From Cold War Listening Experiences to Third World Music Production: Thinking Practice of LI Shuangze, YANG Tsuchuen and WANG Minghui
| Autor: | Liu, Ya-Fang, 劉雅芳 |
|---|---|
| Rok vydání: | 2016 |
| Druh dokumentu: | 學位論文 ; thesis |
| Popis: | 104 By discussing the production of popular music, the dissertation explores the imaginary structure of “Cold War Listening Experience” whose sprouting is symptomized by post-war Americanism that befalls the human voices (bodies) of the Third World/colonial Asia. For Taiwan that shares the same structure of imagination and ideological reproduction, it also represents the vocal, emotional and mental status of the island whose voices (bodies) also lie in the Third World/colonial Asia. This initiated history of “Cold War Listening Experience” has not ended; it belongs to the “past” but never gets separated from the “present.” Going through the overlapped visions of the old and the new imperialism and colonialism, the Cold War, Asian wars that the U.S. had participated in and the anti-communist and martial-law history, the folk song and the rock music which are familiar to the ears of the young people around the world have formed the main content of the contemporary music everywhere. However, the cultural and ideological struggles triggering/triggered by the music form has never stopped. To delineate and problematize the post-war historical stage (the 1960s-1970s) that shapes the Cold War listening experience, the dissertation explores the life trajectories of the three music workers who grew up during the Cold War: Li Shuangze (1949-1977), Yang Tsuchuen (1955- ) and Wang Minghui (1953- ). From their listening experiences and musical production, we may find the historical and social problems that they ponder through music and the sounds of feeling and thoughts that they express through music composition/production for the historical and social turning points of the local or world history that they have lived in. The second chapter reconsiders Li Shuangze’s musical writing, travel essays and fictions to investigate the cultural horizon of “the Third World/Asia” in his career and thinking activities. It aims to re-depict Li’s rich inner world during his participation in the new folk song composition movement. The third chapter focuses on Yang Tsuchuen, who has adhered to the spirit of “Sing Our Own Songs” cultural movement, to discuss the aftereffects of the 1970s folk song movement. It particularly discusses the Tangwai cassettes of the 1980s planned and produced by Yang and the Tangwai political and cultural movements she had participated in. The fourth chapter discusses the musical practice that Wang Minghui and Blacklist Production (also known as Blacklist Studio) make to intervene in the Cold War-martial law history and the nativist ideological structure. Particularly, the chapter focuses on Wang’s career after Lullaby (1996) as the producer of compilation album, the establishment of Nature High Asia and his Asian music project deriving from the theatrical music composition. In the final section, the dissertation proposes “Let’s turn to Asia/the Third World to sing our own songs” as an open-ended conclusion as well as a starting point to re-imagine listening experiences. Meanwhile, it also introduces other Asian singer-songwriters who share the same Cold War-colonial Asian voices (bodies) but intend to create alternative thinking and practice routes through music production. |
| Databáze: | Networked Digital Library of Theses & Dissertations |
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