創造「好青年」的臺灣搖滾樂團潮：以鄰坊型熱門樂器行為中介

Creating the Normalized Rock Band Wave in Taiwan: Community-Based Hit Music Instrument Stores as Mediator

本文探討始於1990年代末的臺灣搖滾樂團潮的形成與持續，此現象的特徵不僅包含玩樂人數增加、年齡下降，更重要的是它呈現一種積極、具建設性的好青年形象。臺灣搖滾樂在1990年代初於臺北大安區發展成具體的地下音樂認同群體，在1990年代末走向建制化，並逐漸獲得主流社會賦予的文化正當性。上述的轉變並非只是少數搖滾菁英作品的成功以及倡議運動的功勞，而更受惠於一套由大量中學樂迷所組成的熱門音樂社及其鄰近的熱門樂器行共生形成的關係網絡。這個整體搖滾圈其實是一個金字塔形的階層結構：上層搖滾菁英生產技術與美學，並將之帶入中下層樂團，中下層樂團消費、再生產並往上晉升；同時臺灣樂器工業的低價自有品牌產品也促使這再生產有大量實踐的可能。然而，樂團潮的出現並非只是上述一連串音樂技藝、經營技術與樂器物件的匯合，樂團潮能被看見、被命名，其實是搖滾樂人從菁英到初始樂團不約而同展演出那個本來就存在臺灣主流社會的正向道德面貌。

This article analyzes the formation and maintenance of the rock band wave in Taiwan since the late 1990s, which is characterized by the increasing number of teenagers involved in bands and by a normalized positive image. The identity of the underground rock music community started to crystalize in the early 1990s in the Daan District of Taipei. However, since the late 1990s, rock music has gradually been regarded as a legitimate cultural activity by the mainstream society in Taiwan, thanks to the institutionalization of the rock community. This transition does not result only from rock’s commercial success, the growing presence of famous musicians in the media, or their engagements in social movements. It also benefits from the musical community network that is woven by the hit music clubs of high school students and the supporting music instrument stores in the neighborhoods. Meanwhile, the low cost of musical equipment in Taiwan makes rock more accessible. The band wave seems to have risen at the convergence of all these factors. But more importantly, what makes it a success story lies in the fact that the moral values promoted by its practitioners do correspond to the ones of the mainstream society.