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題名 創作、工作與自我：論台灣獨立樂團的另類生涯
From Creative Work to Creative Self: The Alternative Career of Indie Bands in Taiwan作者 邱厚文
Chiu, Hou-Wen貢獻者 高國魁
Kao, Kuo-Kuei
邱厚文
Chiu, Hou-Wen關鍵詞 獨立音樂
音樂場景
文化工作
另類生涯
新自由主義
indie band
music scene
cultural work
alternative career
neoliberalism日期 2020 上傳時間 2-九月-2020 12:44:17 (UTC+8) 摘要 2000年起，獨立樂團在台灣各地萌芽開花，至今已成為不容忽視的社會文化現象。然而，這群樂團人作為文化創作／工作者的樣貌和處境，至今仍有許多待解之處。因此，為更進一步理解台灣獨立樂團，本研究透過田野參與觀察和深度訪談的方式，接觸了四組共十位的獨立音樂人（及一位獨立樂迷），以嘗試回答下列提問：我們應該如何理解和評價台灣獨立樂團的生涯？更具體說，獨立樂團作為新興崛起的文化工作，是否體現了一種不同於資本主義邏輯的生活形式？從獨立樂團的創作、工作和自我等三個層面切入考察，本研究最終獲得以下發現：首先，獨立音樂作品的誕生與流變，既仰賴自主創作者的主體能力，亦要求樂風傳統和聲音技術等客體力量的支持。在主客體既合作又牽制的互動中降臨的創新，一方面帶有工藝生產的色彩，另方面駁斥文化工業的觀點。其次，獨立音樂人的生涯一方面由強調長期堅持、穩定經營的「跑馬拉松」心態主導，另方面則深深扎根在真誠友誼編織而成的獨立音樂場景中。這使獨立樂團事業得以抵抗新自由主義佈下的「夢想」陷阱，並體現一種跨越資本主義的文化工作理想。最後，音樂與創作者／表演者自我之間存在多層次的關係，具體表現為自我的表達、成長與增強，並在獨立音樂場景的支持下，以及創作和演出的過程中，引發如同自戀和自信的正向情緒。在此，我們可以看見一種異於新自由主義的，也可說是凸顯互惠原則的自我－社會關係。
Indie bands in Taiwan have been bourgeoning and flourishing as a conspicuous social-cultural phenomenon since 2000. However, there remains many unresolved questions with regard to the profiles and situations of indie band players who are supposed to be cultural creators/workers. This thesis utilizes the methods of participant observation and in-depth interview to analyze four indie bands (ten instrumentalists) and an indie music fan for the purpose of a deeper understanding of indie bands in Taiwan. We seek to answer the following three research questions: How should we grasp and assess the career paths of Taiwanese indie bands? More specifically, as an emergent form of cultural work, do indie bands embody a form of life alternative to the capitalist logic?By examining the aspects of creative work, career work, and the self, three research findings may be underlined in the study of indie bands. First all, the creation and transformation of indie musical works require not only subjective faculties of the autonomous creator, but also the support of objective forces such as different genre traditions and sound technologies. Musical innovation arrives at the collaborative and interlocking interactions between the subject and the object, demonstrating the characteristic of craft production whilst refuting the perspective of Culture Industry. Secondly, indie musicians have been pursuing their careers as a marathon. This lifestyle demands an insistent and endurable mentality of the longer term, and is deeply embedded within indie musical scenes made of authentic friendship. As a result, indie bands are able to resist the neoliberal trap of ‘realizing dreams’, and embody an ideal of cultural work beyond capitalist apparatuses.Thirdly, a multilevel relationship exists between creators/performers’ selves and their