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我國電信業者行動加值服務的新產品開發之研究-以行動音樂服務為例 / A Study on New Product Development of Mobile Services of Tele-operators: Mobile Music王鈴惠 Unknown Date (has links)
從1G、2G到3G,行動通訊技術快速發展,以往單純的語音通訊服務,逐漸演變至資料傳輸、多媒體應用,行動服務日趨多元,「內容」在行動通訊服務中所扮演的角色愈加重要。是故,電信業者無不積極發展內容相關商品。然而,這類產品的開發往往牽涉到不同領域的專業(如美工、音樂、文化創意、科技、社會、政治等),因此,吾人可以預期這些廠商勢必需要藉用大量的外部資源才能適時地推出內容商品。
在目前的行動內容服務當中,由於手機鈴聲能彰顯與眾不同的個人特色,且越來越多手機支援播放數位音樂的功能,因此,行動音樂一直以來都是最受消費者歡迎的行動加值服務,也是各家電信業者除了語音通訊之外最大的營收來源之一。然而,過去的研究重點往往著重在電信產業相關業者發展策略、關鍵成功因素等策略層面的探討,對於行動加值服務新產品開發實務歷程的研究則較少著墨。故本研究針對我國電信業者行動加值服務的「新產品發展」進行研究,以行動音樂商品為例,試圖以較為整體性的架構,探討其新產品發展之相關議題,期能對於「外部導向的產品創新管理」方面,提供一些實務上與學理上的貢獻。
本研究之研究問題有四:1.我國電信業者發展行動加值服務的策略性資源為何?2.我國電信業者在行動加值服務發展過程當中的價值網絡為何?3.我國電信業者開發行動加值服務過程中,運用內外部資源的機制為何?4.我國電信業者行動加值服務的新產品策略與開發流程為何?
透過深度訪談電信業者,並配合相關次級資料蒐集與整理,進行彙整及分析之後,本研究獲得以下之主要結論:1.就策略性資源而言,電信業者掌握行動音樂服務之通路。2.電信業者建構之策略性資源與原有資源具有相關性。3.就新產品發展策略而言,行動音樂發展重點仍在於「強化現有行動用戶忠誠度」。4.電信業者委外動機與型態會影響其新產品發展。 / From 1G, 2G to 3G, the technology of telecommunication developed rapidly. The voice communication service gradually evolved towards the data transmission and the multimedia application and the mobile content services become much more important and diversified than before. Accordingly, tele-operators develop content products actively. However, the development of these products involves with many kinds of knowledge, such as fine art, music, programming, etc. Thus, we would expect that the enterprises have to utilize external resources to develop products timely.
Because many cell phones provide functions of digital music and ring tones can show forth users’ characteristics, therefore, the mobile music becomes one of the most popular service product. However, most of the past studies focused on strategy rather than new product development. Thus, we focus on the new product development of mobile value-added services in the research. The study aims to investigate the questions: 1. What are the strategic resources for developing mobile value-added services? 2. What is the value network to develop mobile value-added services? 3. What is the mechanism of utilizing external resources in the process of new product development? 4. What are the new product strategy and process of developing mobile value-added services? The study takes mobile music as an example to explore how tele-operators can accumulate enterprise resources and better utilize external resources for developing value-added services.
This study applies the deep interview method of qualitative research and secondary data analysis to study tele-operators in Taiwan. The preliminary research findings include: 1.The major marketing purpose of tele-operators’ developing mobile music is to reinforce the loyalty of existing customers. 2. What tele-operators dominate in the mobile music business is the channel. 3. The new strategic resources which the tele-operators build in the mobile music business is highly related to those existed before. 4. What motivates tele-operators to outsource will affect their ways of new product development.
