| Summary: | 碩士 === 國立成功大學 === 台灣文學研究所 === 96 === As in the 1960s Kh Siông-Huī and Sú Uî-Liāng collaborated in a series of field
studies and inaugurated a movement of folk-music collection, among many folk
singers in Hīng-Tshun was Tân T t, a master folk musician par excellence in his time,
‘discovered.’ After Tân T t’s death, perfectly aware of the crisis of such a traditional
genre of folksong’s existence and inheritance, people in Hīng-Tshun start to organize
themselves and set up local institutions for promoting Hīng-Tshun folksong. The
communitarist institutions was organized along a triple cause: promoting Hīng-Tshun
folksong, developing local traits, and exalting traditional culture. Hereafter, promotion
policies were implemented: teaching and learning through communities and schools,
launching annual music contests, patronizing folk musicians and discipleship, and so
on. All were done to and for the purpose of constructing a cultural terrain(stage) for
Hīng-Tshun folksong, in the multi-cultural contexts of modern times in such a
communitarist fashion to disseminate Hīng-Tshun folksongs all over Taiwan and even
overseas. In effect, communitarist construction had changed and created Hīng-Tshun
folksong’s content and style.
Well into the 2000s, it’s been a persistent project of communitarist cultural
construction for more than 20 years until now, and it’s been a good job effecting a
artistic generation. In this connection, Tsu Ting-Sūn is another master folk musician
par excellence and exemplifies musical mastery and craft in singing and playing. It is
in his style that he enacts a singer and player in a expressive way, and extemporizes
his performance reflecting the very lifestyle and experiences of his own. In this sense,
Tsu Ting-Sūn is no other than national craftsman par excellence. This study has
recourses to literature on the case of communitarist construction in Hīng-Tshun, field
study and interviews, and data analysis to approach to Hīng-Tshun folksong in Tsu
Ting-Sūn’s case. The case study will be focused both on the interior ‘textual’ analysis of Tsu
Ting-Sūn’s artistic performance and on his exterior relationship with Hīng-Tshun’s
communitarism. What at issue is exactly the elaboration on the ‘aesthetics’ of Tsu Ting-Sūn or
Hīng-Tshun in the contemporary context.
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