再會無名樂人：兩位小鎮高齡爵士樂手的青春音樂路徑

Abstract

本文探討兩位高齡無名樂人的音樂路徑，來重建二戰後到1960年南臺灣小鎮的爵士音樂樣態。無名樂人意指無原創作品、以翻唱做場或駐演維生並被正典歷史書寫忽略的職業樂人。我將探討他們如何透過音樂群體鍛練演奏技藝並建構認同、不同樂人身負何種職業狀態的差異，以及其音樂實踐如何與其所在地方連結。他們的音樂路徑遍及日治時期青年團、喜喪事業餘樂團、歌舞團、文化工作隊、樂團教師、職業爵士樂團、子弟團性質之業餘樂團、國軍康樂隊等不同群體。這些群體也呈現了日本殖民、國民黨政權、美軍駐臺三方在臺灣本土音樂實踐中的作用力。

This article reconstructs the practice of jazz musicians in southern Taiwan from 1945 to the 1960s by exploring the musical paths of two ageing ＂ordinary musicians＂ from small towns. ＂Ordinary musician＂ refers to the professional musicians who do not write original compositions, but earn a living by playing cover songs in staged performances; they have been ignored by canonical historiography of music in Taiwan. I will explore how they cultivated their performance skills and built identities in diverse musical communities, explain their differences in professional status, and describe how their musical carreers are connected to geographic localities. Their music paths cover musical communities such as the youth league under the Japanese Occupation, funeral and marriage amateur orchestra, song and dance troupe, the cultural propaganda troupe under the KMT rule, where they taught in musical orchestras, the professional jazz combos, the gentry's amateur orchestra, and the military variety show troupe. These musical communities show how Japanese colonization, the KMT rule, and the US military garrison influenced the local music practice in Taiwan.