臺灣博碩士論文加值系統

台灣由於長久受到多個殖民政權統治，它已慣於透過各種文化實踐與體制向權力抵抗、協商或將其吸納，至今，仍不斷創造認可與同質性的危機，且層化型式間的衝突也依然存在。本文嘗試追溯某些將西方電子舞曲構連至台灣文化型式的權威論述，探討歷時性的叢結（國際性、國族性與台客）在今日台灣日常社會的作用。

華裔美籍DJ兼製作人Jerry扮演策略性形塑台灣流行音樂(1993年後)的關鍵性角色，某種被認為是”現代/令人興奮”的西方舞曲被使用並構連到台灣建制化的價值觀。在這挪用與構連的過程中，浮現出一種新的身體理解、台灣認同、以及參與型態。透過回顧DJ Jerry與其他藝人合作的經歷、音樂創新和風波不斷的演藝事業，本文將闡明歷時以來持續變化且不同型式的權威表現，並觀察幾種隨之產生的新音樂實踐：台灣嘻哈與電子音樂、流行舞曲、台客電音、新興的展演/儀式類型—電音三太子。

Taiwan, as a result of a long history of multiple colonial rules, is very familiar with the resistance, imposition and negotiation of power as it is assimilated through various cultural practices and institutions. Creating a crisis of recognition and homogeneity, stratified forms of similar conflict remain today. My thesis seeks to examine the current effects of these historical constellations (cosmopolitan, national and ‘taike’) on daily Taiwanese society, by following the flow of authoritative voices as they articulate western (Anglophone) electronic dance-music practices into Taiwanese modern forms.

An American-born-Chinese DJ/producer, DJ Jerry has been crucial for the strategic shaping of Taiwanese popular musics (1993-) so that the perceived ‘modern/exciting’ aspects of western dance-music can be utilized and articulated for Taiwan’s institutional alignments. In this process of appropriation and articulation, new understandings of the body, Taiwanese identity, and forms of participation emerge. An examination of DJ Jerry’s collaborations, musical innovations and controversial career illumine the constant fluctuation and expression of diverse forms of authority over time and provide insight into the ways in which ‘new’ musical practices emerge: Taiwanese hip-hop and electronic music, popular dance music, taike techno, and the emergent performance/ritual genre of Dian-yin San Tai-zi (Techno Dancing God).

Chinese Abstract…………………………………………………I
Abstract………………………………………………………………II　
Table of Contents…………………………………………………III
Table of Figures……………………………………………………VI
Table of Musical Representations…………………………VII

Chapter 1……………………… 1
1 Introduction………………………1
1.1 Motive and Target……………………… 1
1.2 Literature……………………… 3
1.3 Content and Scope of Research………………… 9
1.4 Theoretical Framework and Methodology……… 11

Chapter 2……………………… 20
2 Crisis of Recognition……………………… 20
2.1 The Great Divide-Location, Language, and Rule……………21
2.2 MTV, Cosmopolitanism and the Dance-body…… 25

Chapter 3…… 27
3 The LA Boyz: Cosmopolitan Subjectivity and Participation…… 27
3.1 Defining Dance-Music Music and production: 1992, the year of “Jump”…… 27
3.2 The LA Boyz…… 30
3.3 ‘Pop’ music production and consumption strategies: The Chorus, Verse and Break. ……32
3.4 Tools of the DJ-producer and dance-rhythm organization ……43
3.5 The All-important ‘Image’ and dance participations. ……46

Chapter 4 ……49
4 “D.J. means Dirty Jerry”…… 49
4.1 Niche market, Rock Records and Jutoupi. ……49
4.2 “Obasan” ……52
4.3 Perceived Deviancy and losing face ……59

Chapter 5………… 62
5 Consuming the Nation………… 62
5.1 Consuming, the ‘model child’…… 63
5.2 Ambiguity and the inscription of meaning- production systems…… 70
5.3 Chorus B: synchronizing young bodies, sounding ‘delicious’ and ‘new’…… 74

Chapter 6………… 80
6 The Over(and Under)whelming ‘Fringe’…… 80
6.1 The Shining Three Sisters, and the articulation of Taimei…… 85
6.2 Vulgarity, Obscenity, and the Rebel…… 87

Chapter 7…… 95
7 From the Popular Space of ‘Taike Rock’ to the Temple. ……95
7.1 Reformist Narrative…… 98
7.2 “Fire”…… 102
7.3 Taike Dance…… 109

Chapter 8………… 117
8 A National Genre ……117
8.1 San Tai-zi the pop star.…… 119
8.2 Interviewing SanTaizi. ‘bwa bwei’ (掷筊)…… 125

Chapter 9…… 129
9 Polarized Articulation…… 129
9.1 A journey from the outside in…… 132
9.2 A place for everything and everything in its space ……132
9.3 Final Thoughts…… 134

Bibliography...………………………………………………….136

Appendix of Audio and Video Materials…………………………141

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