計畫外的「音樂美援」：冷戰期間美國「文化展演計畫」下的波士頓交響樂團1960年臺灣之行

Unplanned“Musical Aid”: The Boston Symphony Orchestra’s 1960 Visit to Taiwan under the U.S. Cultural Presentation Program during the Cold War

本文以冷戰期間美國「文化展演計畫」支持下的波士頓交響樂團1960年臺灣之行為例，探討該展演計畫的跨國運作、面對意外事件的多方應變、對於臺灣社會的影響、不同背景的聽眾個人反應與他們因此產生的積極行動力。本文檢驗了大量的檔案文件、報紙紀錄，分析了音樂會曲目之安排與聽眾反應，建立跨國資訊流動及人的連結網路。本文以臺灣作為例子指出，美國在冷戰期間外派的古典音樂家或是給予的古典音樂資源，可以視作一種「音樂美援」。而承認這份音樂援助的存在，不僅複雜化我們對二十世紀後半臺灣本地古典音樂文化其來源和影響的認知，也進一步促進對冷戰框架下文化生產模式的整體反思。

This paper considers the Boston Symphony Orchestra’s April 1960 Cold War-era visit to Taiwan, supported by the U.S. Cultural Presentation Program, as a case study in the operations of that program, the crisis-response capacity of the American and Taiwanese governments and civil society in the wake of South Korea’s April Revolution, the diverse individual reactions and subsequent initiatives of audiences, and the lasting impact of the Taipei concerts on Taiwanese society. Drawing on the methodological developments of Cold War and music studies, this paper analyzes extensive archival documents, newspaper reports, repertoire selection, and audience responses, mapping the transnational networks of information and human connections. Using Taiwan as a case study, it argues that the dispatch of classical musicians and the provision of classical music resources by the United States during the Cold War can itself be understood as a form of American“musical aid.”Recognizing this dimension of musical aid not only complicates prevailing accounts of the origins and influence of classical music in Taiwan, but also contributes to a broader rethinking of cultural production within the Cold War framework in the latter half of the twentieth century.