戰後臺灣的音樂實作與地方塑造——以榮星兒童合唱團為例

Abstract

榮星兒童合唱團成立於1957年，是臺灣第一個由民間創立的兒童合唱團，由辜家子弟辜偉甫及留日音樂家呂泉生共同推動成立。自創團以來，榮星即受到海內外音樂家及音樂團體爭相拜訪，並獲得紐約林肯藝術中心的演出邀請。1967年，榮星參加日本首屆亞洲兒童合唱大會後聲名大噪，成為戰後臺灣文化外交的重要代表團體，並在1960至1970年代達到發展巔峰。儘管榮星兒童合唱團在戰後臺灣音樂史上的地位舉足輕重，但其貢獻與影響卻少有深入研究。 本論文以史料分析與口述歷史作為主要的研究方法，梳理榮星兒童合唱團的發展脈絡，並且從音樂地理學及音樂史研究等學科視角切入，探討其在戰後臺灣音樂史的定位與作用。透過Christopher Small於1998年提出的「樂動」（musicking）理論，本論文將榮星的合唱活動視爲動態的音樂實作，進一步分析其如何以音樂串聯人、事、物，構築廣泛的關係網絡，並回溯榮星合唱團所處之社會與歷史脈絡，進一步建構戰後臺灣兒童音樂教育的整體圖像，揭示音樂實踐作為地方塑造（place-making）之重要手段。榮星兒童合唱團的發展歷程不僅展現地方仕紳如辜偉甫與國家政權之間的文化協商過程，更可視作戰後臺灣音樂史的縮影，呈現政治權力、社會菁英與民間音樂實踐之間的多重張力與互動。

Founded in 1957, Rong-Shing Children’s Chorus Group was the first privately established children's chorus in Taiwan, initiated by Koo Wei-Fu of the Koo family and Japanese-educated musician Lu Chuan-Sheng. Since its inception, the choir has been sought after by musicians and music groups both at home and overseas, even receiving an invitation to perform at Lincoln Center in New York. In 1967, the chorus gained widespread recognition after participating in the inaugural Asian Children's Chorus Festival in Japan, becoming a key representative of Taiwan's cultural diplomacy in the post-war era and reaching its peak of development in the 1960s and 1970s. Despite its pivotal role in Taiwan’s post-war music history, the Rong-Shing Children's Chorus Group has so far received insufficient scholarly attention. This study employs historical analysis and oral history as its primary research methods to systematically trace the development of the Rong-Shing Children's Chorus Group. Using theoretical perspectives from music geography and music history, the research examines the choir's position and influence in Taiwan's post-war music history. Drawing on Christopher Small’s 1998 concept of "musicking," which views music as a dynamic practice, this study analyzes how music connects people, events, and objects to construct a broad network of relationships, while also tracing the social and historical context in which the Rong-Shing Children’s Chorus Group operated, thereby constructing a comprehensive picture of post-war Taiwanese children's music education and revealing music practice as an important means of place-making. The Rong-Shing Children’s Chorus Group not only reflects the cultural negotiations between local elites like Koo Wei-Fu and the national government but also serves as a microcosm of the post-war development of Taiwanese music, showcasing the complex tensions and interactions between political power, social elites, and folk musical practices.