music. Music itself forms a soundscape for musical selves to express, grow and amplify themselves; in the meantime, sustained by indie music scenes, positive emotions such as self-love and self-confidence could be triggered in the processes of musical creation and performance. Herein we would discover a principle of reciprocity from the relationship between musicians’ selves and their society which is foreign to neoliberalism.參考文獻 何東洪，2004，〈搖滾樂文化的靠攏:「地社掛」Tone 的初探〉。論文發表於「文化研究年會」，台北：東吳大學社會學系，2004 年 1 月 3 日至 4 日。──，2016，〈獨立音樂的情感認同與危機:「地下社會」的生與死〉頁 138-145，收錄於何東洪、鄭慧華、羅悅全編，《造音翻土——戰後台灣聲響文化的探索》。台北：遠足文化、立方文化。林浩立，2005，〈流行化、地方化與想像：台灣嘻哈文化的形成〉。《人類與文化》 37: 7-28。洪頌茹，2010，《以樂迷觀點探討台灣獨立樂團與樂迷之亦迷亦友關係》。台北：世新大學傳播管理學系碩士論文。張世倫，2011，〈怎樣「反叛」，如何「抗議」？——試論「搖滾樂改變世界」的政治想像〉。《共誌》 1: 35-42。熊信淵，2017，《熱門、搖滾到民歌—臺灣青年的音樂世界(1950’s-1970’s)》。台北：國立台灣大學台灣文學研究所碩士論文。劉官維，2015，《獨立音樂是什麼：獨立音樂認同界線的生產與游移》。新竹：清華大學社會學研究所碩士論文。蕭長展、楊友仁，2014，〈初探台灣的議題動員取向演唱會：以「正義無敵」及「音樂・生命・大樹下」為例〉。《社會分析》 8: 117-149。蕭阿勤，2015，〈敘事分析〉頁 137-172，收錄於瞿海源、畢恆達、劉長萱、楊國樞編，《社會及行為科學研究法：質性研究法》。台北：東華書局。簡妙如，2005，〈台灣創作音樂的意義軌跡〉。《傳媒透視》五月號：10-12。──，2013，〈台灣獨立音樂的生產政治〉。《思想》 24: 101-121。Adorno, Theodor W., 2002, "On Popular Music." Pp. 437-69 in Essays on Music. Berkeley, California: University of California Press.Adorno, Theodor W. and Max Horkheimer著，林宏濤譯，2015，〈文化工業：作為群眾欺騙的啟蒙〉（Kulturindustrie. Aufklärung als Massenbetrug），頁155-210，收錄於《啟蒙的辯證：哲學的片簡》（Dialektik der Aufklärung: philosophische Fragmente）。台北：商周出版。Banks, Mark, 2012, “MacIntyre, Bourdieu and the practice of jazz.” Popular Music 31: 69-86.──，王志弘、徐苔玲、沈台訓譯，2015，《文化工作的政治》（The Politics of Cultural Work）。新北：群學。Banks, Mark, Rosalind Gill and Stephanie Taylor, 2015, “Introduction: cultural work, time and trajectory.” Pp. 1-15 in Theorizing Cultural Work: Labour, Continuity and Change in the Cultural and Creative Industries, edited by Mark Banks, Rosalind Gill and Stephanie Taylor. London: Routledge.Bell, Daniel著，高銛、王宏周、魏章玲譯，1995，《後工業社會的來臨》（The Coming of Post-Industrial Society）。台北：桂冠。Cohen, Sara, 1991, Rock Culture in Liverpool: Popular Music in the Making. Oxford: Clarendon Press.Davies, Matt, 2005, “Do It Yourself: Punk Rock and the Disalienation of International Relations.” Pp. 113-140 in Resounding International Relations: On Music, Culture, and Politics, edited by M. I. Franklin. New York: Palgrave Macmillan.du Gay, Paul, 1996, Consumption and Identity at Work. London: Sage.Finnegan, Ruth, 1989, The Hidden Musicians: Music-making in an English Town. Cambridge: Cambridge University Press.Florida, Richard, 2012, The Rise of the Creative Class. New York: Basic Books.Gibson, Chris, 2003, “Cultures at Work: Why ‘Culture’ Matters in Research on the ‘Cultural’ Industries.” Social & Cultural Geography 4: 201-215.Golding, Peter and Graham Murdock, 1991, “Culture, Communication and Political