冷戰下的音樂記憶和「精神武器」：《今日世界》(1952-1973)作為政治與西方古典音樂的「介中空間」

Cold War Musical Memories and“Psychological Weapons”: World Today (1952–1973) as the“Liminal Space”between Politics and Western Classical Music

第二次世界大戰後國際上形成的美蘇及其附屬集團國家之間的「冷戰」，以美國外交政策的說法是「一場對每個地方人心的戰爭」，相關的實際宣傳工作有賴設立於世界各地的美國新聞處來執行。1952年至1980年間，香港美新處出版的《今日世界》流通於東南亞各地，在臺灣也有相當廣大的讀者群。雜誌中內容除了政治、軍事、經濟等主要議題外，還有種種藝術領域的報導，包括音樂。本論文將《今日世界》雜誌1952年3月到1973年4月共506期的內容，視為冷戰期間美國與臺灣的政治立場相對一致下的產物，來進行分析。本論文認為，雜誌中的音樂報導，「非獨屬」政治專業領域，亦「非獨屬」音樂專業領域，而為一種可轉化意義和嫁接價值的「介中空間」。本論文檢視這個「介中空間」裡，西方古典音樂的抽象、純粹、科學等概念，是如何和民主、自由、進步等價值連接起來。本論文探問的是，冷戰時期國際政治的意識形態如何在「自由中國」下的臺灣形塑了音樂之價值和階序的想像？甚至，如何暗示了西方古典音樂，具有冷戰對抗中的「精神武器」現實功能？

The Cold War between the United States and the Soviet Union and their affiliates that took shape after the Second World War was, in the words of US foreign policy of the 1950s, “a battle for the hearts and minds of men everywhere”. The actual implementation of related propaganda work depended on the USIS, with outlets established all over the world. From 1952 to 1980, the USIS Hong Kong office published and distributed the Chinese-language magazine World Today throughout Southeast Asia, and it had a large readership in Taiwan. In addition to issues of politics, military affairs, and economics, the magazine also reported various categories of art including music. 'T his paper finds the reports in the 506 issues published between March 1952 and April 1973 as representing relatively identical political positions in the US and Taiwan. It considers that the music reporting in World Today was neither exclusively oriented to the political realm, nor exclusively oriented towards purely musical concerns, but occupied a kind of “liminal space” that could shift meaning and graft certain ideological values onto the music under discussion. This paper investigates and analyses how the “abstract”, “pure” and “scientific” characters attributed to Western classical music were linked with such American values of “democracy”, “freedom” and “progressive”. The major questions asked in this paper are: how international Cold War ideology shaped the values and social hierarchy of musics in Taiwan during its tenure as “Free China”? How does this ideology grant Western classical music a prestigious status that realistically functioned as a “psychological weapon” for Cold War confrontation?