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由華語流行歌詞探勘歌詞的特徵樣式 / Mining Patterns from Lyrics of Chinese Popular Music周晏如, Chou, Yen Ju Unknown Date (has links)
華語流行歌詞一直是語言、文學、音樂或是文化研究等相關科系赤手可熱的研究題目,內容包含作詞者、修辭分析、風格、用韻及語言表達等,然由於歌詞數量龐大,難以全部以人工分析。
近年來,資訊科技日新月異不斷地進步,隨著Big Data議題受到注目,Data Mining在近年來相當熱門,然而針對華語流行歌詞的巨量資料探勘與分析研究並不多。因此,本論文研究以程式來自動化分析歌詞的樣式與特性,包括詞彙頻率、詞彙相鄰關係分析、歌名分析、使用語系分析、舊曲新唱、歌詞風格自動分類、用韻及修辭等,而研究資料係透過網路擷取知名網站內容,包含魔鏡歌詞網 (Mojim.com)、臺北之音HitFM聯播網 (www.hitoradio.com) 及教育部重編國語辭典,透過分析規則及以Non-Trivial Repeating Pattern等方法,來完成分析及系統實作。
透過華語流行歌詞的大量分析,探勘及了解各種歌詞的風格與特性,將可了解各種歌詞、作詞者的風格與特色,進而應用在歌詞資料的管理與查詢。
此外,本研究將八萬多首歌詞的各種分析資料設置成網站,提供予學術研究使用,希冀此研究資料能使華語流行歌詞相關研究研究,進行更深入地探討。 / Chinese popular music lyrics has been a popular topic for researchers who major in languages and literature, music or culture. Related studies include of lyricists, rhetoric methods, styles, rhyme and language expression. However, all these studies were performed by manual analysis. It is difficult to analyze large amount of lyrics manually.
With advances in computer technology, big data and data mining techniques have been widely used in different kinds of data. However, to the best of our knowledge, none have been done on pattern mining from big data of lyrics of Chinese popular music. Therefore, the objective of this thesis is to discover patterns from tremendous lyrics data based on data mining techniques. We use data downloaded from www.mojim.com, http://dict.revised.moe.edu.tw/cbdic/ and http://www.hitoradio.com (Hit FM). Data mining methods are employed to find lyrics’ patterns and features, including frequent words, word adjacency, analysis of hit songs' names, lyrics’ language studies, cover song research, automatic style prediction, rhyme and rhetoric patterns.
With the analysis of tremendous lyrics and data, the developed approaches of this thesis will be helpful for discovering distinguishing styles of lyrics and lyricists.
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階級和文化消費關係之探討─以台灣古典音樂文化工業產品消費為例 / The relationship between class and culture consumption: the example of consumption of classical music culture industry's products in Taiwan蔡雅純, Tsai, Ya Chuen Unknown Date (has links)
臺灣已經成為一個富裕的消費社會。隨著經濟能力的普遍提升,文化產品的消費不再只取決於個人的經濟能力。本研究由質疑三種傳統以經濟特性為主的階級指標談起,並根據P.Bourdieu的階級理論建立起第四種文化的階級指標,認為除了經濟因素的考量外,也必須加上個人文化資本的評估,並將這樣的階級觀討論古典音樂文化產品的消費。
消費高級文化產品向來具有社會區辨的符號性功能;近來受到科技變遷、大眾媒介和市場經濟出現的影響,資本主義商品生產趨勢擴展至文化領域,文化層級呈現模糊的狀態。這種同時來自生產和文化層級的變化影響了階級和文化消費之間的關係,特別是以消費做為階級社會區辨的展示。
針對這種現象,本研究採取政經、歷史分析和深度訪談加以討論,認為有錢並不一定就會有文化,文化消費同時需要購買能力和鑑賞能力,要討論階級和文化消費的關係必須採行文化階級指標的新階級觀;同時類似像古典音樂之流的高級文化仍舊被多數人視為社會區辨的標的,只是不應淪為假意的模仿。
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網際網路對音樂產業智慧財產權的影響 / The Impacts of Internet on Intellectual Property Rights of Music Publication Industry鄭立中, Sherlock Lin Cheng Unknown Date (has links)
本論文旨在探討兩種主要的網路資料傳輸技術:主從式傳輸技術與點對點式交換技術對於音樂產業智慧財產權的影響。選定音樂產業作為研究對象,係因音樂產業自從mp3音樂壓縮格式風行以來,其高品質與高壓縮比例的特性,使音樂出版品不斷遭到非法重製,著作權人的權益也因此不斷遭到侵害。檢視此一事件的來龍去脈,並嘗試從中學習教訓,以求一可行的經營模式,是本論文要進一步探討的。
本研究主要研究問題如下:
一、美國法律增修條文、新增法案、與最新判例對於音樂出版產業智慧財產權的保護方向為何?
