臺灣博碩士論文加值系統

此研究擴大對現代台灣街頭音樂的知識，並提供街頭樂手以及城市裡街頭藝人文化活動的相關資料。研究介紹當地街頭樂手的社會印象，包括他們的音樂活動、認同感與族群感，以及社會在不同層面對街頭藝人的印象。
街頭音樂可說是「地方創生」；街頭樂手將公共空間變成暫時的舞台。不過這些公共場所呈現不同的張力與權力關係。街頭樂手爭鬥，試著在自己的藝術表現與其他因素妥協。筆者討論街頭樂手的族群感，試著回答他們之間的關係如何，他們如何通過即興表演交換經驗。除此之外，筆者討論街頭樂手的認同感，自我實現及形象塑造。目前在台灣，街頭音樂與某種音樂類別或文化無直接的關係。因此街頭樂手的認同感不由這些因素影響到，而是受社會因素之影響。研究顯示街頭樂手常常決定在街頭表演，是因為預先已存在對社會的態度，現代生活方式以及主流文化。此部分主要討論街頭音樂的內部層面。
人在本質上是社會性的。街頭樂手不但是獨立的個體，而且也是社會的一部分，所以到某一個程度，接受社會的規則。妥協問題呈現街頭藝術重要的一方面，就是宏觀與微觀層面的權力關係。街頭樂手常常面對他們需要放棄自己原來想法或藝術表現的情況。參加政府舉行執照考試的街頭樂手，需要接受政府的規定，為了合法表演的空間。就算不接受，他們還是被警察管理。有時發生合法表演街頭藝人與住在附近人中間的矛盾。街頭藝人也依賴觀眾，而且常常隨著觀眾的喜愛，調整自己表演的節目。街頭藝人也受到家人的壓力，顯示長輩/父母與前輩/孩子的關係。例子顯示權力關係也存在在街頭藝人中間。
許多街頭樂手認為自己屬於「非主流」，而且反對主流。這是文化、社會、家庭與政府給街頭樂手的規範與期盼，以及他們自己的生活方式，理想與追求真實之間的衝突。此衝突造成不同的矛盾與爭鬥，而它們使得街頭樂手追求對話以及做出讓步，或者有時導致衝突。做出讓步對不少藝人而言，引起焦慮或不公正的感覺。不過，也讓他們找到平衡點。
但不是所有街頭樂手都是被動的。他們常常以自己的熱情與奉獻精神，在全球化世界與主流文化中定義自己，且找到屬於自己的地方。許多藝人想要抵制實用主義及社會或家庭的意見。他們一直在公共空間表演，常常違反著政府規定，為藝術而藝術。

This research broadens understanding of modern street music in Taiwan, as well as provide new information on street musicians and this part of cultural activities in the city. It presents local buskers'' portrait, which includes their musical activities, sense of identity and community, as well as the way they are perceived by the society on its different layers.
Busking can be described as a “place-making” when street musicians turn the public space into a temporary stage. However, these public places reveal different tensions and power relations. Street musician struggle with them, trying to find a compromise between their expression of art and other factors. The author discusses the sense of community of street musicians, finding out what kind of bonds exists between them and how do they mutually exchange experience in the act of improvised performances. Besides, the author discusses their individual sense of identity, self-realization, and image-building. Nowadays, in Taiwan street music has no direct connotations with a specific music genre or culture. Busker identity is constructed not only through these factors but through social factors. As the research indicates, buskers often decide to perform on the streets because of pre-existing attitude toward the society, modern lifestyle and mainstream culture. This part provides insight into the internal dimensions of busking.
Humans are by nature social beings, which means that nobody functions and exists independently. Buskers being not only individuals but also being a part of the society must conform to its norms. The issue of negotiations reveals an important aspect of street art, which is the power relationships on macro and micro levels. Buskers often face situations, when they must give up some of their autonomy to others. Buskers who attend the governmental examination, agree to be bound by the rules which government imposed on them and to obey them in exchange for a legal place for their performance. If they do not accept these rules, they are still under police jurisdiction. Sometimes, there are tensions between buskers who perform legally and citizens who live in the neighborhood. Buskers are also dependent on the audience and often adjust their image and repertoire to their needs. Artists are also not free from the family pressure, which shows the clear elderly/parents – youth/children dependence. Examples have shown also, that there exist power structures also among buskers.
Many buskers perceive themselves as belonging to the “alternative” and being against what is mainstream. It is the clash between norms, rules, explicit and silent expectation imposed on them by culture, society, families and the government, and their own lifestyle, ideals and seek for the authenticity. This clash creates different tensions and struggles, which resolve into searching for a dialogue and making compromises, or – much less often – into conflicts. Compromises are often laced with anxiety or feeling of injustice. However, they help also buskers to find a balance.
Street musicians are not always passive. They often use their passion and dedication to define themselves and find an own place in the globalized world of consumption and within the dominant or mainstream culture. Many of them try to resist the pragmatism and ignore society''s or family''s opinions, still performing in public spaces – often also against the governmental rules – an art for an art (為藝術而藝術).

TABLE OF CONTENTS

LIST OF FIGURES…………………………………………………………………......ix
LIST OF TABLES AND CHARTS……………………………………………………...ix
LIST OF AUDIO-VISUAL ATTACHMENTS………………………………………......x
LIST OF APPENDICES AND SUPPLEMENTARY DATA FILE...…………………....xi

INTRODUCTION

I. Research Objective …………………………………………………………….1
II. Related Literature Review………………………………………………….…3
III. Analytical concepts and thematic issues……………………………………...5
IV. Methodology…………………………………………………………………8

CHAPTER I: STREET MUSIC IN TAIPEI AND NEW TAIPEI CITY: DEFINITION, REGULATION, REPERTOIRES………………………………………………………12

1.1 What is street music/街頭音樂? ……………………………………………13
1.2 Research sites……………………………………………………………….19
1.3 Street art under the governmental control…………………………………...23
1.4 Examination system from the perspective of street musicians………………30
1.5 Repertoire…………………………………………………………………...34

CHAPTER II: EVERYWHERE IS MY STAGE: COMMUNITY, IDENTITY AND PERFORMING TOGETHER………………………………………………………..…38

2.1 “We are one big family” …………………………………………………….39
2.2 Performing together…………………………………………………………49
2.3 Unwritten “community rules” ………………………………………………55
2.4 Alone together………………………………………………………………58

CHAPTER III: SOCIAL PORTRAITS: PUBLIC SUPPORT VERSUS HIDDEN TENSIONS……………………………………………………………………………..69

3.1 Citizens and audience……………………………………………………….70
3.2 Family and Taiwanese values……………………………………………….78
3.3 The image of buskers in the mainstream media……………………………..83

CONCLUSIONS……………………………………………………………………….89
REFERENCE MATERIALS…………………………………………………………...94
APPENDICES………………………………………………………………………….99

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