1970年代台灣及韓國民歌場景的建構：以《滾石》與《流行歌月刊》為例

Abstract

本論文以1970年代台灣與南韓的「民歌（Folk）」為研究對象，指出流行音樂的在地化議題。本文特別分析與比較這段期間主要的兩種流行音樂雜誌，《滾石（台灣）》與《流行歌月刊（南韓）》，並顯示美國現代民歌如何各自在台灣與南韓在地化與變化，以及其原因。有關英美流行樂的在地化過程與當地聽眾的回應，這兩種雜誌對於英美流行樂及國內民歌音樂的「文化翻譯」可說是相當珍貴的資料。 在1970年代的台灣與南韓，民歌在年輕人中廣泛流行，成為新的音樂潮流並代表年輕文化的重要因素。過去英美次文化（Subculture）研究者曾經指出，（在都市的勞動階級男性）年輕人對於社會表現出有反抗性的態度，並且透過音樂及其他文化象徵來認同自己。但是在1970年代台灣與南韓以美國流行樂成為學習的榜樣與大眾追求的對象，因而在年輕人新的音樂圈中出現比較不同的態度與發展過程。 再者，儘管台灣與南韓經由不同的歷史並且各自擁有自己的流行樂發展過程，這兩者在1970年代流行樂及民歌音樂上卻顯示各方面的共同點。本文試圖說明其共同點及主要原因，包括威權主義政權下的政治局限，當時在青年概念上特殊概念化，以及英美流行樂的流入與當地聽眾的內化。

This research examines the issue of localization of popular music through folk music in the 1970s Taiwan and South Korea. Two representative pop music magazines in this period, Rock Magazine (Taiwan) and Monthly Pop Song (Korea), are examined and compared to show how the American folk as a genre was localized and modified, and what the possible reasons would be. The two magazines are valuable data which show how Anglo-American popular music was promoted and localized each in Taiwan and Korea. Furthermore, the publications contributed greatly to the construction of domestic pop scenes and connections between participants of the music scenes, not only promoting the pre-existing overseas popular music. In particular, the magazines participated actively in the emergence of domestic folk scenes. Folk music was one of the most prevalent musical trends of the youths in the 1970s Korea and Taiwan, along with other genres of overseas-oriented popular music. Korean and Taiwanese youths participated in constructing new domestic folk scenes as audience, musicians, and workers in the music industry, arousing changes in domestic pop music environments. They adopted many musical elements in the American modern folk revivals, but domestic folk scenes were placed in different contexts from American ones. Specificities of Korean and Taiwanese folk come from the historical contexts of domestic pop scenes, as well as different mindsets of scene participants, which are shown through these two magazines. As well as analyzing the publications, this research also tries to give an overview of popular music and the emergence of folk in Korea and Taiwan. The 1970s Korean and Taiwanese folk, as genres and scenes, were two separate phenomena in themselves. Still, this paper examined, compared and contrasted the two different cases together, starting from several notable common features of folk’s development in Korea and Taiwan. Multiple reasons, including political limitations under authoritarian regimes, specific socio-cultural conceptualizations of youth, and prevalence and internalization of Anglophone pop music, are mentioned as the reasons for similarities. At the same time, through investigating magazines and other related materials, this research also dealt how Korean and Taiwanese folk, which share the root of modern American folk, diverged under different domestic circumstances.