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 a friend who loves rock music and regards it as the only form of music that can move them and inspire emotional power in a world full of crazy music? He/she has a eloquent view on what "rock spirit" is. He/she will also recommend to you from time to time bands or songs that he/she considers to be classic, and will take the trouble to explain to you the meaning of the song or album. He or they have a group of friends who also love rock music, and they get together from time to time to exchange music information. Sometimes they go to watch the performances of their favorite group, or even form a band. For them, rock music goes beyond the functions of entertainment and leisure. It is a display of life style and life attitude, and even leads them to practice life in a way that resists norms, refuses to blindly follow, and highlights differences? Do you have such a friend? Or are you one of them?
Many studies in the sociology of music have tried to explore the cultural phenomena of rock music mentioned above and explore their sociological implications. For example, subculture theory advocates that rock fans have the ability to actively create culture. They appropriate or transform existing musical elements and combine them with their own cultural background and life experience to create music styles and ideologies that can unite their identities, allowing oppressed and marginalized groups to have the opportunity to develop heterogeneous discourses, cultural forms, and spaces of resistance. Reggae, Nazi rock, and punk are all important examples of subculture theory. For another example, Grossberg (1984) proposed the ideas of "rock apparatus" and "affective alliance" to discuss how rock music forms an emotional force belonging to the rock community in the co-construction process of musicians, business mechanisms, music fans and other forces, constantly driving the rock field to carry out cultural production with social significance. How can the empowering effect contained in it enable the cultural identification of rock music to be further transformed into the power of action, and develop the dynamics of heterogeneous cultural resistance in modern society?
As Grossberg said: "Emotional empowerment does not guarantee struggle or even survival, but it does provide the "energy" necessary for survival and struggle." Even though the culture and ideology developed by rock music have enlightened and guided people who love this kind of music, what drives the continuous occurrence of resistant, subversive and creative cultural and social actions in the field of rock music?
In the context of academic research, "Sociology of Rock Music" and "Sociology of Music" are courses in the field of cultural sociology offered by many sociology departments at home and abroad. The lecturer has more than 20 years of experience in creating orchestras and playing in groups, and has participated in other music practices. Currently, in addition to serving as the instructor of the school's rock music club, he also runs a recently established orchestra. He adopts the "direct joining method" research method. Based on the existing "external analysis" of sociology, this course will introduce "musicology" and orchestra practice knowledge, and use musical instruments to conduct "classic music practice teaching". It is hoped to help participants enter the "internal analysis" of music, thereby enhancing their understanding of rock music, and through "space" and "music scene (music)". Different analytical perspectives such as "scene" and "activism" systematically explore the social significance of cross-cultural rock music, and further explore the social actions, cultural politics and emotional connections initiated by rock music embedded in the local historical-social context.
This course is offered by the Department of Social Studies and the General Studies Center. Freshman to senior students who are interested in music are welcome to take it as an elective. Let us listen to music, comment on music, participate in activities, and explore new ideas of playing groups, organizing activities, and "music as a career." I hope everyone can gain and have 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)

Textbooks
Bennett, A. (2001) Cultures of Popular Music. Translated by Sun Yinan (2004) "The Culture of Popular Music", Taipei: Shulin.
Edited by He Donghong, Zheng Huihua, Luo Yuequan and others (2015) "Making Sound and Turning the Soil: Exploration of Post-war Taiwan's Sound Culture", Taipei: Hiking Culture, Cube Culture/Cube Design Space.
Chen Meihuan (2016) "Local Practice of Music Festival - Hailiao Rock and Nanhou Music Season", p.23-106, master's thesis of the Institute of Architecture and Urban-Rural Affairs, National Taiwan University. (electronic file)
Xie Shuoyuan (2018) From Straight Coffee to East Asian Idiot - The emergence of an alternative/anarchist activist community? Master's thesis, Institute of Psychology, Fu Jen Catholic University. (electronic file)
Ma Shiyu (2013) Music scene analysis of Taiwan's rock music resistance discourse: Live House music performance space, social movement, music festival, Master's thesis, Department of Geography, Environmental Resources, National Taiwan University. (electronic file)
Zheng Minwen (2018) Music and social movements in the 21st century: From Lesheng to Sunflower, Master's thesis, Institute of Journalism, National Chengchi University. (electronic file)