台灣極端金屬研究

Abstract

本文試圖釐清台灣極端金屬音樂的發展脈絡與歷史軌跡。藉由田野調查與參與觀查的方式，本研究盡量呈現樂手的生活風貌、音樂實踐與發展上的困難。本文嘗試與本地搖滾論述對話，藉由一個實際上在台灣相對不被論述重視的樂種，作者藉此探討搖滾樂在台灣發展的文化形構，以及極端金屬如何在這樣的條件下面對困境並走出自己的路。因此本文藉由探討裝扮在重金屬的意義、偏差的概念、音樂的挪用與再現以及台灣極端金屬在極端金屬全球化下的地位。由以上若干環節，本文作者試圖勾勒出台灣極端金屬一個大概的樣貌。

This paper aims to examine in the first place the developmental history of Taiwanese Extreme Metal. By adopting participant observation as his research method, this author explores the trajectory, stories, musical ideas and personal values of Extreme Metal players in Taiwan. The author begins by concluding the temporal origin of Extreme Metal as well as other related issues such as ideology of Rock, resistance and heterogeneity, influence of cultural industry and strategies of everyday life in the first chapter. The second chapter elaborates issues of drag and players’ performative strategies, with the discussion of performance in general ranging from staged performance to players’ daily life as an alternative kind of social performance, thus leading to a more comprehensive understanding of the magnitude of performance as mentioned by Victor Turner and Richard Schechner. The author goes on to expound the image of deviance imposed on players in the chapter three. By employing the theorists from Howard Becker, Emile Durkheim and Mary Douglas, the author concludes the pressure from educational system and academic inheritance of the study of Rock made the deviance formation possible. The fourth chapter discusses the players’ appropriation and representation of music. The author shows that the strategies of marketing and socio-economic background influence the players’ fame and future career. In fact, a well-designed plan is crucial for their future development. The author explores the role of technology in chapter five, arguing that not only technology is essential in making the Extreme Metal sound, it also stands at the very center of the Extreme Metal authenticity. In this regard, this author assumes that musical authenticity should be multiple rather than single because different types of music require different presentations in order to attain their aesthetic objectives.