日治臺灣鋼琴獨奏廣播初探（1925–1944）

Abstract

日治時期（1895–1945）是臺灣鋼琴人才培育與鋼琴音樂發展的重要階段，然而受限於史料保存與取得不易，過去對此時期臺灣鋼琴獨奏者及演出曲目的認識仍有待補充。本研究以《臺灣日日新報》所載之廣播鋼琴獨奏演出紀錄為主要材料，整理演出者、演出曲目及其參與廣播的途徑，並透過相關史料與文獻考證演出者背景與曲目，同時參照日治時期日本出版的鋼琴系列曲集，觀察不同演出群體的選曲與演奏程度，藉此呈現日治時期臺灣廣播鋼琴獨奏演出的整體樣貌。 參與廣播鋼琴獨奏的演奏者主要來自學校、師門與地方團體，另有音樂比賽優勝者及全場個人鋼琴獨奏演出者，年齡從幼稚園兒童至成年人皆有，家庭背景、教育經歷與師承關係亦相當多元。不同群體的演奏程度跨度相當大，從仍處於鋼琴學習階段的兒童與學生，到能夠演奏高難度作品，甚至兼具鋼琴創作能力的演奏者皆可見於廣播之中；不少演奏者日後亦持續從事音樂教育、教會音樂及演奏活動，成為戰後臺灣西洋音樂發展的重要推動者。 廣播中的鋼琴獨奏曲目涵蓋巴洛克、古典、浪漫及現代四個時期，以古典與浪漫時期作品為主，並以鋼琴小品、小奏鳴曲及奏鳴曲最為常見。與日治時期日本春秋社出版的鋼琴系列曲集比對可見，學校、師門及地方團體的演出多集中於初、中級程度作品，而音樂比賽優勝者及全場個人鋼琴獨奏演出者則可見大量高級程度作品，包括完整鋼琴奏鳴曲、現代作品及臺灣本土鋼琴創作。這些資料使不同演出群體的曲目特色與演奏程度更加清楚，也呈現演出者、演出曲目與演出途徑之間的關係。此外，魏五福鋼琴創作的廣播演出紀錄，將目前所知臺灣本土鋼琴創作活動的時間向前推至1932年，為過去主要依據現存作品所建立的鋼琴創作歷史提供更早的史料證據。

The Japanese colonial period (1895–1945) was an important stage in the cultivation of pianists and the development of piano music in Taiwan. However, due to the limited preservation and accessibility of historical sources, our understanding of piano soloists and their repertoire during this period remains incomplete. Drawing primarily on records of radio piano solo performances published in the Taiwan Nichinichi Shinpō, this study identifies the performers, their repertoire, and the ways in which they participated in radio broadcasts. Relevant historical sources and previous scholarship are further examined to reconstruct the backgrounds of the performers and identify the works they performed. Piano collections published in Japan during the colonial period are also consulted to assess the repertoire choices and performance levels of different groups of performers. Through these approaches, this study seeks to present an overall picture of piano solo performances on radio in colonial Taiwan. Pianists appearing on radio broadcasts primarily participated through schools, teacher–student circles, and local musical groups, while others performed as winners of music competitions or presented full-length solo piano programs. They ranged in age from kindergarten children to adults and came from diverse family, educational, and pedagogical backgrounds. Their performance levels also varied considerably, ranging from children and students still in the process of learning the piano to accomplished performers capable of playing technically demanding works and, in some cases, composing piano music. Many of these performers continued to engage in music education, church music, and performance later in life, becoming important contributors to the development of Western music in postwar Taiwan. The piano repertoire broadcast during this period encompassed works from the Baroque, Classical, Romantic, and modern periods, with Classical and Romantic works predominating. Piano miniatures, sonatinas, and sonatas were among the most frequently performed genres. Comparison with piano collections published by Shunjūsha（春秋社）in Japan during the colonial period reveals differences in performance level among the various groups. Performances associated with schools, teacher–student circles, and local musical groups were concentrated mainly on elementary- and intermediate-level repertoire, whereas competition winners and pianists presenting full-length solo programs performed a substantial number of advanced works, including complete piano sonatas, modern compositions, and original piano works by Taiwanese composers. These records clarify the repertoire characteristics and performance levels of different groups and reveal the relationship among performers, repertoire, and pathways to radio performance. In addition, the radio record of a piano composition by Wei Wu-fu（魏五福）pushes the currently known history of piano composition by Taiwanese composers back to 1932, providing earlier historical evidence for a history of piano composition that has previously been reconstructed primarily on the basis of surviving works.