Economy.” Pp. 15-32 in Mass Media and Society, edited by James Curran and Michael Gurevitch. London: Edward Arnold.Halnon, Karen, 2006, “Heavy Metal Carnival and Dis-alienation: The Politics of Grotesque Realism.” Symbolic Interaction 29: 33-48.Han, Byung-Chul, 2015, The Burnout Society. United States: Stanford University Press.Hardt, Michael and Antonio Negri, 2001, Empire. United States: Harvard University Press.Hesmondhalgh, David著，廖珮君譯，2009，《文化產業分析》（The Cultural Industries）。台北：韋伯。Jian, Miaoju, 2018, “The Survival Struggle and Resistant Politics of a DIY Music Career in East Asia: Case Studies of China and Taiwan.” Cultural Sociology 12: 224-240.Kuang, Susan，2017，《斜槓青年：全球職涯新趨勢，迎接更有價值的多職人生》。台北：圓神。Lazarrato, Maurizio, 1996, “Immaterial Labor.” Pp. 133-147 in Radical Thought in Italy: A Potential Politics, edited by Paolo Virno and Michael Hardt. United States: the University of Minnesota.McRobbie, Jim, 1998, British Fashion Design: Rag Trade or Image Industry? London: Routledge.Marx, Karl, 1959, Economic and Philosophic Manuscripts of 1844. Moscow: Progress Publishers.Miège, Bernard, 1979, “The Cultural Commodity.” Media, Culture and Society 1: 297-311.O’Connor, Justin and Derek Wynne, 1996, “Introduction.” Pp. 1-14 in From the Margins to the Centre: Cultural Production and Consumption in the Post-Industrial City, edited by Justin O’Connor and Derek Wynne. United States: Ashgate.Peterson, Richard A. and Andy Bennett, 2004, “Introducing Music Scenes.” Pp. 1-15in Music Scenes: Local, Translocal, and Virtual, edited by Richard A. Peterson and Andy Bennett. United States of America: Vanderbilt University Press.Polanyi, Karl著，黃樹民譯，2020，《鉅變：當代政治、經濟的起源》（The Great Transformation: The Political and Economic Origins of Our Time）。台北：春山。Poole, Mark, 2010, “Songs, Stories and Selfhood: A Critical Humanist Study of Creativity and Identity on an Acoustic Music Scene.” Ph.D, Loughborough University.Ryan, Bill, 1992, Making Capital from Culture: The Corporate Form of Capitalist Cultural Production. Berlin: Walter de Gruyter.Scott, Allen J., 2000, The Cultural Economy of Cities. London: Sage.Seabrook, John著，威治譯，2017，《暢銷金曲製造機》（The Song Machine: Inside the Hit Factory）。新北：野人。Théberge, Paul著，蔡佩君、張志宇譯，〈插電：科技與通俗音樂〉（Pop, Rock and Interpretation），頁18-32，收錄於John Street、Will Straw、Simon Frith編，《劍橋大學搖滾與流行樂讀本》（The Cambridge Companion to Pop and Rock）。台北：商周。 描述 碩士
國立政治大學
社會學系
