今日表演藝術舞臺上的「國樂團」，概指漢系傳統絲竹管弦擊等樂器為核心組合的樂隊編組，港澳稱「中樂」、東南亞稱「華樂」、中國大陸稱「民樂」，臺灣則稱為「國樂」，樂界因此謔稱為「中、華、民、國」的聚合與化身。對於樂隊編制、樂器形制幾乎完全相同的現代國樂團，在華人地區卻賦予不同的名稱，顯示著不同地區歷史、社會與民族文化的不同定位及指涉。漢系華人音樂現代化的工程，自清末民初揭開百年大業的序幕，過程猶可堪稱「孤臣孽子」之境況，然而屬於文化研究的學術關懷、當代音樂文化的在地經營、國樂發展的主體性論述均尚未周全，因此，擺盪於兩岸情勢起伏所帶來的非藝術性之干擾，往往成為許多研究的迷障；尤其以民族學∕人類學視界的社會科學深度研究，仍然呈現出低度開發的狀態。 本論文強調以民族學的概念為研究範疇，進行音樂的聲音、行為與概念三者環扣連結的文化研究；透過脈絡化的思維，考察研究臺灣漢系傳統音樂文化的構建、使用、傳播和發展，闡述音樂特徵、演變規律和獨特的文化意義。因此；本論文主要的研究方法從研究者親身踏查體驗的參與觀察法為基礎，資訊檢視主要透過文化全貌觀、多元文化主義、泛文化比較等等的視角，研究過程則採取文獻分析與田野實證雙向進行的策略，致力建立一個質性研究的文本，並透過民族學∕人類學的理論與觀點，釐清臺灣國樂的發展歷史及其背後所隱現的文化脈絡，探討臺灣民族、傳統與音樂文化經由許多不同過程的互換、僭用與轉化，所表現之多元、不均的文化認同。 本研究發掘一度隱沒於世塵的日治時期唱片產業之「臺灣華樂」形影，對於慣見的現代國樂「中原移植論」進行再審視，並且將臺灣漢系華人音樂現代化發展起點，從1949年的國府遷臺往前推展至1914年首張臺灣傳統音樂唱片的錄製發行，以具體的歷史錄音為事例，達到擴大研究議題的歷史縱深，形成百年發展史的學術架構。因此，本研究將臺灣漢系華人音樂現代化的發展過程，劃分為三個歷史階段：第一個階段是日治及其以前，屬於漢系藝能育成與現代化萌芽的時期；第二個階段的是二次大戰後、兩岸對峙隔絕的時期，經由公部門政策面的作多、大陸經驗的移植、唐山夢土的想像等因素，形成的文化連結與發展能量的蓄積；第三個階段則是臺灣解除戒嚴，在世紀之交逐漸展開文化反芻，邁入二十一世紀即可見紮實的在地深耕與豐碩的匯流分享之階段。對於國樂現代化發展與現代國家政體連繫之議題，本研究以民族學結合人文研究的特點，開啟臺灣漢系傳統音樂作為一個相對邊陲、幽微的社會文化，如何漸次被納入現代國家體制，以及如何經驗國家治理的過程。 研究結果顯示，在文化事務上，「國家」事實上並非如同許多傳統理論的概念：一個疆界嚴明、高度同質之政治實體，而是一個由許多相互聯繫的國際文化區塊之不穩定結合體，關於文化性的國家政策之探討，也都必須具備跨國境之視域。二十一世紀的臺灣成為一個範例，多元文化萌發自不同社會族群的運動和國際消費資本主義的流通。這樣的論點陳述了臺灣國樂隨著時代流動的政治、經濟、科技、社會、區域勢力、國際關係等等因素變化；也檢視一個當代極為普遍的文化離散現象。本研究借鑒「內地化」、「在地化」、「邊緣研究」三種觀點互異的文化發展理論，不僅辯證音樂、國家和多元文化主義之複合關係，更緊密地說明文化脫離的經驗和文化認同的建構。臺灣漢系傳統音樂的現代化發展，反映了生活，而生活造就了這個音樂文化與人群共同體百年來蓬勃的生命力。 / Nowadays, the so-called “Chinese Music Orchestra” in the field of performing art generally means the orchestra arrangement that centers on the combination of sizhu, stringed, and percussion instruments in Han Traditional Music. It is called “Zhōng - yuè（中樂）／Chinese Music” in Hong Kong and Macao, “Huá-yuè（華樂）／Chinese Music” in Southeast Asia. People in Mainland China call it “Mín-yuè（民樂）／National Music”, while it is called “Guó-yuè（國樂）／Traditional Music” in Taiwan. Therefore, it has diversified names in the music circles. The traditional Chinese music in modern times has nearly-identical orchestra arrangement and musical instrument systems, but it is endowed with different definitions in Chinese areas. This indicates the different orientations and references to the histories, societies, and ethnic cultures in different areas. The progress of the modernization of Han Traditional Chinese Music has started for more than one hundred years since the end of Qing（清） dynasty and the beginning of the Republic of China. Such a process was so solitary and frustrating. However, there are still the needs for completing the academic care for culture studies, the local management of contemporary music culture, and the subjectivity discourse of the development of traditional music. Consequently, many researches are often perplexed by non-artistic interference caused by the ups and downs swinging in the situation of the cross-strait situation. Especially, sufficient developments are not achieved yet, in terms of the profound researches regarding sociology in the aspects of ethnology/anthropology. The scope of the thesis is based on the concept regarding ethnology, for the purpose of culture researches on the correlation among the sound, behavior and concept of music. Through contextualized thinking, it intends to investigate and research the construction, use, propagation and development of Han Traditional Music Culture in Taiwan, so as to expound music features, patterns of change, and unique cultural meanings. Therefore, the research method in this thesis is mainly based on Participant Observation Method that needs a researcher to engage in field excursion and experience. Information Review is mainly undertaken through the perspectives such as cultural holistic view, multiculturalism, and cross-cultural comparative study. As for research processes, Document Analysis and Field Research are undertaken simultaneously, aiming to establish a text of qualitative research. Also, through the theories and viewpoints about ethnology/anthropology, it aims to clarify the development history of Taiwan’s traditional music