臺灣博碩士論文加值系統

本論文是一個關係台北獨立搖滾音樂老將的音樂活動的人類學記事。在他們所屬的歷史與都市背景下去做描述，筆者首先說明本地老牌的獨立搖滾樂隊如何進入困境重重的音樂世界，其主要動機並非在於獲得主流的成功、名望或是財富。筆者接著處理本地獨立搖滾樂隊所處的社會文化背景與其生活軌跡，以便更好地去理解這些音樂經驗和感覺在他們生活中的作用。憑藉著這幾年的參與和觀察本地獨立搖滾音樂現場與一系列的正式訪談及表演裡，筆者提出，台北的獨立搖滾樂手尋求培養另類的存在模式，讓他們，在台北，得以脫離做為普通高校學生或白領上班族苛刻的日常現實。該詮釋表明本地獨立搖滾音樂及其樂手的獻身，能正面地被理解為是某種形式的社會文化抵抗。不順從、非循規蹈矩去生活的獨立搖滾樂手，也凸顯了極其重要的作用，他們致力於在地現場，為他們提供了手段和社會軌跡，尋找靈活的收入來源和強大的感官體驗，享受社會聯繫感和自我認同。

This thesis is an ethnographic account of the musical activities of Taipei’s veteran indie rock musicians. Following a description of these activities in their historical and urban context, I first show how the involvement of local veteran rockers in the difficult world of music is not primarily motivated by aspirations to mainstream success, fame and wealth. I then move on to look into the socio-cultural backgrounds and life trajectories of local veteran rockers so as to better understand the sense of these musical experiences and the role of music in their lives. Relying on several years of participant observation in the local indie rock scene and a series of formal interviews with performers, I propose that Taipei’s veteran indie rockers seek to cultivate an alternative mode of existence that enables them to disengage from the harsh daily realities of ordinary high school students and white-collar workers (shangban zu) in Taipei. This interpretation suggests that the commitment of local rockers to music and their bands can positively be understood as a form of socio-cultural resistance. It also highlights the paramount role of the musical activities in the non-conformist approach to life of veteran indie rockers, as their involvement in the local scene offers them means and social loci to find flexible sources of revenue and enjoy powerful sensory experiences, social connectedness, and a sense of self-identity.

Chapter 1 - Introduction _____ 1

1.1 - About the author and this research project _____ 1

1.2 - Motivations, objectives and literature review _____ 3

1.3 - Research area and methods ____ _ 13


Chapter 2 - A short history of Taipei’s indie rock music scene ____ 23

2.1 - Introduction ____ _ 23

2.2 - Taipei’s soundscape from the 1960s to the 1980s _ 27

2.3 - The emergence of Taipei’s indie rock scene in the 1980s and 90s _ 31

2.4 - The evolution of Taipei’s indie rock scene since 2000 _ 41

2.5 - Concluding remarks _ 48


Chapter 3 - Overview of the careers, features and musical activities of some veteran
bands and musicians of Taipei’s indie rock scene __ __ 50

3.1 - Introduction ____ _ 50

3.2 - Portrait of two representative bands of the local indie scene _ 52

3.2.1 - Black Summer Days – general presentation _ 52

3.2.2 - Black Summer Days – short history _ 55

3.2.3 - OverDose – general presentation _ 58

3.2.4 - OverDose – short history 60

3.2.5 - How these bands are representative of Taipei’s indie rock scene 66


3.3 General overview of the musical activities of local indie rock bands 72

3.3.1 - Practice sessions and practice rooms in Taipei’s indie rock scene 72

3.3.2 - Songwriting and creative approaches of local indie rock bands 80

3.3.3 - Local indie rock recordings 89

3.3.4 - Live houses and indie rock performances in Taipei 99

3.4 - Are the activities of Taipei’s indie rock bands about achieving mainstream popularity
and success? 120

3.5 - Concluding remarks 130


Chapter 4 - Musical activities of local indie rock musicians as the cornerstone
of an alternative mode of existence 132

4.1 - Introduction 132

4.2 - About the traditional Taiwanese family and the life of middle-class students
and shangban zu in Taipei 134

4.3 - Indie rock activities as an access to a unique set of sensory experiences, emotions and enjoyment and an alternative to the perceived monotony of high school, university
and full-time work 141
4.4 - Indie rock activities as a means to acquire the skills and opportunities to generate
income and find alternatives to the shangban way of life 154

4.5 - Indie rock activities as an access to means and environments that enable one to experience social connectedness 161

4.6 - Indie rock activities as a means of establishing and strengthening a distinctive and
adult self-identity as rock musicians and cultural elite 171

4.7 - Concluding remarks 186


Chapter 5 - Conclusion 191

References 197

Annex 1 - Timeline of Taipei’s indie rock scene – from the 1980s to 2000 203

Annex 2 - Timeline of Taipei’s indie rock scene – from 2000 to 2012 204

Annex 3 - The inherent technicality of music recording and the different types of recordings found in Taipei’s indie rock music scene 205

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