我國交響樂團產業之研究

Abstract

交響樂團—西方精緻音樂藝術產物之一，源起於19世紀末的歐洲，隨著西風東漸，自然地在東方落地發芽逐漸發展。隨著國家經濟日益成長與茁壯，民眾生活品質亦快速提升，國內的交響樂團於是在各縣市之中漸次成立，帶來為各地民眾提供近距離音樂服務的機會。我國自民國40年代起陸續於大專院校成立音樂科系，積極培植西樂演奏人才，近半世紀以來已然造就為數可觀之音樂演奏家，甚至更有部分傑出人才已躋身國際樂壇，成為國際級的知名演奏家。目前國內每年經由學校培養投入職場之音樂專業人才約有1千人，亦有數以萬計的音樂學習者參加教育當局或藝文單位、藝術團體所舉辦之音樂比賽，更有數百萬的觀眾每年參與聆賞古典、流行等等各類型之音樂表演活動，此現象是多年來政府與民間共同努力之重大成果。然而，隨著時代的進步，多元化文化意識興起，當學校教育所扮演的「工廠」，將學生這個「產品」送到市場上接受檢驗時，在市場上的「消費者」如交響樂團，是否能夠吸收到足額的職業團員？亦或是供過於求，造成這個自由市場機制出現失調的現象？目前的音樂市場從「學校」的製造加工到將「畢業生」這個成品銷售的一貫作業，是否應該要審視其作業流程之適當性？筆者除了本身為專業演奏家，獲有音樂藝術博士學位之外，更投身於樂團演奏及行政工作中將近20年，並曾經親身參與國內樂團轉型及改制之工作，期望提出個人淺見，討論我國現行公設交響樂團之制度與功能，並參酌現代社會中藝術人對於「公共責任」的考量，探討適合現存情形與未來發展之生存模式。本文將於第一章至第三章中首先剖析當前國內交響樂團產業發展之研究架構、文獻探討以及環境現況，釐清現實環境對於交響樂團產業的需求；再於第四章至第六章依定位之區隔，繼續討論三個年度經費新台幣1億元以上之公設交響樂團：國家交響樂團、台北市立交響樂團以及國立台灣交響樂團的現況、發展以及目前各自所面臨之經營問題；第七章將以交響樂團產業之發展趨勢作為觀察，提出改進之重點；最後，在結論之中提出綜合建議，希望交響樂團產業在國內伸根發展一甲子之後，仍能繼續向國際化、專業化、市場化進步！這是筆者多年服務與研究的心得成績單，期能拋磚引玉，讓更多學者能關注與後續研究，使得交響音樂在我國能繼續蓬勃發展。

Symphony Orchestra—one of the most refined products from Western Culture, was transformed from Europe to the East in late 19th century. Following with the recent economical growth of the Nation, the quality and quantity of audience growth rapidly in the past 60 years. Although there are many excellent Taiwanese musicians had gained fame from aboard and have devoted themselves into both performing art and education for the society, the quantity of musicians seems over the need of the market. Is there any adjustment to reset the policy of our Nation’s Music Education? Is there any necessity of policy remaking of the three major public orchestras in our Nation─National Symphony Orchestra, Taipei Symphony Orchestra and the National Taiwan Symphony Orchestra—in order to create more audiences and a higher quality of performance under the competition of Globalization? Acting as a professional musician in his lifetime, the author has devoted himself into the public orchestral administration for over 10 years. With the precious experiences of participating the transform of two major public symphony orchestras, the author shares the readers with his eyes and provides suggestions of the Symphony Industry in Taiwan. The first three chapters in this dissertation explore the systematic theory and study structure of the Industry. Chapter Four to Six will criticize the current operation and direct a better evolution for the specific three public symphony orchestras—the National Symphony Orchestra, Taipei Symphony Orchestra and the National Taiwan Symphony Orchestra. At last, Chapter Seven and Eight will conclude the further improvement of the Symphony Industry in Taiwan.