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|Other Titles: ||Development of the social solicitude in Taiwan pop music|
|Authors: ||劉兆恩;Liu, Chao-en|
|Keywords: ||臺語;流行歌曲;社會關懷;臺灣歌謠;臺語歌曲;Taiwanese language;popular music;social consciousness;Taiwanese music;Taiwanese lyric music|
|Issue Date: ||2014-01-23 14:19:46 (UTC+8)|
This thesis mainly explores the reflection of the state of Taiwanese society through popular music sung in the Taiwanese language. While there is no shortage of music scholars who have proposed this topic over the years, the origin of this phenomena and the course of its development have yet to be clearly discerned. With this as its task, this paper takes a historical research perspective, the scope of its research spanning from 1932 to 2012, and in doing so attempts to reveal the development of a spirit of social concern in Taiwanese music. The historical content of this paper is divided into three periods: the Japanese colonization period, the post-war period of martial law, and post-martial law period.
Primarily, what is revealed in the Japanese colonization period is the foundation of a spirit of concern. What makes this period so remarkable and valuable is that even at the early onset of Taiwanese popular music, these socially conscious works could be created, establishing standards and models for the tradition of this spirit of concern.
With the arrival of the post-war period of martial law, in addition to continuing the tradition of the Japanese colonization period, the element of ‘Japanese songs with Taiwanese lyrics’ was incorporated. While many musicians during the time expressed a degree of criticism toward this, it cannot be denied Taiwanese music was still able to continue to reflect society through its reproduction of ‘Japanese songs with Taiwanese lyrics.’
Furthermore, the censorship of all realms of the arts by the government during the period of martial law is another feature of this time period. Through implementing policies directed at the arts, language, and banned songs, the government aided the development of arts that enhanced its authority and repressed all varieties of literature unfavorable to it. During this period, the spirit of social concern in Taiwanese music was a constant nuisance to the authorities and subjected to a large-scale assault.
These sources of adversity began to fade away with the end of the period of martial law. The opening of language rights following the post-martial law period and the onset and development of ‘non-mainstream music,’ the capabilities of socially conscious Taiwanese music set off, and the concern of this new generation of musicians for social issues could be clearly observed. The categories of the writing themes listed in this paper illuminate the extension and innovation in the tradition social concern by contemporary artists.
|Appears in Collections:||[中國文學學系暨研究所] 學位論文|
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