在你的生活經驗中，有沒有這樣的朋友--熱愛搖滾樂，視之為在充斥著靡靡之音的生活世界中，唯一能讓他們感動並激發情感力量的音樂形態，對何謂”搖滾精神”有一套能侃侃而談的見解，還會不時向你推薦他/她認為經典的樂團或歌曲，並不厭其煩的向你解釋歌曲或專輯的意涵。他/她們有一群同樣愛好搖滾樂的朋友，不時會聚在一起交流音樂的資訊，有時會「揪團」一起去看他們心中的「天團」表演，甚至進一步組樂團搞band。搖滾樂對他們而言，超越了娛樂與休閒的功能，是一種生活風格與生命態度的展現，乃至於牽引著他們以抗拒規範、拒絕盲從、凸顯歧異的方式進行生活實踐？你有這樣的朋友嗎？或者，你就是其中之一？
許多音樂社會學研究都嘗試探討上述這些搖滾樂的文化現象，發掘其中的社會學意涵，例如次文化理論主張搖滾樂迷有主動創造文化的能力，他們挪用或改造既有的音樂元素，結合自己的文化背景與生活經驗，創造能凝聚認同的音樂風格與意識型態，讓受到壓抑、邊緣化的群體有機會開展異質的論述、文化形式與抵抗空間。雷鬼樂、納粹搖滾(Nazi Rock)與龐克等，都是次文化理論所彰顯的重要範例。又如Grossberg(1984)提出「搖滾機器(rock apparatus)」與「情感同盟(affective alliance)」的思路，討論搖滾樂如何在樂手、商業機制、樂迷等多方力量的共構過程中，形成一股屬於搖滾社群的情感力量，不斷驅動搖滾場域進行具有社會意義的文化生產，其所蘊含的培力效果，如何使得對搖滾樂的文化認同之能夠進一步轉化為行動的力量，在現代社會中開展異質文化抵抗的動態？
如同Grossberg所言：「情感培力不保證抗爭、甚至是生存，但它確實提供了生存、抗爭所必要的『能源』」，縱使搖滾樂所開展的文化與意識形態對熱愛此種音樂的人們產生了啟蒙、引導的作用，但是，是什麼驅動著搖滾樂的場域裡不斷發生具有抵抗性、顛覆性與創造性的文化及社會行動?
放在學術研究的脈絡下，「搖滾樂社會學」、「音樂社會學」是國內外許多社會系都有開設的文化社會學領域課程，授課者過去有二十餘年的創作樂團玩團經驗，參與另翼的音樂實踐行動，目前除擔任學校搖研社的指導老師，也經營一個成立不久的樂團，採取的是「直接加入法」的研究法。本課程將在既有的社會學「外部分析」基礎上，引入「音樂學(musicology)」與樂團實作知識，使用樂器進行「經典樂曲實作教學」，希望協助參與者進入音樂的「內部分析」，從而增進對搖滾樂的理解，並透過「空間」、「音樂場景(music scene)」、「行動主義(activism)」等不同分析視角，有系統地探討跨文化的搖滾樂社會意義，進一步探究鑲嵌在本土的歷史-社會脈絡中，由搖滾音樂開啟的社會行動、文化政治及情感連帶。
本課程為社會系與通識中心雙掛，歡迎對音樂有興趣的大一到大四的同學選修，讓我們一起聽音樂、評音樂、參加活動，探索玩團、辦活動以及「音樂作為一種志業」的新意，希望大家能夠從課堂中得到收穫與樂趣。In your life experience, do you have such friends - passionate and joy, and think that in the life world filled with slutty, the only musical form that can make them move and stimulate emotional power, has a set of eloquent explanations for "sweeping spirit", and will recommend to you the classic group or songs he/she thinks is not a clever explanation of the meaning of songs or albums to you. They have a group of friends who love to have fun and enjoy music. They will gather together to exchange music information from time to time. Sometimes they will "raise the group" together to watch the "sky group" performance in their hearts, and even further band together. For them, the function of shaking transcends entertainment and leisure, is it a manifestation of life style and life attitude, and even leads them to live in a way that resists rules, refuses blindness, and highlights differences? Do you have friends like this? Or, you are one of them?
