Taiwan Folk Songs And Aesthetic Function Of The Effect Of Governance

In this study, anthropological aesthetics is the primary method to explore the diversification and connotation that blending from Taiwanese folk song and environment in1900s before until1990s. This research is based on the foundation of musical history to observe the mutual effects between external strength and local culture with microscopic perspective, as well as the corresponding function among the aesthetic medium, with the influence of modeling consciousness of man self-nature. This study attempts to illustrate three aspects:first, to analyze the form of folk song that stimulated from manipulation of the authority in various periods of Taiwan. Secondly, the analysis of governance effects and corresponding aesthetic function equipped in those folk songs. Third, to illustrate the aesthetic demand of anthropological sense through analyze the multi-content of Taiwanese folk songs that under myriad regulations. Overall of this study shows the morphology of folk culture that convergence by specification, aesthetics and man, to explore the influence of governance to the cultural, and the consisting of orders in art, then projected aesthetic demand and people consciousness of survival.Chapter one discusses that when under the circumstances of governance obstacle from central authority to edge region, the culture were tend to equip sense of governance neither imported from foreign country nor produced from local area, and the expression would be the awareness of implicit self-governance. The background of this chapter is based on19th-century before. Although the Christian hymn were outstanding of profound mercy, however, it attempted to create the consciousness of rank between Cod and People by its rigorous specification and solid faith. Later about the same period, it had developed unique Taiwanese Ge-Zai. Despite it was just daily entertainment for common people, but the instruction of Taiwanese Ge-Zai contained from daily chores to faithful and glory. The aesthetic awareness of justice advice and mutual restriction were derived from semi-autonomous governance environment, and spread out through aesthetic reception, then conversed into the strength of mutual restrict as social educational power. The meaning of the songs were more then entertainment for people, it would be the implicit governance strength to maintain social order in a non-governance area.Chapters2and3explore that when an authority were able to subject strict regulation and to governance as culture control, the fostering culture from it were consisted of corresponding governance and aesthetic function. The folk songs became the instrument of the authority during the Japanese colonial period, as the official governance were the principle of the era, the song were forced to a typal tendency as in its characteristic of instrumentalism. The aesthetic characters of the folk song were consisted of assimilation function from assimilation atmosphere that authority conducted during the Japanese colonial period. The songs were also consisted of reconstruction identity from mechanism of the reconstruction identity that conducted by naturalization authority during the period of naturalization. Although the song which derived unnaturally were not able to reveal the essential characteristics of an era nor the environment situation like the authentic art, however, the human nature of aesthetic demand converted the conflict of aesthetic idealism and reality into an aesthetic specification which corresponding the requirement of the epoch. By it the songs still had its unique aesthetic value.Chapter4interpret when step into the new age of1970s, people encountered huge confuse of self-identity by the atmosphere of multi-culture and enlightenment thoughts. Therefore, creators tried to complete self-identity through archiving musical aesthetics. Yet the aesthetic function of self-identity was formed differently because the uncertain deriving circumstance, hence the songs divided into three routes:the first route derived were cause from the "other" challenged the mechanism of self-identity and derived a spirit of confrontation. People emerged awareness of anti-westernized cause of excessively respected Western culture with the pressure of Western hegemony of the environment. Thence, to confirm the identity of ethnic consciousness were the priority of the spirit for literary and artistic focusing to, in order to reach their identity."One could only sing their own songs after carrying out national songs."The second route, people draw the core of self-identity back to the reality of people and land from abstract state due to the uncertainty of the identity of ethnic attribute."One could only sing their own song after achieving the song of people and land." The social idealism of regarding people tended to form the mutual hostility status with the regime. Therefore, the musical initiative was stimulated coincidently by the intervention of governance. The matter of disclosing anxiety and hostility by governance endued the state of confronting with the ideology regime for aesthetics qualities of folk song.The third route, after the young creators in the last stage had been through the huge concern of nation and land, which no longer distributed in composing, the aesthetic feature of songs were turned to emphasize personal characteristics from collective mission. That is, to establish self-identity of individual nature was archived through the purification of discarding the reality and the governance, to achieve the mechanism of self-identity from representing the quality of self-authentic. That was a status of confrontation between self strength and foreign group power. They refused to face the social reality with serious perspective, and simply acknowledged social reality only as what they had seen. The spirit of what they were was the aesthetic quality of the songs. It presented the spirit of "singing our song for ourselves.