臺灣音樂中的臺灣意識─ 從後殖民觀點探究解嚴後之國小音樂教科書

Abstract

自1987年解嚴之後，臺灣逐漸走向開放與民主，「本土化」的聲浪同時崛起，居住在臺灣的人民開始重視「在地」的音樂與藝術；而政府也試圖透過教育政策與教科書來塑造人民對臺灣這塊土地的了解與認同。在本研究中，欲跳脫以往單純分析音樂教科書的內容研究，轉而從學者薩依德(Edward W. Said)與霍米巴巴(Homi Bhabha)所提出的後殖民理論為立論基礎，探究臺灣政府如何從日治時期以來的歷史脈絡中跳脫被殖民地的框架，在國小音樂教材中形塑「臺灣音樂」的概念。同時探討在不同的時期中，音樂教科書所涵蓋的「臺灣音樂」範疇有何異同之處？藉此深入分析音樂教科書所形塑出的「臺灣音樂」樣貌為何，又建構出怎樣的「臺灣意識」？ 在研究材料與範圍方面，將以1993年與2003年兩次教育政策修訂後的國小音樂教科書作為分析對象，對教科書中的「臺灣音樂」做深入探討。就本文的分析而言，「臺灣音樂」並無一個單一的定義。隨著歷史變遷的過程中，由於西方音樂與臺灣各族群音樂的個殊性，建構出霍米巴巴所提出的「第三空間」。透過音樂教科書的呈現，可以發現臺灣各族群音樂與西方音樂的「混雜性」尚在萌芽階段，並未真的產生對話與交流。另外，在音樂教科書中可以明顯的發現薩伊德所提出的「他者」理論，除了表現在西方音樂的霸權上，在臺灣各族群中也產生所謂「閩南霸權」的情形。教科書在藉由音樂形塑「臺灣意識」的過程中，臺灣各族群勢力的消長也影響了人民對於「臺灣意識」的價值觀。

After declaring the end of martial law period, an open and democratic Taiwanese society comes with a tendency of localization. People of Taiwan commence to put a premium on local music and fine arts and as well as governments attempt to mold the understanding and identification of the mother land via educational policies and textbooks. This research thus concentrates on a discussion of the formulation and connotation of Taiwanese music within the elementary school music materials in a historical context of escaping the framework of colonialism. In the meanwhile, the study debates the differences of Taiwanese music to comprehensively analyze the image and consciousness of Taiwanese music the music textbooks formed and structured. Regarding the scope of materials, the analyzed objects are two distinct editions of elementary school music textbooks respectively; one is revised by 1993 educational policies and the other is revised by 2003 ones. In terms of the analysis, Taiwanese music has no unitary or dichotomous definitions but comprises distinctive cultures blended within the Western and ethnics in Taiwan, which is called the Third Space. Through the representation of music textbooks, the hybridity of music between Taiwan ethnics and the Western still stands on the burgeoned stage without any communication and conversations. Furthermore, music textbooks manifestly disclose the theory of “other”; there is a situation of “Min Nan” hegemony between Taiwan ethnics besides the western cultural hegemony in the representation of Taiwan music. Within the process of formulating Taiwan consciousness by utilizing music textbooks, the ebb and flow of the strength of ethnics usually affects the values of Taiwan consciousness.