Music Mobilization Movement of the Kominhokokai
|Keywords:||日治時期;皇民奉公會;敵性曲盤供出運動;戰爭;思想形塑;音樂;媒體;period of Japanese rule;Kominka movement;confiscation of tune platter;war;ideological and political education;music;media||Issue Date:||2009||Abstract:||
Music Mobilization Movement of the Kominhokokaibstractreviously, the discussion related to “music mobilization movement” was often neglected in the music history during the period of Japanese rule. Therefore, this research aims at investigating the “music mobilization movement” of Kominhokokai in Taiwan through the aspects of administration authority, social governance and propaganda from 1941 to 1945. Subsequently, the significance of the discourse is analyzed by considering the music mobilization movement as the system of colonial government in manipulating the people’s mind. One of the starting points is to discover the techniques for utilization of music in “social control” and “political mobilization” by the authorities, which based on the interpretation of autocratic regime in the music mobilization movement. On the other hand, the former music and live can be examined by coordinating the musical activities of civil mobilization.n addition, the musical policy of Kominhokokai during the four-year period in Taiwan was initiated by the “spiritual matrix” of Taisei Yokusan Kai (Imperial Rule Assistance Association), which included several amendments directed toward the colony disposition of Taiwan. The initial stage of local cultural theory included local folk songs composed and incorporated with Japanese elements. During 1943, the war situation had intensified and the later music mobilization achieved its peak with revolving waves of influence. Furthermore, the movement for “Exclusion of Objection” and “Praise for New Voice” were simultaneously promoted to ignite Japanese spirit. Besides, the western musical records were banned and “All People Sing” was implemented for civil spiritual mobilization in the purpose of educating war consciousness to the civilians. By the end of the war, the final stage was symbolized by the reverting of music to its fundamental essence – comfort. For instance, the mobilized entertainer groups would exhilarate the warriors from agricultural and fishing villages. In summary, these three stages demonstrated the role of music in war.
|Appears in Collections:||音樂學研究所|
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