國族認同流變下的民歌及其根源與路徑： 九十年代台灣與香港國中音樂教科書比較研究

Abstract

如何詮釋90年代台港國中音樂教科書內，民歌與兩地國族認同流變的關係？以往研究多偏重音樂用於認同建構之被動關係，而本文是以民歌來看兩地國族認同的轉變，是為被動的關係史，並以音樂學研究解構民歌作為認同政治的工具性。在釐清此年代政治與音樂課標的背景後，本文主要以兩個角度來檢視教科書中的近六百首民歌：第三章是以外國、中國與本土的分類來看90年代始與末民歌在兩地的消長，對應著「國族認同的流變」；第四章則按兩地政治現實，選取「不列顛群島」民歌、以及中國與台港所共有的「漢族」民歌，以其在教科書的再現，來追溯「民歌的根源與路徑」。兩個角度一是關注本土與中國的對立、一是著眼二者的交疊。如此「矛盾」的設計，前者為了要突顯90年代末兩地出現大量本土歌曲與認同意識的牽連，後者則以兩地相同民歌的版本進行比較，點出它們的根源與多重路徑，與官方知識系統所欲建構的國族認同的斷裂。此外，本文關注音樂被視為「閒科」卻被重用於認同政治之思想脈絡，然後觀察教科書中民歌與其介紹文字的不一致性。得以的詮釋近似於Žižek所謂的「矛盾是每種認同的內部狀態」：民歌分類中本土與漢族的矛盾、音樂（科）於國族認同與國家機器建設間功能輕重的矛盾、以及教科書中民歌與其介紹文字所呈現的矛盾。

How to interpret the relationship between folksongs and shifting national identifications in secondary school music textbooks of Taiwan and Hong Kong in the 1990s？Previous studies preferred a passive relation of music being used for identity construction. In contrast, this study observes the shifting of national identifications through folksongs, that is, the history of passive relations; furthermore, the instrumentality of folksong in identity politics is deconstructed by musicological research. After sorting out the political and curricular backgrounds of the period, this study uses two main perspectives to examine almost 600 folksongs in the textbooks: chapter 3 classifies folksongs into foreign, Chinese, and local, and observes their relative growth and decline at the beginning and the end of the 90s in the two regions, as a function of “shifting national identifications”; chapter 4 chooses according to the regions’ political realities folksongs of the British Isles and Han ethnic—which are shared by China, Taiwan and Hong Kong— as represented in the textbooks and traces their “origins and orbits”. While the first perspective concerns the opposition between the local and “China,” the second emphasizes their intersection. They seem to be contradictory in design, however, the former is to highlight the connection between the increase of local songs and the heightened identity consciousness of the two regions in the late 90s; the latter, by comparing the versions of the same folksongs in the two regions, is to point out the discrepancy between folksongs’ origins and orbits, and the construction of national identity intended by official knowledge. In addition, this study examines the ideological contexts for music to be considered a peripheral subject at school but an indispensable instrument in identity politics, and then observes the inconsistency between folksongs and their accompanying texts in the textbooks. All these may sum up to Žižek’s interpretation that “contradiction is an internal condition of every identity”: the contradiction in the classification of local and Han ethnic folksongs, the contradiction in the valuation of music (lesson) in the construction of national identity and the state apparatus, and the contradiction between folksongs and their accompanying text in textbooks.