台灣搖滾樂反抗論述的音樂場景分析：Live House 音樂展演空間、社會運動、音樂祭

Abstract

台灣搖滾樂存在著一種主流的論述，並企圖透過搖滾樂追求正義與反抗的可 能，本研究將其定義為「台灣搖滾樂反抗論述」：一套轉譯自西方搖滾樂的原真 性，融入台灣政治、經濟與文化脈絡產生的反抗思想，主張行動者得以透過搖滾 樂，實踐社會運動、反抗壓迫以達到追求正義可能的論述。透過此定義，本文試 圖揭示台灣搖滾樂論述與現象當中的複雜性與矛盾性，以破解台灣搖滾樂反抗論 述的神話與霸權。 近年來台灣搖滾樂展演產業的興盛，使得空間逐漸對於搖滾樂而言越來越重 要，透過音樂場景的分析架構，本研究將與相關台灣搖滾樂研究對話。研究內文 以三種台灣搖滾樂音樂場景為研究對象，分別為：Live House 音樂展演空間、 社會運動、音樂祭。研究揭示音樂產業中的雇主透過反抗論述形塑搖滾樂的認 同，並得以達到累積社會資本，強化對於台灣獨立音樂產業的影響力；勞動者受 限於台灣音樂產業之現況，產生情感勞動與勞動權益不佳的現象，然而反抗論述 卻無法完全改善此種現況。

The possibility to pursue justice and resistance, defined as the discourse of resistance in Taiwanese rock music, existed in Taiwanese rock music as a mainstream discourse. Interpreted from authenticity of western rock music, combined with rebelled ideology from political, economic and cultural context in Taiwan, this discourse exclaimed the actors are able to practice social movements and fight against suppression with rock music, in order to achieve the possibility of pursuing justice. Through this definition, this study aims to reveal the complexity and paradox in Taiwanese rock music discourse and phenomenon, and further, to break the mythology and supremacy of the discourse of resistance in Taiwanese rock music. The uprising of Taiwanese rock music performance industry has gradually made space more important to rock music. Combined with the idea of musical scene, this study takes three Taiwanese rock music scenes as research targets, which are: live house and performance space, social movements, and government sponsored music festivals. Through these cases, this study is to reveal how employers form recognition of justice in rock music through resistance discourse to accumulate capital and empower their influence to independent music industry field. The employees, restricted by circumstances of recent Taiwanese musical industry, have encountered affective labor and declining labor rights, while the resistance discourse could not improve current circumstances.