary Magazine. The discussion by the Japanese in Taiwan during that period focused on analyzing the thoughts and sensation in the lyrics, in order to understand the nationality of Taiwanese. From the overview of the deliberation of Taiwanese folk songs during that period, there were very few studies focusing on the analysis of music, but more on the analysis connotations of the lyrics. In 1930s Taiwan particularly, the public had paid attention on “Ryukoka” which reflected the characteristics of times and the disseminated of ideas.