105254010資料來源 http://thesis.lib.nccu.edu.tw/record/#G0105254010 資料類型 thesis dc.contributor.advisor 高國魁 zh_TW dc.contributor.advisor Kao, Kuo-Kuei en_US dc.contributor.author (作者) 邱厚文 zh_TW dc.contributor.author (作者) Chiu, Hou-Wen en_US dc.creator (作者) 邱厚文 zh_TW dc.creator (作者) Chiu, Hou-Wen en_US dc.date (日期) 2020 en_US dc.date.accessioned 2-九月-2020 12:44:17 (UTC+8) - dc.date.available 2-九月-2020 12:44:17 (UTC+8) - dc.date.issued (上傳時間) 2-九月-2020 12:44:17 (UTC+8) - dc.identifier (其他 識別碼) G0105254010 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/131777 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 社會學系 zh_TW dc.description (描述) 105254010 zh_TW dc.description.abstract (摘要) 2000年起，獨立樂團在台灣各地萌芽開花，至今已成為不容忽視的社會文化現象。然而，這群樂團人作為文化創作／工作者的樣貌和處境，至今仍有許多待解之處。因此，為更進一步理解台灣獨立樂團，本研究透過田野參與觀察和深度訪談的方式，接觸了四組共十位的獨立音樂人（及一位獨立樂迷），以嘗試回答下列提問：我們應該如何理解和評價台灣獨立樂團的生涯？更具體說，獨立樂團作為新興崛起的文化工作，是否體現了一種不同於資本主義邏輯的生活形式？從獨立樂團的創作、工作和自我等三個層面切入考察，本研究最終獲得以下發現：首先，獨立音樂作品的誕生與流變，既仰賴自主創作者的主體能力，亦要求樂風傳統和聲音技術等客體力量的支持。在主客體既合作又牽制的互動中降臨的創新，一方面帶有工藝生產的色彩，另方面駁斥文化工業的觀點。其次，獨立音樂人的生涯一方面由強調長期堅持、穩定經營的「跑馬拉松」心態主導，另方面則深深扎根在真誠友誼編織而成的獨立音樂場景中。這使獨立樂團事業得以抵抗新自由主義佈下的「夢想」陷阱，並體現一種跨越資本主義的文化工作理想。最後，音樂與創作者／表演者自我之間存在多層次的關係，具體表現為自我的表達、成長與增強，並在獨立音樂場景的支持下，以及創作和演出的過程中，引發如同自戀和自信的正向情緒。在此，我們可以看見一種異於新自由主義的，也可說是凸顯互惠原則的自我－社會關係。 zh_TW dc.description.abstract (摘要) Indie bands in Taiwan have been bourgeoning and flourishing as a conspicuous social-cultural phenomenon since 2000. However, there remains many unresolved questions with regard to the profiles and situations of indie band players who are supposed to be cultural creators/workers. This thesis utilizes the methods of participant observation and in-depth interview to analyze four indie bands (ten instrumentalists) and an indie music fan for the purpose of a deeper understanding of indie bands in Taiwan. We seek to answer the following three research questions: How should we grasp and assess the career paths of Taiwanese indie bands? More specifically, as an emergent form of cultural work, do indie bands embody a form of life alternative to the capitalist logic?By examining the aspects of creative work, career work, and the self, three research findings may be underlined in the study of indie bands. First all, the creation and transformation of indie musical works require not only subjective faculties of the autonomous creator, but also the support of objective forces such as different genre traditions and sound technologies. Musical innovation arrives at the collaborative and interlocking interactions between the subject and the object, demonstrating the characteristic of craft production whilst refuting the perspective of Culture Industry. Secondly, indie musicians have been pursuing their careers as a marathon. This lifestyle demands an insistent and endurable mentality of the longer term, and is deeply embedded within indie musical scenes made of authentic friendship. As a result, indie bands are able to resist the neoliberal trap of ‘realizing dreams’, and embody an ideal of cultural work beyond capitalist apparatuses.Thirdly, a multilevel relationship exists between creators/performers’ selves and their music. Music itself forms