| Summary: | 碩士 === 中國文化大學 === 音樂研究所 === 95 === Before 1949, Peiguan and Nanguan Music, Taiwanese Opera, traditional puppet show were common theatrical activities in Taiwan. After Chinese civil war, the traditional Chinese music had been introduced into Taiwan. In the active promotion by government agencies and relevant organizations, education on traditional Chinese music had been incorporated into regular as well military education systems in just 50 years. The establishment of government-sponsored and military traditional Chinese music troupes had pushed the development of such music to a peak. The reach of such music had extended toward all levels of the society, with audience population covering all over Taiwan. Relevant activities was also thriving, directly replacing other traditional art forms and becoming as one of the main art forms in Taiwan.
The prosperous development of traditional Chinese music after the civil war had left people with the impression that like economic development, Taiwan’s musical culture had developed into a miracle. This had made people feel delighted with a laugh. What miracle forces had enabled a musical art form developed for more than 50 years to become a national music art form or national music troupes, with sound government-sponsored music troupes, regular education, and hundreds of school musical societies or private music groups. In addition to the encouragement of traditional Chinese music lovers, this article explored on how external political forces, in addition to cultural driving forces, had been involved in the prosperous development of this music art form with government support and assistance when Taiwan was in an initial stage of development. This article also explored on the issues that traditional Chinese music was not independent from society and that government-sponsored and military musical troupes and exhibition of musical instruments were deeply connected with social and economic systems and connections in social power structure. So this article had placed traditional Chinese music in the orbit of the working of national mechanism and had examined factors influencing this music art form and its development from a historical perspective and explained their effects. In this article National Theory presented by Eric J. Hobsbawm and Louis Althusser had been applied. The nation here depicted had two different definitions. One was the government, whereby one could observe the formulation of a policy and its execution and the attitude of government agencies. The other is the exploration on how to implement "cultural hegemony" by cultural organizations. This could be described with such big events as the China Cultural Renaissance and the promotion of traditional Chinese music and education of such music by the Ministry of Education and Bureau of Cultural Affairs respectively. This research had discovered that the development of Taiwan’s traditional Chinese music had been confined by national power. The culture molded under the influence of national power was a guested culture with special purposes, which was different from culture developed in course of change. This kind of cultural structure was a common phenomenon in newly developing ethnic countries. They had molded a national culture with cultural characteristics of traditional society and had left the mark on every citizen.
After civil war Taiwan had witnessed a cultural restructuring. Because of historical background, the process of nation building of the Republic of China had deeply influenced cultural organizations. So an orthodox ideology of traditional Chinese culture had been shaped in Taiwan. Through such mechanisms as compulsory education, cultural ideology of a nation had been planted in all citizens with the concept of citizenship, instilling citizens with orthodox Chinese culture of music, and traditional Chinese music had developed and become more prevalent. This is the facet which this article would like to explore.
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