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Noise in Rendition as Voice of Resistance: The Acoustic Practice and Performer-audience Interaction of Loh Tsui Kweh Commune’s Live Performance from 1990 to 2001
Loh Tsui Kweh Commune / L.T.K. Commune,live performance,musical practice,performer-audience interaction,sound of noise,
|Publication Year :||2013|
Established in 1990, Loh Tsui Kweh Commune (L.T.K. Commune), one of the earliest pioneers in the Taiwanese indie band community, distinguishes itself as one of the circle’s most influential success with its characteristic live performance from 1990 to 2001: in addition to a rendering of music markedly different from that of the CD-ROM version, L.T.K. Commune’s onstage performance also incorporates distinctive elements of an action theater that are inspired by the band members’ participation in numerous social movements in early 1990s. A typical L.T.K. Commune “ theater of action” includes creating chaos and riots on stage, being “off-key, off-rhythm, and off-tone” in terms of acoustic practice, and, most important of all, involving the immediate audiences. Existing studies of the band, however, tend to focus more on the localization of rock music or the “Tai-Ke” symbol than its acoustic practice at live performances as well as performer-audience interaction. From an unprecedented “sound of noise” perspective, this study will re-examine 29 of L.T.K Commune’s live performances from a period of 1990-2001 and discuss how sound of noise may have been used as protest through voice.
Meanwhile, it turns out that there is this uniquely interactive relationship between the L.T.K. Commune performers and their audiences, as qualitative interviews with viewers show. News coverage of the band in the 1990s by both popular and independent media are also included, attempting to help offer more evidence of a view gap between average impression and audience’s experience of the band.
|Appears in Collections:||音樂學研究所|
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|29.57 MB||Adobe PDF|
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