論華人音樂之跨國主義：兩個美國華裔民族管弦樂團之比較研究
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2010
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Abstract
1920年代於中國形成的現代民族管弦樂團（modern Chinese orchestra），在1960年代與70年代由華裔移民帶入美國社會。本論文將以比較分析的方式，討論兩個於美國創立且歷史悠久的民族樂團，筆者將以華人原居國的現代民族樂團為背景，進而討論二次世界大戰之後，美國華裔現代民族管弦樂團是如何透過跨國網絡(transnational networking)，在美國不同的文化脈絡下，形成新的習性並受到一定程度的約束。
在美國華裔的族群中，現代民族樂團是二戰後出現的新現象。筆者將討論華人音樂在美國近兩百年的歷史背景，進而詮釋音樂方面之「中華性」（Chineseness）的表現性，在二戰後明顯地朝向多元化發展。特別是1943年《排華法案》的廢除、二次世界大戰、中國內戰、1965年的《移民法》以及1970年代末中國開門解放政策這些歷史事件更直接或間接地影響了移民文化。本文將透過美國華裔民族樂團的產生與發展來解釋此文化現象。
本研究將探討紐約中國民族樂團（the Chinese Music Ensemble of New York）和北美洲中國音樂研究會的民族管弦樂團（the Chinese Classical Orchestra of the Chinese Music Society of North America）此兩個均為二戰後成立並兼具歷史性與規模性的樂團。本文將以比較分析的方式來討論兩個樂團與原居地樂團之異同，透過兩個樂團的跨國活動(transnational activities)來證明跨國性造成許多表演習性和音樂性的變遷及延續，進一步討論是如何達成「中華性」之意義，而不僅是在美國當地的意義，且包含大量跨國意義在內。此研究僅為美國社會背景下之存在與影響的一個區域案例，希望藉此可作為往後更為廣泛的研究參考。
Only appearing in China less than a century ago in the 1920s and 30s, modern Chinese orchestras were first established among the ethnic Chinese population of the US during the 1960s and 70s. This thesis is a comparative analysis of two of the earliest and largest modern Chinese orchestras formed among the ethnic Chinese in the US, namely the Chinese Music Ensemble of New York (1961) and the Chinese Classical Orchestra of the Chinese Music Society of North America (1976). A particular emphasis is placed upon transnational networking, local/global activities and the cultural politics of music within these spheres of action, and on how changes and continuities in the patterns of performance practices and musicality in terms of the negotiated meanings of Chineseness surrounding the modern Chinese orchestra on the local/transnational stage develop and evolve. The musical idiosyncrasies of Chineseness for the ethnic Chinese demographic of the US has shifted significantly in the postwar era, growing more complex and heterogeneous. For further insight into the local/global networking of each orchestra, we look at the lives, agency and activities of each orchestra‘s founders, directors and members.
Only appearing in China less than a century ago in the 1920s and 30s, modern Chinese orchestras were first established among the ethnic Chinese population of the US during the 1960s and 70s. This thesis is a comparative analysis of two of the earliest and largest modern Chinese orchestras formed among the ethnic Chinese in the US, namely the Chinese Music Ensemble of New York (1961) and the Chinese Classical Orchestra of the Chinese Music Society of North America (1976). A particular emphasis is placed upon transnational networking, local/global activities and the cultural politics of music within these spheres of action, and on how changes and continuities in the patterns of performance practices and musicality in terms of the negotiated meanings of Chineseness surrounding the modern Chinese orchestra on the local/transnational stage develop and evolve. The musical idiosyncrasies of Chineseness for the ethnic Chinese demographic of the US has shifted significantly in the postwar era, growing more complex and heterogeneous. For further insight into the local/global networking of each orchestra, we look at the lives, agency and activities of each orchestra‘s founders, directors and members.
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美國華裔民族管弦樂團, 跨國主義, 紐約中國民族樂團, 北美洲中國音樂研究會民族管弦樂團, 中華性, Ethnic Chinese, America, the modern Chinese orchestra, transnationalism, the Chinese Music Ensemble of New York, the Chinese Classical Orchestra of the Chinese Music Society of North America, Chineseness