a soundscape for musical selves to express, grow and amplify themselves; in the meantime, sustained by indie music scenes, positive emotions such as self-love and self-confidence could be triggered in the processes of musical creation and performance. Herein we would discover a principle of reciprocity from the relationship between musicians’ selves and their society which is foreign to neoliberalism. en_US dc.description.tableofcontents 壹、導論 1一、問題意識 3（一）資本主義轉型：文化創意產業及工作的興起 4（二）台灣獨立樂團：一個文化工作的在地案例 6（三）創作、工作與自我：台灣獨立樂團與當代資本主義 9二、理論與文獻回顧 11（一）文化工業觀點：批判與反思 12（二）論文化工作者：自我實現或自我剝削？ 17（三）探索音樂場景：音樂實作的文化意義 22（四）小結：獨立樂團的研究定位與深化 27三、研究設計：架構、對象與方法 28（一）研究架構 28（二）研究對象 29（三）研究方法 33貳、自主與創新：獨立音樂作品的生成 36一、主體論取徑：創作者實作的特徵與音樂自主性 37（一）掌控的主體 38（二）溝通的主體 42（三）論音樂自主 46（四）市場中自主 49二、客體論取徑：音樂結構主義與技術決定論 55（一）音樂結構主義？ 56（二）技術決定論？ 60三、整體論：創新與演出 66（一）論創新練習 66（二）論現場演出 71四、小結：再思文化工業 79參、工作與場景：獨立樂團的另類生涯 83一、樂團人群像：從上班族搖滾到音樂工作者 84（一）上班族搖滾 86（二）音樂工作者 93（三）跑馬拉松：樂團作為一種生活方式 108二、樂團人世界：論獨立音樂場景與友誼 111（一）共演與策展 112（二）「大人的成發」：一個場景的個案分析 116（三）「進入」音樂：演出作為異質實在 121三、小結：獨立樂團作為文化工作理想 125肆、音樂與自我：樂團人的自我表達、成長與增強 128一、音樂作為自我表達：個性與風格 129二、音樂作為自我成長與敘事 135三、從自戀到自信：音樂演出作為自我增強 142四、小結：新自由主義 vs. 獨立音樂場景，或自我－社會關係的另類可能 146伍、結論 150一、研究回顧 150（一）自主與創新：獨立音樂作品的生成 150（二）工作與場景：獨立樂團的另類生涯 151（三）音樂與自我：樂團人的自我表達、成長與增強 153（四）論「獨立」與「另類」：樂團中的時代精神 155二、研究限制與展望 156（一）極端個案的討論：專職樂團人與台灣當代龐克 156（二）樂迷與技術人員：不同場景成員的觀點 157（三）工作或者玩樂？對獨立樂團的基進探問 158參考書目 160 zh_TW dc.format.extent 2362861 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0105254010 en_US dc.subject (關鍵詞) 獨立音樂 zh_TW dc.subject (關鍵詞) 音樂場景 zh_TW dc.subject (關鍵詞) 文化工作 zh_TW dc.subject (關鍵詞) 另類生涯 zh_TW dc.subject (關鍵詞) 新自由主義 zh_TW dc.subject (關鍵詞) indie band en_US dc.subject (關鍵詞) music scene en_US dc.subject (關鍵詞) cultural work en_US dc.subject (關鍵詞) alternative career en_US dc.subject (關鍵詞) neoliberalism en_US dc.title (題名) 創作、工作與自我：論台灣獨立樂團的另類生涯 zh_TW dc.title (題名) From Creative Work to Creative Self: The Alternative Career of Indie Bands in Taiwan en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 何東洪，2004，〈搖滾樂文化的靠攏:「地社掛」Tone 的初探〉。論文發表於「文化研究年會」，台北：東吳大學社會學系，2004 年 1 月 3 日至 4 日。──，2016，〈獨立音樂的情感認同與危機:「地下社會」的生與死〉頁 138-145，收錄於何東洪、鄭慧華、羅悅全編，《造音翻土——戰後台灣聲響文化的探索》。台北：遠足文化、立方文化。林浩立，2005，〈流行化、地方化與想像：台灣嘻哈文化的形成〉。《人類與文化》 37: 7-28。洪頌茹，2010，《以樂迷觀點探討台灣獨立樂團與樂迷之亦迷亦友關係》。台北：世新大學傳播管理學系碩士論文。張世倫，2011，〈怎樣「反叛」，如何「抗議」？——試論「搖滾樂改變世界」的政治想像〉。《共誌》 1: 35-42。熊信淵，2017，《熱門、搖滾到民歌—臺灣青年的音樂世界(1950’s-1970’s)》。台北：國立台灣大學台灣文學研究所碩士論文。劉官維，2015，《獨立音樂是什麼：獨立音樂認同界線的生產與游移》。新竹：清華大學社會學研究所碩士論文。蕭長展、楊友仁，2014，〈初探台灣的議題動員取向演唱會：以「正義無敵」及「音樂・生命・大樹下」為例〉。《社會分析》 8: 117-149。蕭阿勤，2015，〈敘事分析〉頁 137-172，收錄於瞿海源、畢恆達、劉長萱、楊國樞編，《社會及行為科學研究法：質性研究法》。台北：東華書局。簡妙如，2005，〈台灣創作音樂的意義軌跡〉。《傳媒透視》五月號：10-12。──，2013，〈台灣獨立音樂的生產政治〉。《思想》 24: 101-121。Adorno, Theodor W., 2002, "On Popular Music." 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