二、依據網路傳輸技術與電腦軟體之特性,政府部門應如何對智慧財產權加以保護與管理,以鼓勵學術與藝術創新,並兼顧相關產業與技術發展?
三、新創事業應如何規劃與執行其商業模式中的智慧財產權策略,以避免可能的訴訟風險?
四、傳統音樂出版產業面臨新科技與新商業模式的挑戰,應如何達成互利雙贏的局面?
本研究主要分析對象為美國與國內線上音樂服務廠商:MP3.com、Napster、飛行網、與ezPeer等四家公司,就其對於傳統音樂產業體系的衝擊與影響加以探討,並提出具體策略建議。選擇這些公司的主要原因有以下幾點:
一、營模式包含企業對個人(B to C)與個人對個人(C to C)兩種。
二、研究對象都是藉由應用網際網路之科技創新而興起。
三、音樂下載服務仰賴上游供應商程度極深。
四、音樂下載服務對供應商的經營管理造成重大影響。
五、研究對象均可能或已經面臨智慧財產侵權訴訟。
本研究之研究方法以文獻與個案分析為主。資料來源有三:第一為網站直接觀察,第二為電子郵件來往與直接訪談方式,第三則為次級資料蒐集。依研究過程與研究發現。本研究結論如下:
一、政府部門應加緊著作權法修正案立法腳步,以補足目前對輔助侵害與代理侵害規範不足之處。
二、智慧財產權法律知識與法律行動準備方面,國外個案公司較國內個案公司相對充分。
三、音樂產業可行的經營模式之一,是整合豐富內容、互動交流、與加值服務的數位音樂平台,而最有能力整合的,是既有資源豐富的傳統音樂出版(唱片)業者。
本研究以個案探討方式進行,研究方法屬於內容分析。但因為議題新穎、科技演變迅速,探討身賭與廣度難免有所偏頗或不足之處。展望未來,數位內容產業(按經濟部的定義,數位內容產業包含軟體、電子遊戲、媒體、出版、音樂、動畫、網路服務等領域)已成為政府「兩兆雙星」重點發展產業之一,後續研究可廣泛地就數位內容產業智慧財產權保護與管理進一步研究。 / This research is to discover the impacts of the two major internet data communication protocols, which are client-server and peer-to peer technology, on the intellectual property rights (IPR) of the music publication (recording) industry. The purpose of choosing this theme was that the popular audio file compressing technology, ISO-MPEG audio layer-3, mp3, has changed our daily life dramatically. The features of high audio quality and high compressing capability, accompanying with client-server and peer-to-peer technology, are accelerating illegally duplicating of those songs and all the other audio publications, and such abusing of technology has been infringe on copyrighters’ privilege since the debut day of the technology. To review all the related events, to attempt to gather some lessons learned, and to develop a possible business model, are the efforts to which we want to contribute.
There are four major issues of this thesis:
1.What has been exposed beyond the latest related IPR laws, acts, and cases in the States about the protection on copyrights of the music publication industry?
2.Regarding to the characters of internet and information technology, how congress, government, court, and law enforcement agency could do to encourage innovations of technology, industry and economy growth, and protect IPR?