Many music social studies have tried to explore the above cultural phenomena of swaying and explore the social implications in it. For example, subcultural theory advocates swaying fans have the ability to actively create culture. They approve or transform existing music elements, combine their cultural background and life experiences, and create music styles and conscious patterns that can condense the recognition, so that the suppressed and edged groups have the opportunity to display different arguments, cultural forms and resistance spaces. Reggae, Nazi Rock and Roc are all important examples that are highlighted by subcultural theory. For example, Grossberg (1984) proposed the "rock arrangement" and the "affective alliance" "Alliance" discusses how to form an emotional force in the process of the communist, business mechanism, and music fans, etc., forming an emotional force that belongs to the community, constantly driving the cultural production of socially meaning in the field of shaking. How can the cultural recognition of shaking in shaking further transform into a force of action and develop the dynamic of cultural resistance in modern society?
As Grossberg said, "Emotional cultivation does not guarantee resistance, or even survival, but it does provide the necessary 'energy' for survival and resistance", which makes the culture and conscious form developed by the storm have an inspiring and guiding effect on those who love this kind of music. However, what drives the storm of resistance, overwhelming and creative cultural and social actions happen continuously in the storm of the storm?
Under the framework of academic research, "Shake Society" and "Music Society" are cultural and social courses that many social departments at home and abroad have opened. The teachers have had over 20 years of creative music group experience and participate in the other wing of music practice. Currently, in addition to serving as the instructor of the school's research club, they also run a music group that has been established shortly, adopting the research method of "direct joining method". This course will introduce "musicology" and music group practice knowledge based on the existing social "external analysis" and use music tools to perform "classic music practice teaching". It hopes to help participants enter the "internal analysis" of music, thereby increasing their understanding of music, and through "space" and "music scenes (music)" Different analytical perspectives such as scene) and "activism" systematically explore the cross-cultural social meaning of swaying, and further explore the social movements, cultural politics and emotions embedded in the local history-social forces, and are led by swaying music.
This course is a dual-chair between the Social Department and the Communication Center. We welcome freshmen to choose from freshmen who are interested in music, so that we can listen to music, review music, participate in activities, explore the new ideas of playing groups, organizing activities, and "music as a vocation". We hope that everyone can get harvest and fun from the class.
教科書
Bennett, A.(2001)Cultures of Popular Music.孫憶南譯(2004)《流行音樂的文化》，台北：書林。
何東洪、鄭慧華、羅悅全等編著(2015)《造音翻土：戰後台灣聲響文化的探索》，台北：遠足文化、立方文化/立方計劃空間。
陳美寰(2016) 《音樂祭的在地實踐－蚵寮小搖滾與南吼音樂季》，p.23-106，臺灣大學建築與城鄉研究所碩士論文。(電子檔)
謝碩元(2018)從直走咖啡到東亞大笨蛋－一個另翼／安那其行動社群的浮現？輔仁大學心理學研究所碩士論文。(電子檔)
馬詩瑜(2013)台灣搖滾樂反抗論述的音樂場景分析：Live House 音樂展演空間、社會運動、音樂祭，台灣大學地理環境資源學系碩士論文。(電子檔)
鄭閔文(2018)21世紀的音樂與社會運動：從樂生到太陽花，政治大學新聞學研究所碩士論文。(電子檔)
Textbook
Bennett, A. (2001) Cultures of Popular Music. Sun Jingnan Lu (2004) Culture of Popular Music, Taipei: Book Lin.
He Donghong, Zheng Huihua, Luo Qingquan and others wrote (2015) "Soundmaking and Soil Transformation: Exploration of Taiwan's Sound Culture in Later War", Taipei: Far-focus Culture, Cube Culture/Cube Planning Space.
Chen Meihuan (2016) "The In-Land of Music Festival - The Song of the Oilei Xiaozhu and Nanhou Music Season", p.23-106, Proficient essay from the Architecture and Chengzhen Research Institute of Taiwan University. (Electronic file)
Xie Xuyuan (2018) Go straight from coffee to the big fool in East Asia - a different wing/the appearance of an Anachi mobile community? Proficiency essays from the Institute of Psychology, Furen University. (Electronic file)
Ma Fanyu (2013) Analysis of music scenes of Taiwan's slam rebellion: Live House Music exhibition space, social sports, music festival, and scholarly essays from the Department of Geography and Environment Resources at Taiwan University. (Electronic file)
Zheng Gongwen (2018) Music and Social Sports in the 21st Century: From Pleasant to Sunflower, Proficient essay from the Institute of News from the University of Political Science. (Electronic file)
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 課堂出席參與討論課堂出席參與討論 Class attendance and discussion |
40 | 主要視出席率及提問、回答問題積極度 |
| 個人書面報告個人書面報告 Personal letter report |
60 | 閱讀Memo10%；音樂評論Memo10%； 期中報告20%；期末報告20%。 |
