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題名 | 從音樂創作的觀點論吳盛智之《無緣》專輯=The Album Wu Yuan of Sheng-Zhi Wu: A Perspective of Music Composition |
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作者 | 蘇稚蘋; Su, Chih-pin; |
期刊 | 遠東學報 |
出版日期 | 20150400 |
卷期 | 32:1 2015.04[民104.04] |
頁次 | 頁23-42 |
分類號 | 913.6033 |
語文 | chi |
關鍵詞 | 吳盛智; 客家流行音樂; 無緣; Sheng-Zhi Wu; Hakka pop music; Wu Yuan; |
中文摘要 | 一般大眾提到臺灣流行音樂,想到的就是華語流行歌曲或是臺語流行歌曲,很少注意到客語流行歌曲,直到吳盛智發行了《無緣》專輯後,在客家族群中營造出一股客家民眾的凝聚力,啟發許多有使命感的客家年輕人開始注意這代表客家民族特色的藝術,並投入創作。然大部分學者在討論客家流行音樂時多是以社會學的角度探索這議題,鮮少以音樂創作結構與音樂社會學的觀點論之,如此實難深入瞭解此類音樂的本質及構成特色,因此引起筆者嘗試以此角度討論客家流行音樂的特色及對客家族群意識的影響。本文內容將從吳盛智發行了《無緣》的1980年代社會背景為引言,探討客家音樂在當時扮演與被期待的角色。再從音樂創作的特色討論《無緣》專輯與傳統客家音樂異同處,以瞭解何以此張專輯在客家流行音樂所造成關鍵性的影響,及弱勢族群之流行音樂對族群發展之關連性。 |
英文摘要 | Most people recognize the Taiwan pop music as those written with Mandarin and Taiwanese languages. In comparison, Hakka pop music was not paid much attention until the release of the album Wu Yuan of Sheng-Zhi Wu. This album concentrates the Hakka people and inspires the young generation to get involved in music composition. For Hakka pop music, most researches were done from a perspective of sociology. However, there is less literature analyzing the Hakka music using the musicology, specifically for methods of composition structure and sociology of music. Hence, the purpose of this paper is to analyze the characterization of Hakka pop music and its effects on the consciousness of Hakka people from a perspective of musicology. The paper starts with the description of social background while the album Wu Yuan of Sheng-Zhi Wu was released in 1980s, with an emphasis on what role the Hakka music had played and should play. The difference between the album Wu Yuan and the conventional Hakka music is compared in terms of characterization of music composition. With these analyses, the effects of this album on the Hakka pop music, as well as the relationship between the development of the minority and their music works, are recognized. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。