| Summary: | 碩士 === 國立臺北藝術大學 === 音樂學研究所 === 107 === In the 1990s, a trend of composing a new form of music for the destitute field of traditional Hakka music emerged in response to the vibrancy of the post-Martial Law political and ethnic movements. At this period, the so-called Hakka Popular Music flourished and revitalized traditional Hakka Shāngē that was once lost during the Martial Law period. Musicians in such compositional trend tended to reinterpret Hakka Shāngē for a wide variety of translocal audiences; hence, they combined various Western popular music genres such as rock’n roll, blues, jazz and so on to innovate their traditional music. While recent scholarships have taken note of such creative strategy, the social-political conditions that made such reinterpretation possible, as well as the discursive and cultural influences of this movement, were taken for granted.
This paper seeks to fill the gap by discussing how the form of jazz has changed traditional Hakka Shāngē since 1995, while also focusing on the relationship between shāngē and contemporary Taiwanese society by applying the Merriam Model. As the band SanGouDaHouSheng attempted to revitalize shāngē, they reinterpreted it and constituted a musical concept, Hakka Blues, by establishing unprecedented musical and social relationships between shāngē and blues, thereby creating a new musical genre. Other musicians like SanGouDaHouSheng also perform the ideal in a form of performance called Jazz Hakka Music, enhancing the social and cultural valence of Hakka shāngē. Both the concept and performance of Jazz Hakka Music are the representation of musical globalization, strategies for cultural revitalization, and the trajectory of Hakka musical development.
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