as well as the cultural context hidden behind. This is to explore the diverse and uneven cultural identity of Taiwan’s nationalism , tradition and music cultures demonstrated through the exchanges, overstepping and conversions in many different processes. This study has excavated the passages regarding “Taiwan’s Huá-yuè（華樂）” in the Recording Industry in the Japanese Colonial Period that had once been died down in the world. Further reviews are made, aiming at the commonly-seen “China Transplant Theory” in traditional music in modern times. Also, the starting point of the modernization development of Taiwan’s Han Traditional Chinese Music has been deduced back to 1914 when first album of Taiwan’s traditional music had been recorded and released, instead of 1949 when KMT government moved to Taiwan. Based on concrete recording in the history as the example, this aims to achieve the historical depth for enlarging research issues, so as to construct an academic structure with centennial development history. Therefore, in this study, the process of the modernization development of Taiwan’s Han Traditional Chinese Music is divided into three historical stages. Stage 1 includes the Japanese Colonial Period and former times, a period for Han Artistic Cultivation and the germ of modernization. Stage 2 centers on the times after World War II─ a stage in which the cross straits were separated, confronting with each other. Cultural connections as well as the accumulation of development energy were formed, due to many factors such as the political premiums provided by public sectors, the experience transplants from Mainland China, and the imagination about Tang Shan（Chinese） wonderland. Stage 3 is the period after Taiwan had lifted its martial law. In this stage, cultural rumination began to take place gradually in the period between the end of last century and the beginning of this century. It is the stage for us to see solid local cultivation as well as abundant exchange sharing when the 21st Century began. In terms of the issue regarding the correlation between the modernization development of traditional music and the regimes of modern countries, this study aims to unfold the process how Taiwan’s Han Traditional Music─ a kind of social culture that used to be relatively marginalized─ has been gradually included into the modern national system and how it has experienced national management, by means of the features of ethnology combined with humanities research. The research findings indicate: In terms of cultural affairs, in fact a “country” is not similar to the concept─ a political regime with definite borders and high homogeneity─ expressed in many traditional theories. Instead, it is an unstable combination of many correlated international cultural blocks. As for the explorations of a country’s cultural policies, cross-country perspectives are also prerequisites. The Taiwan in the 21st Century has become an example, due to its multi-cultures sprouting from the movements from different social groups, as well as the circulation of international consumer capitalism. Such an argument can be used for stating that Taiwan’s traditional music has changed due to the factors in politics, economics, technology, society, regional power and international relationship as the era changes. Also, a very common phenomenon of cultural dispersion in the contemporary age has been reviewed. By means of the three cultural development theories “Chinese Localization”, “ Localization ”, and “Ethnic Boundary Research” that have different viewpoints, this study not only intends to discriminate the compound relationships among music, countries and multiculturalism, but also intends to give detailed explanations of the experiences of cultural disapora and the construction of cultural identify. The modernization development of Taiwan’s Han Traditional Music can reflect our life, while our life has contributed to such a music culture as well as human groups’ vibrant vitality for hundreds of years.