趨附中的再製與再現：國軍遷臺後音樂文化詮釋初探

Reproduction and Representation under Ideological Conformity: A Preliminary Study of Military Music Culture after the ROC Government’s Relocation to Taiwan

軍中音樂主要以軍歌與軍樂兩種形式呈現，構築了人們對軍中音樂的核心記憶。然而，自其生成之初，軍中音樂便具有明顯的功能性，其存在與認同不可避免地隨著人文環境、政治驅動和社會需求的變遷而發生轉向與變異。基於此，本研究透過歷史性的社會觀察，採用「再製、再現」的意識形態國家機器視角，探討軍中音樂作為國軍文化表徵，如何與社會互動並引發質變或形變。文中進一步剖析了軍中音樂隨時代潮流所經歷的演變，這些變革體現於主體與客體之間的持續交錯流動。自抗戰時期起，軍中音樂肩負教育與訓練功能，隨後經歷了國家要求人民遵循國家意識形態的階段，逐漸轉向以「使用者中心」的需求位移。這些轉變描繪了軍中音樂在當代的掙扎、突破與再製歷程，同時記錄了從遷臺、戒嚴、反共、外交受挫到自我修復、解嚴與民主轉型的文化發展軌跡。

Military music is mainly presented in the form of military songs and military music, which constitute the core memory of military music. However, military music is obviously functional from the very beginning of its creation, and its existence and identity inevitably shift with the changes in humanistic environment, political demands, and social needs. Based on this, this study adopts a perspective of the ideological state apparatus of“reproduction and representation,”alongside historical and social observation, to explore how military music, as a symbol of national military culture, interacts with society and undergoes qualitative or metamorphic changes. The paper analyzes the evolution of military music over time, as reflected in the continuous and intertwined relationship between subject and object. Since the wartime period, military music has served functions of education and training; it then entered a phase in which the state demanded that the people follow its ideology before gradually shifting to a more“user-centered”mode of demand. These changes not only depict the contemporary struggles, breakthroughs, and reproductions of military music but also documents a cultural trajectory spanning from the relocation period in Taiwan, martial law, anti-communism, and diplomatic setbacks, to self-restoration, the lifting of martial law, and democratic transformation.