重探臺灣搖滾樂場景中「樂手世界」的建制化：樂器行、校園社團、熱音賽與職業慣例（1980-1999）

Abstract

搖滾樂在臺灣社會的「建制化」主要發生在1980至1990年代末，音樂人養成與社群聚集的組織空間─樂器行、樂團比賽、與學校社團─均在這段期間形成。儘管這些組織的運作邏輯現今仍舊影響年輕人進入搖滾樂的途徑與學習模式，既有文獻對這段過程卻一直缺乏足夠的討論。本文從「音樂圈內人」的觀點出發，透過訪談、文獻以及民族誌資料，呈現搖滾樂場景在這段期間的基本樣貌，以及相關機構對臺灣搖滾樂文化的發展帶來的影響。受到文化研究場景觀點（scene perspective）啟發，本文認為，1970年代臺灣流行音樂發展的歷史背景，為1980年代後搖滾樂「如何」再次發展提供了在地條件：在缺乏展演場地、演出機會的情況下，樂器行、熱音賽、樂手職業以及學校社團成為1980年代後搖滾樂得以發展的主要機構與平臺。我進一步結合文化社會學的藝術世界（art worlds）理論，說明前述平臺的組織運作，如何形成一系列定義音樂人該如何進行活動的慣例與教學典範。最後，我透過民族誌資料指出，儘管本文描繪的「歷史場景」和現今的獨立音樂文化看似有相當程度的落差，前者仍透過由樂器行、校園社團這些最基層的社群組織所構成的教學系統，持續對年輕音樂人的音樂實作與品味養成帶來影響，而造就了臺灣搖滾樂場景與其他區域有所不同的特殊性。

The ＂organizational＂ spaces in which Taiwanese young rock musicians are cultivated-music shops, band competitions, and school extracurricular clubs in particular-were formed from the 1980s to the late 1990s. Such spaces facilitated the institutionalization of rock music culture in the Taiwanese society. However, such a process is still seriously understudied, despite relevant organizational characteristics are still playing key roles in regulating the recruitment of young people to the rock scene and how they learn to engage in musical activities up to the present day. Drawing on the data collected through interviews, archive research, and ethnography from the insiders' perspective, this paper aims to present the social contour of the rock scene at this phase and the impacts of relevant organizations on the development of rock culture in Taiwan. Inspired by the scene perspective in cultural studies, this paper contends that the historical background of the development of the popular music scene in the 1970s prepared the local condition for the redevelopment of the rock scene after the 1980s. That is to say, in the absence of performing opportunities and live venues, music shops, Yamaha band contests, available musical careers, and school extracurricular clubs constituted the main platforms that shaped how rock music culture evolved after the 1980s. Drawing on Howard Becker's theory of art worlds, I further illustrate how the organizational operation of these institutional platforms facilitated a series of musical conventions and a learning paradigm that defines the legitimate ways of playing rock instruments. Prima facie, the music scene depicted in this paper may seem less relevant to the rock culture in the present day-as characterized by the growing influence of indie music. However, the ethnographic findings in my study suggest that, through the operation of the pedagogical system composed of the music shops and school rock clubs at the very root level, this 'historical scene' has left a long-lasting legacy that still exerts substantial influences on young people's taste formation and musical practices, constituting an essential part of what makes Taiwanese rock culture unique and distinct from the other regions.