| 摘要: | 民國38年以前，南、北管以及歌仔戲、布袋戲等為台灣普遍流傳的演藝活動，而至戰後，國樂傳入台灣，在政府機構、有關單位大力推動之下，短短50年間，國樂教育納入正規、軍方教育體系、軍方國樂團的成立將國樂發展推向顛峰，國樂的觸角向社會各階層延伸，欣賞人口遍及台灣各地，相關活動發展蓬勃，直接取代其他台灣傳統藝術，躍升為台灣主流之一。
國樂在戰後的蓬勃發展，使人覺得台灣的音樂文化如同經濟一樣，有著相同的奇蹟，這一點令人不經莞爾。是什麼樣奇蹟似的力量，將這一個在台灣發展約50餘年的樂種躍升為國家的音樂或是國家的樂團，並有著健全發展的公設樂團、正規教育、以及數以百計的學校社團或是個人樂團。除了愛好國樂人士的驅力之外，國樂在台灣草創之初，如何受到政府青睞、扶植以及後來的茁壯，除了文化驅力之外，政治外力的介入是本文所要探討的重點，本文探討國樂非獨立於社會領域之外，公設樂團、軍中國樂、樂器展覽無一不與社會、經濟制度、社會權力結構關係深刻糾結。因此，將國樂放入國家機器運作的軌跡，歷史地考察影響國樂和發展的因素，並說明其影響。文中一定程度借用霍布斯邦（Eric J. Hobsbawm）、阿圖塞(Louis Althusser)的國家理論，本文所述之國家有兩種意涵，一為政府，藉此觀察政策的擬定、執行，以及政府機構的態度；再者，探討文化機構如何行使「文化霸權」，這部份從中華文化復興運動、教育部文化局推廣國樂、國樂教育三部份作為切入點。從本文的研究發現，戰後台灣國樂發展深受國家力量制約，而國家力量的強勢介入，所構築的文化是為特定目的客體化的文化，與變化生成的文化不同。這樣的文化建構是新興民族國家的普遍現象，他們將傳統社會的文化特質重新塑造了一個國家文化，並且將這種文化灌注到每個國民的身上。
戰後的台灣也經歷了一場文化建構，由於歷史情境的緣故，中華民國建國歷程，也深深影響了文化機構。於是在台灣塑造了一個傳統中國文化的正統觀念，透過國民教育等機制，將國家的文化意識及於全體國民，塑造出有利於符合國家意識的藝術文化，國樂也受到該環境的影響而成長、茁壯，這個正是本文所要探討的面向。
Before 1949, Peiguan and Nanguan Music, Taiwanese Opera, traditional puppet show were common theatrical activities in Taiwan. After Chinese civil war, the traditional Chinese music had been introduced into Taiwan. In the active promotion by government agencies and relevant organizations, education on traditional Chinese music had been incorporated into regular as well military education systems in just 50 years. The establishment of government-sponsored and military traditional Chinese music troupes had pushed the development of such music to a peak. The reach of such music had extended toward all levels of the society, with audience population covering all over Taiwan. Relevant activities was also thriving, directly replacing other traditional art forms and becoming as one of the main art forms in Taiwan.
The prosperous development of traditional Chinese music after the civil war had left people with the impression that like economic development, Taiwan’s musical culture had developed into a miracle. This had made people feel delighted with a laugh. What miracle forces had enabled a musical art form developed for more than 50 years to become a national music art form or national music troupes, with sound government-sponsored music troupes, regular education, and hundreds of school musical societies or private music groups. In addition to the encouragement of traditional Chinese music lovers, this article explored on how external political forces, in addition to cultural driving forces, had been involved in the prosperous development of this music art form with government support and assistance when Taiwan was in an initial stage of development. This article also explored on the issues that traditional Chinese music was not independent from society and that government-sponsored and military musical troupes and exhibition of musical instruments were deeply connected with social and economic systems and connections in social power structure. So this article had placed traditional Chinese music in the orbit of the working of national mechanism and had examined factors influencing this music art form and its development from a historical perspective and explained their effects. In this article National Theory presented by Eric J. Hobsbawm and Louis Althusser had been applied. The nation here depicted had two different definitions. One was the government, whereby one could observe the formulation of a policy and its execution and the attitude of government agencies. The other is the exploration on how to implement "cultural hegemony" by cultural organizations. This could be described with such big events as the China Cultural Renaissance and the promotion of traditional Chinese music and education of such music by the Ministry of Education and Bureau of Cultural Affairs respectively. This research had discovered that the development of Taiwan’s traditional Chinese music had been confined by national power. The culture molded under the influence of national power was a guested culture with special purposes, which was different from culture developed in course of change. This kind of cultural structure was a common phenomenon in newly developing ethnic countries. They had molded a national culture with cultural characteristics of traditional society and had left the mark on every citizen.
After civil war Taiwan had witnessed a cultural restructuring. Because of historical background, the process of nation building of the Republic of China had deeply influenced cultural organizations. So an orthodox ideology of traditional Chinese culture had been shaped in Taiwan. Through such mechanisms as compulsory education, cultural ideology of a nation had been planted in all citizens with the concept of citizenship, instilling citizens with orthodox Chinese culture of music, and traditional Chinese music had developed and become more prevalent. This is the facet which this article would like to explore. |
