皇民奉公會的音樂動員運動

Abstract

皇民奉公會的音樂動員運動要日治時期音樂史中，有關「音樂動員運動」層面的討論，過去一直受到忽略。因此，本論文試圖將1941年至1945年間皇民奉公會在台灣的「音樂動員運動」，從主管機構、文化統制、宣傳等層面，來分析其作為一種言說、論述（discourse）的意義，亦即將音樂動員運動視為殖民政府支配人民思想的體系。出發點之一，是希望藉由解讀專制政權的音樂動員運動，找出官方是如何利用音樂進行「社會控制」和「政治動員」的技術。另一方面則是藉由梳理這些全民動員的音樂活動，了解當時的音樂生活。民奉公會在台四年多的音樂動員運動，隨著其「精神母體」大政翼贊會而起舞，其中亦不乏針對台灣的殖民地性格有所修正，第一階段的地方文化論，催生混雜著日本色彩的島國民謠。1943年戰情急轉直下，更使得後方的音樂動員達到巔峰，一波接著一波地襲捲而來，第二階段採「排除異己」以及「頌揚新聲」雙管齊下，禁絕英美唱片並以「國民皆唱」進行全民精神總動員，以教化形塑人民戰爭意識。最後一個階段已屆戰爭末期，音樂回歸到原來的本質－慰安，移動藝能隊慰勞農村漁村等生產戰士，這三個階段映照了音樂在戰爭的扮演的角色。

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.