| dc.contributor | 傳播學院 | - |
| dc.creator (作者) | 黃俊銘 | - |
| dc.creator (作者) | Huang, Chun-Ming | - |
| dc.date (日期) | 2022-10 | - |
| dc.date.accessioned | 6-二月-2023 14:18:33 (UTC+8) | - |
| dc.date.available | 6-二月-2023 14:18:33 (UTC+8) | - |
| dc.date.issued (上傳時間) | 6-二月-2023 14:18:33 (UTC+8) | - |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/143285 | - |
| dc.description.abstract (摘要) | 本研究反思青年文化經常聚焦奇觀（spectacular）而忽略平常面向，藉「理論的重建與反思」與「經驗研究」，勾勒臺灣當前年輕人聆聽音樂的一些樣貌。從青年文化研究與社會學提出批判，提議以行動者解釋音樂聽眾──由關注「人如何受制社會結構」轉向「如何透過音樂做事」。經驗研究以19至22歲的臺灣年輕人為例，探討童年至今在家庭、各階段學校與社會裡的音樂實作。研究發現，音樂經驗與家庭、學校人群網絡、科技演變密不可分，非基於鑑賞，音樂是他們發展自我認同、社交的重要手段，亦是強化與隔離情緒的「自我科技」。受訪者有明顯成績中前段及中產階級特徵。本文盼建立愛好者為定位的中介社會學，以處理「平凡人如何經驗社會裡的音樂」，勾勒「美學方向」；藉日漸雜食與個人化樣貌，表意他們實質上沒有那麼「迷」或依附「品味」，應在行動裡界定聽眾如何感受音樂，而非憑社會來源觀察品味。本文總結，可視音樂為活動而非作品，音樂愛好者是中介研究的範疇，可為傳播受眾典範帶來反思。 | - |
| dc.description.abstract (摘要) | Reflecting on youth culture studies’ frequent focus on the spectacular rather than the mundane aspects of everyday life (Bennett, 2015), this study applies theoretical reconstruction and empirical research to sketch out some of the current profiles of young people in Taiwan. Traditionally, popular music research typically relies on cultural studies rather than sociological approaches (Bennett, 2008) and rarely involves discussions of music sociology in Taiwan particularly. On the other hand, with the impact of social change and media technology, the practice of cultural consumption and taste has moved far away from Bourdieu’s (1984) social hierarchy of ‘distinction’, bringing forth the phenomenon of cultural omnivorousness (Peterson & Kern, 1996; DiMaggio & Mukhtar, 2004). Youth culture is also not all about ‘resistance’ or reflection for the social class, but more about the complex interplay between self-identity, consumer sovereignty, and commerce. The ‘omnivore’ is a characteristic of today’s consumer society, with many young people switching frequently between mandopop, western rock, new folk, indie bands, and hip-hop, presenting a diverse and overlapping musical identity. Equally, they are not all obsessed fans nor are they experts or ‘devoted’ music lovers, yet few studies have delved into these ordinary experiences within the context of everyday life. | - |
| dc.format.extent | 142 bytes | - |
| dc.format.mimetype | text/html | - |
| dc.relation (關聯) | 新聞學研究, No.153, pp. 93-139 | - |
| dc.subject (關鍵詞) | 日常生活音樂; 青年文化; 阿多諾; 音樂社會學; 愛好者 | - |
| dc.subject (關鍵詞) | Adorno; Amateurs; Music and everyday life; Sociology of music; Youth culture | - |
| dc.title (題名) | 年輕人如何使用音樂？朝向愛好者的中介社會學 | - |
| dc.title (題名) | How Do Young People Use Music? Towards a Sociology of Mediation for Amateurs | - |
| dc.type (資料類型) | article | - |
| dc.identifier.doi (DOI) | 10.30386/MCR.202210.0018 | - |
| dc.doi.uri (DOI) | https://doi.org/10.30386/MCR.202210.0018 | - |
