冷戰聽覺轉向第三世界的音樂生產：李雙澤、楊祖珺、王明輝的思想實踐

Abstract

本論文以通俗音樂的生產通向聲（身）在第三世界／殖民亞洲所遭逢的，以二戰後美國主義為開啟徵兆的「冷戰聽覺」想像結構。這是同處於此想像與意識再生產結構的台灣，它聲（身）在第三世界／殖民亞洲的聲音、情感與精神的面貌。這段啟動「冷戰聽覺」的歷史至今尚未終結，它是「過去」但是也從未離開「現在」。經過重疊著新舊帝國殖民視線、冷戰、美國在亞洲參與的戰爭、反共戒嚴的歷史，而貼近全世界青年耳朵的民謠、搖滾樂，到現在已經是各地當代音樂生產內容，但是這股音樂形式所曾主／被動攪動的文化與意識形態的鬥爭卻仍未止息。 為描繪與再問題化這段主要形構冷戰聽覺的二戰後歷史階段（1960-1970年代），本論文進入三位成長於冷戰年代的音樂工作者的生命軌跡，他們是：李雙澤（1949-1977）、楊祖珺（1955-）、黑名單工作室王明輝（1953-）。在他們的聽覺與音樂生產軌跡當中，我們可以發現他們身歷音樂所思考的歷史與社會問題，或身處在地與世界的歷史與社會轉折之處透過創作／製作音樂表達情感和思想的聲音。 第二章由重新解讀李雙澤的音樂書寫、遊記隨筆、小說，探看其經歷與思想活動中的「第三世界／亞洲」文化視野。重新勾勒他參與創作新民歌行動的豐富精神世界。 第三章以承接「唱自己的歌」文化運動之精神為歌手的楊祖珺為線索，探論1970年代民歌運動的後續效應。尤其是1980年代她籌劃與製作的黨外錄音帶與黨外政治／文化運動參與。 第四章探論王明輝與黑名單工作室介入冷戰戒嚴史與本土化意識形態結構的音樂實踐。特別是他在《搖籃曲》（1996）之後擔任合輯製作人、成立Nature High Asia，再到劇場音樂設計所逐步進行的亞洲音樂計畫。 最後，本論文提出「面向『唱自己的歌』的亞洲／第三世界」作為開放式的結論以及重新連結聽覺經驗的起點。同時介紹同聲（身）在冷戰–殖民亞洲也共享冷戰聽覺經驗，並以製作音樂走出不同思想與實踐路徑的其他亞洲創作歌手。

By discussing the production of popular music, the dissertation explores the imaginary structure of “Cold War Listening Experience” whose sprouting is symptomized by post-war Americanism that befalls the human voices (bodies) of the Third World/colonial Asia. For Taiwan that shares the same structure of imagination and ideological reproduction, it also represents the vocal, emotional and mental status of the island whose voices (bodies) also lie in the Third World/colonial Asia. This initiated history of “Cold War Listening Experience” has not ended; it belongs to the “past” but never gets separated from the “present.” Going through the overlapped visions of the old and the new imperialism and colonialism, the Cold War, Asian wars that the U.S. had participated in and the anti-communist and martial-law history, the folk song and the rock music which are familiar to the ears of the young people around the world have formed the main content of the contemporary music everywhere. However, the cultural and ideological struggles triggering/triggered by the music form has never stopped. To delineate and problematize the post-war historical stage (the 1960s-1970s) that shapes the Cold War listening experience, the dissertation explores the life trajectories of the three music workers who grew up during the Cold War: Li Shuangze (1949-1977), Yang Tsuchuen (1955- ) and Wang Minghui (1953- ). From their listening experiences and musical production, we may find the historical and social problems that they ponder through music and the sounds of feeling and thoughts that they express through music composition/production for the historical and social turning points of the local or world history that they have lived in. The second chapter reconsiders Li Shuangze’s musical writing, travel essays and fictions to investigate the cultural horizon of “the Third World/Asia” in his career and thinking activities. It aims to re-depict Li’s rich inner world during his participation in the new folk song composition movement. The third chapter focuses on Yang Tsuchuen, who has adhered to the spirit of “Sing Our Own Songs” cultural movement, to discuss the aftereffects of the 1970s folk song movement. It particularly discusses the Tangwai cassettes of the 1980s planned and produced by Yang and the Tangwai political and cultural movements she had participated in. The fourth chapter discusses the musical practice that Wang Minghui and Blacklist Production (also known as Blacklist Studio) make to intervene in the Cold War-martial law history and the nativist ideological structure. Particularly, the chapter focuses on Wang’s career after Lullaby (1996) as the producer of compilation album, the establishment of Nature High Asia and his Asian music project deriving from the theatrical music composition. In the final section, the dissertation proposes “Let’s turn to Asia/the Third World to sing our own songs” as an open-ended conclusion as well as a starting point to re-imagine listening experiences. Meanwhile, it also introduces other Asian singer-songwriters who share the same Cold War-colonial Asian voices (bodies) but intend to create alternative thinking and practice routes through music production.