| 英文摘要 |
Taiwan experienced considerable political upheaval during its history under the KMT and DPP regimes after 1945. During this process of building a nation-state, Taiwan's national identity was continuously reconstructed, renegotiated and reformulated. Although the political developments in Taiwan have actively constructed a consciousness of Chineseness since 1945, there has been an ethnic division between native Taiwanese and the mainlanders who arrived in Taiwan. Their differences are clearly characterised on every level, such as history, culture, language, and political ideology. In a political context, these two groups can also be distinguished by their political ideas and claims to their national identity within the context of Taiwan. On the other hand, there is tension in the relationship created between Taiwan and China. This continuing tension between internal and external factors affects from within and outside Taiwan. To understand what national identity means to guoyue musicians in Taiwan, I would like to explore how political development has affected the transformation of guoyue and musicians' national identity. The research result shows that politics has also impacted the development of guoyue as the music of the modern nation-state. During the embryonic and promotional periods, guoyue served as the music of the nation. However, towards the end of the promotional period, guoyue gradually began to be modernised and distinguish itself from minyue in China. In the transitional period, due to the changing government in Taiwan since 2000, guoyue again went through a marked shift in musical identity and aesthetic orientation, away from Chinese music and towards localisation. This shows that the on-going and non-static musical and national identities are continuously progressing within musicians and guoyue culture. |
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