3.How should start-ups plan and execute their business model and IPR associated strategy to avoid the risk of possible IPR related lawsuit?
4.Facing the challenge of new technology and business model, what can recording industry do to construct a win-win situation?
Four online music service providers in the U.S. and Taiwan have been chosen, which are MP3.com, Napster, Fashionow, and ezPeer. We seek to depict the impacts on current recording industry, and attempts to develop a solid strategy. The reasons of choosing these companies are:
1.Their business models consist of two typical categories, which are Business to Customer and Customer to Customer,
2.All these start-ups applied internet and information technology, and
3.They are no doubt a threat to recording and are or are facing going to face IPR lawsuits
The methodology of this research is content analysis, and the materials were gathered form: website evaluating, interview with the users, and secondary data collecting. The conclusions are:
1.(Taiwanese) Government should accelerate the progress of modifying copyright law to regulate contributory and vicarious infringement.
2.The U.S. subjects are better prepared for IPR laws and affairs than Taiwanese ones.
One feasible business model for recording industry is a “Digital Music Platform,” combining with a variety of content, interactive communication, and value-added services. Companies in current recording industry, with profuse resources, are certainly the best candidates.
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華語流行音樂之詞式分析與詞曲結構搭配之排比與同步 / Lyrics Form Analysis for Chinese Pop Music with Application to Structure Alignment between Lyrics and Melody范斯越, Fan, Sz Yue Unknown Date (has links)
目前大部分的聽眾主要是透過歌詞與樂曲的搭配來了解音樂所要表達的內容,因此歌詞創作在目前的音樂工業是很重要的一環。一般流行音樂創作是由作曲人與作詞人共同完成,然而有另一種方式是將既有的詩詞做為歌詞,接著重新譜曲的方式產生新的流行音樂。這種創作方式是讓舊有的詞或曲注入新的生命力,得以流傳到現在。因此本研究希望可以為一首旋律推薦適合配唱的歌詞,以對數位音樂達到舊曲新詞的加值應用。本論文包括兩個部分,分別為:(1)自動分析歌詞的詞式,找出每個段落的位置與其段落的標籤;(2)詞曲結構搭配,找出相符合結構的詞與曲,並且同步每個漢字與音符。
本論文的第一部分為詞式分析,首先將歌詞擷取四個面向的特徵值,分別為(1)句字數結構;(2)拼音結構;(3)詞性;(4)聲調音高。第二步驟,利用這四種特徵值分別建立詞行的自相似度矩陣(Self Similarity Matrix),並且利用這四個特徵的自相似度矩陣產生一個線性組合自相似度矩陣。第三步驟,建立在自相似度矩陣上我們做段落分群以及家族(Family)組合找出最佳的分段方式,最後將找出的分段方式利用我們整理出來的規則讓電腦自動標記段落標籤。第二部分為詞曲結構搭配,首先我們將主旋律的樂句以及歌詞的詞句做第一層粗略的對應,第二步驟,將對應好的樂句與詞句做第二層漢字與音符細部的對應,最後整合兩層對應的成本當做詞曲搭配的分數。
我們以KKBOX音樂網站當做歌詞來源,並且請專家標記華語流行歌詞資料庫的詞式。實驗顯示詞式分析的Pairwise f-score準確率達到0.83,標籤回復準確率達到0.78。詞曲結構搭配中,查詢的歌曲其原本搭配的歌詞,推薦排名皆為第一名。 / Nowadays, lots of pop music audiences understand the content of music via lyrics and melody collocation. In general, a Chinese pop music is produced by composer and lyricist cooperatively. However, another producing manner is composing new melody with ancient poetry. Therefore, we want to recommend present lyrics for a melody and then achieving value-added application for digital music. This thesis includes two subjects. The first subject is lyrics form analysis. This subject is finding the block of verse, chorus, etc., in lyrics. The second subject is structure alignment between lyrics and melody. We utilize the result of lyrics form analysis and then employ a 2-tier alignment to recommend present lyrics which is suitable for singing.
