臺灣自然音樂中的科學認知主義、環境倫理與美學：以《狼》（1996）、《森林狂想曲》（1999）和《青蛙四季唱遊》（2001）為例

Abstract

本文以臺灣九零年代自然音樂為中心，試圖藉由生態再製（ecological reproduction）概念，重新理解當時的人、自然與音樂之間的關係。在臺灣自然音樂以環境主義與科學認知為主的兩條創作路徑中，以環境保護和自然之美作為創作素材或主題並不少見，其出版品和演出無論是被標籤為自然音樂、環保音樂或生態聲音藝術，其中對「何謂自然」的想像，仍多半指向自然即是真實、和諧、美好，或者需要建立在正確、客觀知識之上的倫理—美學預設。 然而，此種對自然（nature）的想像並不如表面自然（natural）。如果自然音樂確實能夠驅動聽者對臺灣自然環境的重視與認識，此間仍需要離析自然、美學與環境倫理意識三者之間的互動樣貌。因此，本文選擇以九零年代由風潮音樂唱片公司出版馬修．連恩（Matthew Lien）具有社會能見度的環保音樂專輯《狼》（Bleeding Wolves, 1996），以及風潮唱片製作人吳金黛的「聽見大自然」系列前兩張專輯《森林狂想曲》（The Forest Show ,1999）和《青蛙四季唱遊》（Frog’s Show , 2001）為主要案例。本文認為，自然聲響錄音（natural sound recording）作為自然音樂的重要樞紐，藉由聲響的空間性與位移、自然錄音作為倫理媒介、生態知識作為聆聽媒介等技術，網絡式形塑出自然音樂中不同的認知階序（倫理優先／科學認知優先）與價值矛盾，從而呈現具雙重性立場的倫理動員與科普知識的聽覺實踐，指向再製技術的倫理—美學生態、科學取向與生態音樂學議題，最終建構出臺灣九零年代末自然音樂文化的在地身影。

This thesis intends to understand the relationship between man, nature and music in Taiwan’s natural music albums during the late 1990’s through the concept of ecological reproduction. These albums have been labeled as “green music”, “environmental music” or “bio-sound art” in two different contexts, namely, environmental ethic and scientific-cognitivism, implying an ethical-aesthetical assumption that nature itself is authentic. Consequently, natural music should bear beautiful harmony and should be correctly appreciate by natural science knowledge. However, this imaginary assumption of nature was not natural by itself. Even if natural music has raised an awareness about the natural environment in Taiwan, it is still unclear how environmental ethic, aesthetic and scientific-cognitivism interact with one another in the reproduction process of natural-soundscape resource and musical-meaning making. By studying three albums published in Taiwan: Matthew Lien’s Bleeding Wolves (1996), WIND MUSIC’s The Forest Show (1999) and Frog’s Show (2001) that produced by Wu Judy Chin-tai, I argued that natural sound recordings as agents were heterogeneous, interwoven with visual components, non-musical actors, non-human events and social-cultural background. Using biological knowledge as an acoustic medium, the technique/technology of natural sound recordings are mobilized ethically. Ultimately, these practices indicate how listeners have perceived the relationship between human and nature in music, shown in the ethical-aesthetical ecology of reproduction, scientific orientation and ecomusicological issues beyond the local scene of natural music in Taiwan’s 1990’s.