意想國樂、風華再現：國樂在臺灣戰後初期的另類現代情境（1940年代中期至1960年代）

Abstract

1945年臺灣面臨政權轉移，臺灣人民開始接收大量來自中國大陸的表演藝術。當時國樂以文化交流的名義，在臺舉辦國樂演奏會。國共內戰後，國民政府撤守臺灣，中國大陸一些國樂家離開他們的家鄉，隨政府來到這未知島嶼上。來臺後，因臺灣的國樂團體沒有共識，國樂家考慮為凝聚各地國樂力量，進而創立「中華國樂會」。此會也配合政府「反共抗俄」的文化政策，給予國樂新的文化與政治意義。國樂家的努力，讓國樂在臺灣迅速發展，且獲得官方肯定。1967年國民政府推動「中華文化復興運動」來抵制中國大陸的「文化大革命」，國樂成為其中華文化合法性與正統性的代表之一。 本論文聚焦在臺灣戰後初期（1940年代中期至1960年代），國樂的音樂事件、國樂家與機構之間的關係。首先，收集與分析歷史資料，建構此時期的歷史事件與歷史結構。第二，分析國樂家書寫和國樂機構出版的論述與公開出版品，了解他們的音樂實踐與音樂的「過去」。國樂家的「慣習」不僅鞏固其社會位置，並且再現美學上與政治上的正統性。此外，透過他們對家鄉與自身過去經驗，重建國樂於臺灣，挪用國樂來喚起文化中國與其音樂風華的愁舊情感。最後，採用「另類現代情境」的觀點，說明他們的行動與選擇是一種對當下的反思，他們糾纏於斷裂時間與空間中，不僅想像與創造現代化的國樂，亦連結國樂的「過去」，強調其精神層面，來喚起國族情感與文化認同。

When Taiwan’s regime changed from Japanese colonial government into KMT in 1945, people encountered a number of performing cultures from the mainland China. Guoyue (lit. national music) concerts usually took place in the name of cultural exchange before the KMT retreated to Taiwan in 1949. After the Chinese Civil War, some guoyue elites went away their home and followed with the KMT government to the unfamiliar island. Because the definitions of guoyue were so diverse that some of groups had nothing in common, some of the elites considered that guoyue ought to be reconstructed in Taiwan. They initiated establishing official institution “the Chinese Guoyue Society” (CGS) and coordinated the cultural policy for anti-communism, giving guoyue newly cultural and political meanings. For their endeavor, guoyue developed rapidly and acquired the government’s approval. In 1967, the Taiwanese government proclaimed the Chinese Cultural Renaissance Movement, in which guoyue was utilized to claim the legitimacy of Chinese cultural heritage to oppose the Cultural Revolution then taking place in mainland China. This thesis focuses on the musical event, guoyue elites, and guoyue institutions in early postwar Taiwan (the mid-1940s to the 1960s). It firstly collects and analyzes historical materials to construct the historical event and historical structure. Secondly, it analyzes some discourses and publications both of which were written by the elites and published by CGS to understand their musical practice and their musical “past.” The guoyue elites’ “habitus” not only consolidated their social position but also represented their aesthetic and political legitimacy. Furthermore, they recalled their home and past to reconstruct guoyue in Taiwan, and appropriated guoyue to evoke the nostalgia of the “Cultural-China” and its musical prosperity. Finally, drawn on an idea of “alternative modernities,” the thesis sheds light on the guoyue elites’ actions and choices were reflective of the present. They entangled in the rupture of time and space, not only imaging and creating modernized guoyue, but also suturing the “past” of guoyue and underlining its spirit to evoke national sentiment and cultural identity.