In lyrics form analysis, the first step, we investigate four types of feature from lyrics: (1) Word Count Structure; (2) Pinyin Structure; (3) Part of Speech Structure; (4) Word Tone Pitch. For the second step, we utilize these four types of feature to construct a SSM(Self Similarity Matrix), and blend these four types of SSM to produce a linear combination SSM. The third step is clustering blocks and finding the best Family combination based on SSM. Finally, a rule-based technique is employed to label blocks of lyrics. For the second subject, the first step is aligning music phrases and lyrics sentences roughly. The second step is aligning a word and a note for corresponding phrase and sentence. Finally, we integrated the cost of two-level alignment regarded as the lyrics and melody collocation score.
We collect lyrics from KKBOX, a music web site, and invite experts label ground truth of lyrics form. The experimental result of lyrics form analysis shows that the proposed method achieves the Pairwise f-score of 0.83, and the Label Recovering Ratio of 0.78. The experiment of structure alignment between lyrics and melody shows that the original lyrics of query melodies are ranked number one.
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基植於非負矩陣分解之華語流行音樂曲式分析 / Chinese popular music structure analysis based on non-negative matrix factorization黃柏堯, Huang, Po Yao Unknown Date (has links)
近幾年來,華語流行音樂的發展越來越多元,而大眾所接收到的資訊是流行音樂當中的組成元素”曲與詞”,兩者分別具有賦予人類感知的功能,使人能夠深刻體會音樂作品當中所表答的內容與意境。然而,作曲與作詞都是屬於專業的創作藝術,作詞者通常在填詞時,會先對樂曲當中的結構進行粗略的分析,找出整首曲子的曲式,而針對可以填詞的部份,再進行更細部的分析將詞填入最適當的位置。流行音樂當中,曲與詞存在著密不可分的關係,瞭解歌曲結構不僅能降低填詞的門檻,亦能夠明白曲子的骨架與脈絡;在音樂教育與音樂檢索方面亦有幫助。
本研究的目標為,使用者輸入流行音樂歌曲,系統會自動分析出曲子的『曲式結構』。方法主要分成三個部分,分別為主旋律擷取、歌句分段與音樂曲式結構擷取。首先,我們利用Support Vector Machine以學習之方式建立模型後,擷取出符號音樂中之主旋律。第二步驟我們以”歌句”為單位,對主旋律進行分段,對於分段之結果建構出Self-Similarity Matrix矩陣。最後再利用Non-Negative Matrix Factorization針對不同特徵值矩陣進行分解並建立第二層之Self-Similarity Matrix矩陣,以歧異度之方式找出曲式邊界。
我們針對分段方式對歌曲結構之影響進行分析與觀察。實驗數據顯示,事先將歌曲以歌句單位分段之效果較未分段佳,而歌句分段之評測結果F-Score為0.82;將音樂中以不同特徵值建構之自相似度矩進行Non-Negative Matrix Factorization後,另一空間中之基底特徵更能有效地分辨出不同的歌曲結構,其F-Score為0.71。 / Music structure analysis is helpful for music information retrieval, music education and alignment between lyrics and music. This thesis investigates the techniques of music structure analysis for Chinese popular music.
Our work is to analyze music form automatically by three steps, main melody finding, sentence discovery, and music form discovery. First, we extract main melody based on learning from user-labeled sample using support vector machine. Then, the boundary of music sentence is detected by two-way classification using support vector machine. To discover the music form, the sentence-based Self-Similarity Matrix is constructed for each music feature. Non-negative Matrix Factorization is employed to extract the new features and to construct the second level Self-Similarity Matrix. The checkerboard kernel correlation is utilized to find music form boundaries on the second level Self-Similarity Matrix.
Experiments on eighty Chinese popular music are performed for performance evaluation of the proposed approaches. For the main melody finding, our proposed learning-based approach is better than existing methods. The proposed approaches achieve 82% F-score for sentence discovery while 71% F-score for music form discovery.
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如何通過音樂課程的合理設計來提高學生學習的興趣 / How to increase students' interest rowards the study of music by rationalizing curriculum design陶然 January 2004 (has links)
University of Macau / Faculty of Education
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團體音樂活動應用於澳門自閉症兒童注意力行為成效之研究 / Effect of group music activity to attention behaviors of children with autism in Macau李秀絲 January 2008 (has links)
University of Macau / Faculty of Education
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傳統、民族、音樂文化──臺灣國樂發展之研究 / The Development of Guó-yuè(國樂)in Taiwan陳鄭港, Chen, Cheng Kang Unknown Date (has links)
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.
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元雜劇所反映之元代社會顏天佑, YAN, TIAN-YOU Unknown Date (has links)
詩大序云:「治世之音安以,樂其政和;亂世之音怨以怒,其政乖;亡國之音哀以思
,其民困。」這幾句話剛好說明了時代、社會與文學、藝術緊密不可分的關係。任何
一個作家在人格、思想的孕育,以及經驗、教訓的累積等方面,都必然從他周遭的環
境中得到深刻而久遠的影響;同樣地,當怹抒發感受、進行創作時,也自然會有意伙
意地在作品還投射時、代社會的影子。就這樣,傳統文學的園地,因著作家心血的灌
溉,綻放出一叢叢美不勝收的奇花異卉;而於這一片芳菲的吸引,我們遂親切地撫觸
到孕育著神妙生命的土壤。鄭振鐸論元人寫商人、士子、妓女間的三角戀愛劇一文曾
如是指:
「出在官書、在史還得不到的材料、看不見的社會現狀,我們郤常常可於文學的著作
,像詩、曲、小說、戲劇還得到或看到。在詩、曲、小說、戲刻還所表現的社會情態
,只有比正史、官書以及『正統派』的正記錄更為正確、真,切而且活躍。在小說、
戲劇,以及詩、曲□所表現的,不一定是枯燥的數字,不一定是無聊的事實的帳本
,--要在那□去尋找什麼數字,十分之十是要失望的--而是整個的社會,活潑跳
動的人間。」(中國文學研究新編)
確實,文學作品反映的社會情狀,並不是刻板的、一五一十報導的所謂「真實」;而
是流動著作者思緒、情感、乃至生命的「真實」。正史官書的材料,或許只能堆疊成
一具外在的軀;殼但是文學作品的靈動精神,卻能進一步賦予它真正的生命。
而元代,蒙古人的鐵蹄曾給中國社會抓起了史所未有的變動;同時,這種變動的局面
也直接間接地促進了文學與社會深一層的結合。在對元刻的認識上,我們可以肯定地
說,只有源自其時代、社會的真實生命的脈動、活力與精神,才是凌駕乎一切之上的
孕育元劇之真正胚胎與力量。更值得注意的是,在元代這個特殊變動的社會□,大批
不遇文士的投身創作行列,既充分提昇了雜劇的藝術價值,而又能無損於它鮮活自然
的民間風貌。因,此較諸任何一個時代的文學作品,雜劇都表現了更豐盈的生命與廣
闊的涵蓋面,也與當時的社會有著更緊密的銜接。吳梅中國戲曲概論即云:
「樂府亡而詞興,詞亡而曲作,大率假仙佛里巷任俠及男女之詞,以舒其磊落不平之
氣。宋之大曲,為內廷賡歌颺拜之言不足見民風之變。雖武林舊事所記官本雜劇段數
多市井瑣屑非盡廟堂雅奏然其辭盡亡,無從校理。今所存者,僅樂付致語,散見諸家
文集而已。蘇軾、王珪諸作,敷揚華藻,豈可徵民情風俗哉?自雜劇有十二科而作者稱
心發言,不復有冠帶之拘束。論隱逸則巖棲谷汲,儼然巢許之風;言神仙則霞佩雲裾
,如驂鸞鶴之駕。其他萬事萬物,一一可上氍瑜。余嘗謂天下文字,惟曲最真,以無
利祿之見存胸肊也。」(卷上一)
就這樣,文人才力與民間文藝的高度結合,雜劇這一中國文壇上的奇葩,便蔚為有元
一代的文學表徵。今天,我們可以確定元雜劇的意義與價值,不僅在於文學史的傳承
創新;尤在於它反映了異民族統治下的整個社會狀況,深刻寫出了人們在這一環境中
的遭遇與感受,使得原是歷史上沈薶已久的一個時代,又如此活生生地呈現在我們的
眼前。
常然,元劇的表現形式與藝術價值,固然是戛戛獨造,酣暢自然;而歷來論者卻不免
仍有訾議之處,如賀昌群在元曲概論中即指出造意的幼稚、人物的單調、眼光的粗淺
三點為「元中所表現之下乘思想」(第六章元曲的藝術)。詀在藝術價值的立場,這
些或許都能持之有故、言之成理。但是以廣大群眾的角度來看,所謂「幼稚」、「單
調」、「粗淺」,事實上卻都是社會的真實寫。照更何況元劇本是孕育自民間的特殊
文體,樸拙真實正其異於往代文學作品的。色而在此情況之下,元代社會的風貌乃能
不經矯飾地以更寬廣的層面呈現出來。王國維宋元戲曲考云:
「元曲之佳處何在?一言以蔽之,曰:自然而巳矣。古今之大文學,無不以自然勝,
而莫著於元曲。蓋元劇之作者,其人均非有名位學問也;其作劇也,非有藏之名山,
傳之其人之意也。彼以意興之所至為之,以自娛娛人。關目之拙劣,所不問也;思想
之卑陋,所不諱也;人物之矛盾,所不顧也;彼但摹寫其胸中之感想,與時代之情狀
;而真摯之理,與秀傑之氣,時流露於其間。」(十二、元劇之文章)
從這□,我們知道了雜刻中所自然反映的社會寫,照事實上乃是入家「胸中之感想,
與時代之情狀」混合體。而元劇中所反映社會之更具意義,正在於它是一些真正生活
於當時的戶家,融注了客觀事實的骿驗與主觀感情的流露之有血有肉的時代證言。
元代是異民族鐵蹄蹂躪下的一段黑暗歲月,階級歧視的政治本質是一切禍害的根源。
貪殘欺壓的惡行,因著它的包庇遮掩而益形猖獗;冤屈受害的不平,更在它的淫威下
瑟縮難伸。劇作家既沈淪下僚,與一般市井小民遭受同樣的處境與衝擊;他們的作品
中刻鏤下時代政治的痕跡,乃成為自然而然之事了。權豪勢要的目無法紀、貪官的昏
懦無知、吏目的貪殘棋暴等種種不合法理的人物、情節,構成了雜劇世界中黑暗勢力
的典型寫。照儘管因為題材之往往採用歷史故事或民間傳說,使得雜劇多少沖淡了現
實的色彩。但是劇作家基於周遭環境的共同體認,卻在作品中塑造了一系列的類型人
物。同時,現實社會□的耳聞目睹,也使得他們對劇中角色性格的刻劃,往往有著特
殊的描繪、強調。在這些質素的交錯組合之下,劇作家筆下的人物、情節,便不再只
是舞台上虛幻、或歷史上渺不可尋的形象了。而這些形象的刻意醜化,與無數冤屈小
民沈沈苦痛的強烈對比,正是刻作家對現實政治的批評、指控。此外,重要的是,苦
難百姓尋求解救、報復的希望,在雜劇中也有了明顯的揭示。不論是鐵面無私的包公
、廉能賢明的張鼎、抑或善惡報應的冥冥么神、乃至替天行道的水滸英雄,他們飲活
躍於元代舞台,自然是有其特殊時代背景與意義的。誠然,政治現象是任何一個社會
中影響最大的因素;而我們發現,元代的劇作家確也沒有忽視這一點,因為在們的作
品□,當時政治的風貌實在是有著深刻而普遍的反映。
此外,政治的空前慘變,也直接間接動搖了傳統的社會結構。文人仕進希望的幻滅,
與社會地位的一落千丈,註定了他們在現實環境中困頓、怨嗟、懷疑、乃至否定一切
的必然遭遇與心態基於一種補償、自慰的心理,雜劇中於是出現了大量始困終亨的文
人故事。而在科舉廢止、仕進無望;商人勢力抬頭,妓女移情的時代□,劇作家如此
變本加厲地大作功名與戀愛的迷夢,可以說仍是基於現實的一種變相反映。可悲的是
,劇作家也清楚地體認到此一事實:迷夢只能暫時麻醉自己、欺騙自己,卻無法讓他
們真正釋懷於現實的際遇。於是生活的蹇蹙、希望的幻滅、情緒的鬱結,乃至對當道
的強烈抨擊,也往往在文人的筆下傾洩而出。這種矛盾糾纏的現象,原是蒙元異族統
治下文人身心的特殊遭遇;而劇作家在「借他人酒杯,澆自己塊壘」的有意編撰抒寫
中,將它忠實呈現出來。
而從宋、金以來即已逐漸興起的商業都會文明,在元代政府的重視、以及空前遼闊的
版圖與便捷暢達的交通等因素刺激下,這時更有了特殊的發展。傳統的詩文對此描述
不多,即正史稗官也只是作了表面的統計,敘述罷了。但是因著經濟發展而崛起的雜
劇,卻幾乎是必然地反映了這種全面性的社會變動。商人角色的大量出現元劇便是一
個最好的說明。劇作家在對商人生計、手段、地位、心態的描述刻劃、乃至有意的揶
揄貶損中,同時也勾勒了商業社會的大致輪廓。而透過多數劇本所共同反映的商業社
會現如戲劇娛樂的演出、妓女形象的有意塑造、敗家子弟與幫閑人物的搭配等方面,
我們才能深一層剖視元代的商業社會。至於轉型於社會中所必然引起的價值觀念與風
氣的改變,我們也可以從各個劇本的字□行間,去抽繹歸納為一具體的論證。如是,
則劇作家筆下的元商業社會,便有了一個完整的面貌。
最後,值得注意的是,雜劇原以廣大群眾為演出對象,因此,它的興起固然導源於經
濟的蓬勃發展,事實上也可以說取決於這種變動中逐漸興起的平民階層。各種平民角
色的行業、生活、感情與思緒,以及雜劇中引用的社會流傳諺語的多彩多姿,不但豐
富了文學作品的內涵與趣味,也使得文學反映的社會層面更為寬廣。至於貫串於劇本
之中的平民意識,則既充實了雜劇自然樸拙的生命,也為後人留下了探尋元代社會中
普遍存在的精神、思想的無盡寶藏。
儘管以現存的元劇來說,內容既廣闊龐雜;而大部分的劇本又往往披著一層歷史的外
衣,因此,想透過雜劇內容的分析、歸納,來建立論文的基本架構,可以說是一件非
常困難的事。不過,先從元代的正史官書、詩文集、以及筆記小說的記載,建立對元
代社會的清楚認識。然後再度進行劇本剝繭抽絲的工作時,儘量避免流於社會枝節瑣
現象的一一列舉,而自劇作家所普遍關注的焦點與一致流露的情懷,去作全面性的觀
點。我們便不難發現,元劇作家事實上是很自然地在反映著他們生活的那一個時代;
而元代社會在一代文學表徵的雜劇□,也確實留下了相當完整的記錄。
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