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|Other Titles:||The Emergence of Aboriginal Records in Post-War Taiwan: A Case Study on Ling Ling Records Company (1961~1979)|
Department of Taiwan Culture, Languages, and Literature, NTNU
|Abstract:||本文以台灣戰後第一家生產山地流行歌唱片的「鈴鈴」公司為個案，以音樂文化史及工業生產史的角度切入，追溯在政治、經濟地位皆屬於弱勢與邊緣角色的原住民族群，如何在1950 、60 年代，唱片工業掌握於本省人之手，政治檢查掌握於外省人之手的權力夾縫中，再現他們自己的庶民歌聲。由於當前山地通俗歌曲的文化工業相關研究仍置於幾近荒蕪的狀態，第二手資料闕如，因此本文作者嘗試以黑膠資料收集、田野調查、相關人物訪談等方式，試圖釐清「鈴鈴」唱片公司所生產山地歌曲的類型、生產過程，以及詞曲創作者、歌手、公司老闆、企畫等相關人物互動的關連性。本文以「鈴鈴」唱片公司作為討論主體，因為該公司不僅是戰後山地唱片的起始者，也是目前所知黑膠時代產量最高(估計約百張，千首左右歌謠)的山地流行歌生產者。對於瞭解戰後台灣原住民族「山地歌曲」由「部落傳唱」走向「商品販賣」的文化再製的過程，以及當代台灣原住民族的音樂文化認同、歌謠變遷與社會時代的互動， I 鈴鈴」唱片的生產史及出版型態解讀是為必要的探索路徑。本文將說明下列幾項重點: (l) I 鈴鈴」公司投入山地唱片製造的時代背景與第一張山地唱片的誕生過程;(2) I 鈴鈴」公司山地唱片的兩個系列:標號FL 以及RR 之間的類型差異與特色，製作班底等相關人物及背景;(3)最後，我試著以「鈴鈴」唱片山地歌曲的產製歷程，背後所涉及的音樂美學變遷做一個總結。|
This article is a case study on Ling Ling records company (鈴鈴公司) , which was the first company to produce the aboriginal popular song records ，in perspective of cultural history of music and industrial production history. It traces how the aboriginal people, who were minor and marginal in terms of political and economic status, showed up their grassroots vOice in the 1960s and 1970s, when the records industry was dominated by the Taiwanese companies,and censorship was in hands of the Mainlander officials. There is Iittle research on the cultural and industrial aspects of aboriginal popular songs, and lack of secondary data. Therefore the author tried to identify Ling Ling's product types, production process and the relationships among composers, lyricists, singers, owners of the company and the marketing people by collecting standard-playing records, field studying and interviewing. The subject of the article is the Ling Ling company, for it was not only the originator of the aboriginal records in the post war era, but also produced largest amount of aboriginal popular songs, estimated to hundreds of records and thousands of songs. For understanding how the “aboriginal songs" of aboriginal people in Taiwan moved from "singing in tribes" to “ commercializing", and modern aboriginals' identity on musical culture and the process of reproducing their culture, it is a necessary attempt to interpret Ling Ling's production history and its publishing style. The article would focus on (I) the historical background of Ling Ling company devotion to producing aboriginal music, and the birth of the first aboriginal record; (2) Ling Ling's two series of aboriginal records: the stylistic differences between label FL and RR; (3) I would conclude this study by discussing the changes in aesthetics of music with the progress of Ling Ling's production of aboriginal music.
|Appears in Collections:||台灣學誌|
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