台灣女性音樂家陳信貞1930至70年代的教學生涯

Abstract

本篇論文以台灣女性音樂家陳信貞(1910-1999)為研究對象，過去很少討論到女性音樂家因背景的不同所造成的差異，身為台灣女性音樂家之一，陳信貞對於西方音樂的學習受長老教會影響極大，她未曾留學，乃教會培育出的女性本土音樂家代表。本文一方面藉由史料及文獻的探索，勾勒出台灣在光復之前女子教育及音樂教育的發展，另一方面檢視陳信貞因未出國在音樂教學上表現的特殊性。研究分為三部份：一、台中婦女鋼琴研究會(1932-1935)。二、台南時代(1935-1946)。三、台中女中(1946-1974)。研究結果顯示，陳信貞在教學歷程和求職過程中有一些不同於同輩音樂家們的事蹟：陳信貞光復之前成立的私人鋼琴研究會乃同一時期台灣音樂家的創舉，不只轉換了當時鋼琴教學實踐及學習的場域，成果發表會上也呈現了她與其他音樂家因背景不同所造成的差異；進入台中女中以後，更將教會學校的西式音樂教育傳遞至一般學校體系中。陳信貞雖能與台灣早期留學歸國的音樂家們一同活躍於當時的音樂圈，但是因為沒有留學，很早就進入音樂教學的領域，成為光復之前唯一橫跨個別、私人團體及學校教學的台灣女性音樂家。

The contribution of Western classical musicians in Taiwan’s modern music history has been well documented. However, the different careers between locally trained musicians and those who received foreign educations have not been investigated in details. Hsin-Chen Chen (1910–1999) was the only among the best-known early female musicians in Taiwan, who learned Western classical music from the local Presbyterian Church education. Chen’s musical career during the 1930s through the 70s can be divided into three periods: 1. The period of Taichung Women’s Piano Academy (1932-1935). 2. The period of Tainan (1935-1946) 3. The period of Taichung Girls’ Senior High School (1946-1974) By analyzing historical documents and interviews of Chen’s relatives and students, this thesis shows that Hsin-Chen Chen demonstrates quite different career paths from her fellow female musicians active in the first half of the 20th century. First of all, the private piano academy established by Hsin-Chen Chen was a pioneering institution that later became a common practice in Taiwan. She also introduced pedagogical methods learned from the Presbyterian education into school teaching. In the mean time, Chen performed actively among musicians returned from abroad. It turns out that Chen was the first piano teacher in Taiwan whose teaching career crossed over individual teaching, private institution, and school education during the first half of the 20th century.