本文由現象面，即目前獨立搖滾樂的商業化景況出發，期討論在當前的獨立音樂場域中，「獨立樂團」做為其中的參與者，對於原真性的看法，以及做為獨立音樂場域中的創作者，如何在「商業化」與「原真性」，進行衝突與妥協，如此的獨立音樂場域，對獨立樂團來說，呈現如何的樣貌？又獨立音樂場域對於獨立樂團而言，所提供的可能性及限制為何？ 欲回答如此的問題，我選擇直接參與一獨立樂團「白目樂隊」的運作過程， 希望由觀察他們每週ㄧ至兩次的練團、各種大大小小的表演、參加比賽如海洋音樂祭、密集的錄音過程、與唱片廠牌開會、日常的閒聊，以及和其他獨立樂團的互動中，進行觀察。 理論脈絡方面，以Bourdieu的觀點出發，從「場域」與「行動者」，來對照「獨立音樂場景」與「獨立樂團」間的互動關係。「原真性」，一方面是由聽覺方面喜愛的樂風，和實作的慣習中培養而成的「復古搖滾＋暴女氣勢」，形成「與眾不同」的資本，並憑藉此一資本，在獨立音樂場域中進行其他種類資本，總量及結構上的累積，例如參與比賽，以及各種不同形式的表演等等。 另一方面，Bourdieu的概念應用在本文中，雖然對於白目樂隊在行為上做出說明，但是在原真性做為一種「唯心」的概念下，對於樂團內部的互動過程，以及對於白目樂隊「想紅，又不想被改變」的「抗拒商業化」心態，本文認為由Grossberg的看法，能提供一更為有力的解釋框架：則白目樂隊對於其原真性的堅持，以及為了維持其原真性所做的努力，來自於其所屬的搖滾機器，所提供的激勵作用：表演時，就算台下只有為數不多的觀眾，仍然要賣力演出；練團室裡，為了要讓創作成果更像「白目」的歌，沈浸在焦慮的氣氛中；日常生活中，將樂團生活擺在學業、工作中的第一位。 / This research was based on the phenomena of the commercialized situation of Taiwan’s indie rock scenes, raised two aspects of my problematic: first, as part of Taiwan’s indie rock scenes, how indie rock bands think of “authenticity”? As creators, how they conflict and compromise between “commercialization” and “authenticity”? Second, what does Taiwan’s indie rock scenes mean to those indie rock bands in it? Is there any possibility and restrict inside it? To answer those questions above, I joined an indie rock band “the White Eyes”, tried to observe from the rehearsal once or twice a week, their live performances, join the band competitions such as “the Hohaiyan Festival”, their recording process, meeting with the record label owner, daily chat, and how they interactive with other indie rock bands. On the theoretical approach, Bourdieu’s view of “field” and “agent” was applied as “indie rock scenes” and “indie rock bands”. “authenticity” in this case was the capital White Eyes accumulated from their sense of hearing and the habitus from their practice. They also accumulated other kinds of capitals, both on the quantitative and structural aspects inside the indie rock scenes, through those activities such as join the competitions and many different kinds of performances. However, “authenticity” in this case, indicates an “idealism” concept. Bourdieu’s theories here, interpreted only the behavior part, but not sufficient for the attitude part: the attitudes that White Eyes face the commercialized indie rock scenes. Grossberg’s “rock apparatus” and “affective empowerment” were applied in this situation, which explained their insistence and effort for maintaining “authenticity”, were from the affective empowerment of the rock apparatus that they belong: they made excellent performances even there are only few audiences; they suffered from the anxious sphere in the rehearsal room just try to make their songs more like themselves; they put band affair at the first place, far beyond school life and even carriers. Keyword: indie rock band, indie rock scene, authenticity, rock apparatus, affective empowerment

京都大学 / 新制・課程博士 / 博士(人間・環境学) / 甲第25368号 / 人博第1110号 / 新制||人||259(附属図書館) / 京都大学大学院人間・環境学研究科共生人間学専攻 / (主査)教授 安部 浩, 教授 佐藤 義之, 教授 戸田 剛文, 教授 松本 啓二朗 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM