兼任師資
呂心純




呂心純
副教授
資歷:
中央研究院副研究員
美國加州大學洛杉磯分校民族音樂學博士
研究興趣:民族音樂學、離散研究、音景、現代性、緬甸古典音樂、邊境音樂研究、應用民族音樂學
開授課程:緬甸音樂文化與實踐
Email: tasaw@gate.sinica.edu.tw
個人簡介
音樂的流動性是我長期以來的研究關懷,其內容廣及由這個音樂特質所開展出來的多種游移文化,包括經由人口流動而產生的音樂離散現象,與音樂科技及載體發展、或市場擴展所帶來的音樂流播,以及在時間流轉下,音樂所推動的社會與文化意義之(再)生產。而其中具體研究對象為緬甸境內及境外的緬甸古典音樂家、緬甸移工、緬華移民及滇緬孤軍四類社群,議題大多聚焦在他們所實踐及經驗的樂舞形式上,並針對這些形式進行歷史的爬梳與多方面議題的探討。
近十年來,我以下列幾個面向來切入音樂的流動性,作為研究主題的開展:
一、聲響、情感及身體感知之間的動態互動:試圖從游移文化內的聲響本身,探索它所反映出的集體情感、文化記憶,同時梳理隱含在其中並用以定義世代或認同的情緒結構;此外,亦著重於聲響所引發的聆聽、及聆聽與其他身體感知交互作用所引發的意義,從中,理解那些以文字語言無法、或不得言說的情緒及感受。
二、音樂的空間性:為突破過去學者對於單一族群、固定時空脈絡的研究格局,我嘗試從多個維度開展音樂空間性的議題,力求揭發多元的行動主體。由於不同維度之間的音樂形式、符號意義與文化詮釋,可能相互連動或彼此暗示,因此,在個案研究中亦試圖從幽微互動中尋求詮釋的空間。
三、多點域的田野實踐:有鑑於每個音樂「場景」,皆是錯綜文化邏輯、人們音樂經驗與價值觀念的文化場域,牽涉多元行動者、社會慣習、資本與複雜權力關係;且單一田野場景所處的社會結構,又經常限定了研究者進入田野場域的視野及路徑,因此我強調的研究實踐之一,在於從多點場景中進行「互文」,以尋求相對固定的原則,進而過渡到音樂知識的建構與書寫。另外,透過在多點域之間來回思辨、互文尋找不同主體的能動表現,方能從民族音樂學家Timothy Rice與 Mark Slobin所奠立的文化空間分析架構上向前推進,開啓更多「第三空間」的詮釋可能。
近期也隨著區域研究對象的擴充,我的研究議題轉向至在臺滇緬雲寮邊境的移民音樂,而研究課題也因此拓展至邊境音樂研究及應用民族音樂學,透過協助地方音樂展演量能的培植及地方創生,協助保存、維護及扶植瀕危音樂,開發有益其永續發展的可能途徑。
- 國立臺灣大學音樂學研究所副教授(與中研院合聘) (2021至今)
- 中央研究院民族學研究所副研究員(2013至今)
- 中央研究院民族學研究所助研究員(2008-2013)
- 國立臺南藝術大學民族音樂學研究所助理教授(2009)
- 北伊利諾大學音樂系講師(2008)
- 北伊利諾大學緬甸研究中心博士後研究員(2007-2008)
- 音樂的流動性
- 緬甸音樂文化與實踐
- 音樂社會學(2022 預計開設)
- 中研院年輕學者赴國外進修獎助(2015)
- 中研院年輕學者研究著作獎:人文社會科學組(2014)
- 國科會吳大猷先生紀念獎(2013)
- 新北市紀錄片計畫首獎:《音樂雙城記》(新北市協助影視拍攝與發展中心)(2013)
- 美國「中國音樂研究會」卞趙如蘭獎:獲獎論文“Performativity of Difference: Mapping Public Soundscapes and Performing Nostalgia among Burmese Chinese in Central Rangoon.” (2012)
- 獲選中央研究院重要研究成果:“Performativity of Difference: Mapping Public Soundscapes and Performing Nostalgia among Burmese Chinese in Central Rangoon.” (2012)
- The American Association of University Women (AAUW) Educational Foundation, Postdoctoral Fellowship, USA(2007-2008)
1. 專書
2012 《未褪色的金碧輝煌:緬甸古典音樂傳統的再現與現代性》(ISBN: 9789860336993)。台北:國立台灣大學出版中心。隨書出版一片音樂光碟。
2. 專書編輯
2012 《蕃族調查報告書第五冊:泰雅族–前篇》(ISBN: 9789860334227)。台北中央研究院民族學研究所。臺灣總督府臨時臺灣舊慣調查會原著。
2010 《蕃族調查報告書第七冊:泰雅族–後篇》(ISBN: 9789860255096)。台北中央研究院民族學研究所。臺灣總督府臨時臺灣舊慣調查會原著。
3. 期刊論文
2021 〈界域的文化動能:冷戰前期仰光唐人街的電影跨國網絡及其影響〉。《民俗曲藝》第213期,頁1–47。(TSSCI)
2021 〈「革命聲景」:緬華Z世代的革命情感、歌曲與FB共聽實踐〉。《人類學視界》第29期,頁14–21。
2019 〈形構「魅力金三角」:龍岡雲南社群的歌舞展演與邊區文化想像〉。《台灣音樂研究》第29期,頁41–68。
2019 “Politics and Tactics in Revolutionary Performance: A Sino–Burmese Arts Troupe in Transnational Circulation.” Asian Theatre Journal 36(2): 370–394. (A&HCI)
2018 〈時空流轉下的緬華革命歌舞〉。《考古人類學》第88期,頁35–82。(TSSCI)
2017 〈民族音樂學熱門與前瞻議題〉,《「藝術學門熱門與前瞻研究議題」結案報告》:60–76。
2016b 〈跨文化表演的研究途徑:台灣一場緬甸音樂表演的互為主體與多點民族誌研究〉。《民俗曲藝》第193期,頁 11–62。(TSSCI)
2016a “Cultural Homogeneity, Embodied Empathy: Incorporating Musical Pasts amongst Burmese Chinese Peoples Worldwide.” Ethnomusicology Forum 25(1): 14–34. (A&HCI)
2011b “Performativity of Difference: Mapping Public Soundscapes and Performing Nostalgia among Burmese Chinese in Central Rangoon.” Asian Music 42(2): 19–55. (A&HCI)
2011a 〈音樂作為一種離散社會空間:台灣中和地區緬甸華僑的音景與族裔空間建 構〉。《民俗曲藝》171: 11–64。(TSSCI)
2010 〈音聲與空間研究的全球趨勢與本土回應〉。《關渡音樂學報》(與楊建章 合著)13: 77–96。
2009 〈音樂學研究的空間新視野〉。《人文與社會科學簡訊》(與楊建章合著)11(1): 15–23。
2009 “Shaping Asian–Pacific Subjectivity in Cross–cultural Music Collaboration: An Asian–American Perspective.” Formosan Journal of Music Research 9: 125–153.
2009 “The Burmese Classical Music: An Introduction.” Fontes Artis Musicae 56(3): 254–71. (A&HCI)
2008 “Festivalizing Thingyan, Negotiating Ethnicity: Burmese Chinese Migrants in Taiwan.” Journal of Burma Studies 12: 29–62.
4. 專書章節
2022 “Festival as Ritual and Ritual in Festival: Inventing ‘Exotic Borderlands’ in a Yunnanese Community in Northern Taiwan.” In Religious Sounds Beyond the Global North: Senses, Media and Power (Global Asia series), edited by Rosalind Hackett and Carola Erika Lorea. Amsterdam, Netherlands: Amsterdam University Press.
2021 〈聽見「唐人街」:仰光緬華的樂舞聲景形構與轉型〉,刊於《東南亞華人音樂研究》(喻輝與蔡宗德主編),頁139-158。中國:浙江大學出版社。
2021 “Experiencing the ‘Enchanting Golden Triangle’ through Music and Dance in a Yunnan Diasporic Community in Taiwan.” In Resounding Taiwan: Musical Reverberations Across a Vibrant Island, edited by Nancy Guy, 85–104. New York: Routledge, Taylor & Francis Group.
2018b 〈通往文化秘境:人類學家的緬甸習藝之旅〉,《人類學入門讀本》,頁117–141。台北:中央研究院民族學研究所。
2018a “Water Festival as Spectacle: Sino–Burmese Identities, Ethnic Politics and Public Performances in Macau.” In Routledge Handbook on Asian Music: Cultural Intersections, edited by Tong Soon Lee, 123–149. Oxford: Routledge.
2014b 〈「多元自我」與「互為主體」:一位緬甸古典音樂家的音樂自我建構〉,《同理心、情感與互為主體:人類學與心理學的對話》,頁157–206。台北:中央研究院民族學研究所。
2014a “Recounting, Resistance, and Reflection: An Analysis of a Burmese Classical Musician’s Narrative.” In Burmese Lives: Ordinary Life Stories Under the Burmese Regime, edited by Eric Tagliacozzo and Wen–chin Chang: 109–131. New York: Oxford University Press.
2013 〈追憶「紅」過往,光耀新時代:緬甸華人的聆聽感知、身體記憶與文化展 演〉。刊於《身體、主體性與文化療癒:跨域的搓揉與交纏》(余安邦主編),頁167–208。台北:中央研究院。
5. 書評
2013 Book Review on Asian Theatre Puppets: Creativity, Culture and Craftsmanship, by Robin Ruizendaal and Wang Hanshun. 2009. London: Thames & Hudson Ltd. CHIME.
2008 Book Review on Footsteps in the Dark: The Hidden Histories of Popular Music, by George Lipsitz, 2007. Taiwan Journal of Anthropology 6(2): 195–98.
- 2022 “Making Sense” of the Taipei Metro’s Soundscape Program.” Presented at the IMSEA (The Regional Association for East Asia of the International Musicological Society). October 21-23.
- 2022 “Borderlands and Connectivity in the Flows: Music-making in the Thai-Myanmar Immigrant Community in Northern Taiwan.” Presented at the 46th ICTM World Conference. Lisbon, Portugal, July 21–27.
- 2022 “Constructing ‘Enchanted Golden Triangle’ through Music and Dance in a Yunnan Diasporic Community in Taiwan.” Presented at The ICTM-MEA Conference. May 15.
- 2021 “Embracing a Decentered Approach in the Borderlands of Ethnomusicology.” Roundtable session presented at the Conference of ICTM Dialogues 2021. Zoom presentation, International Council for Traditional Music. July 24.
- 2020 〈聆聽、召喚及空間性〉。發表於「身體感/身體經驗」工作坊。新竹:清華大學人文社會學院,6月6日。
- 2020 “Sounding ‘Exotic Borderlands’: Ritual Embodiment in a Yunnanese Tourist Festival in Northern Taiwan.” Paper presented at the Conference of “Sounds, Bodies and Power: Politics and Poetics of Religious Sounds.” Zoom presentation at the Asia Research Institute, National University of Singapore, Singapore. February 27–28.
- 2019 “The Construction of the ‘Enchanted Golden Triangle’ through Music and Dance in a Yunnan Diasporic Community in Taiwan.” Paper presented at the 64th at the Annual Conference of the Society of Ethnomusicology (SEM). Bloomington, IN. November 7–10.
- 2019 “Challenge, Compromise, and Cohesion: Transmitting Myanmar Hsaing–waing Music in A Taiwan’s World–Music Ensemble Class Setting.” Paper presented at the 45th ICTM World Conference. Bangkok, Thailand. July 11–17.
- 2019 〈超有感/無感:樂舞身體及跨文化理解〉。發表於「文字。說不得」研討會暨工作坊。臺北:中央研究院民族學研究所,6月26日。
- 2019 〈從學術實踐進入社會參與〉,發表於「公共人文的音聲實踐圓桌會議」。臺大音樂學研究所主辦。台北:蔡瑞月舞蹈研究社玫瑰廳。2019年5月4日。
- 2018 “Experience Macau, Touching Moments”: Burmese Music and Dance Performances, Identity Negotiation, and City Tourism in Macau. Paper presented at the 13th International Burma Studies Conference. Bangkok, Thailand. August 3–5.
- 2017 〈形構觀光『異域』—龍岡米干節的歌舞展演及邊區想像〉。發表於台灣音樂學論壇。嘉義:佛光山嘉義會館,11月17日。
- 2017 “Museum Exhibitions as Alternative Way of Building Ethnomusicological Knowledge.” Paper presented at the 44th ICTM World Conference. Limerick, Ireland. July 13–19.
- 2016 “Embodying Maoism: Sino–Burmese Revolutionary Performance in Transnational Circulation.” Paper presented at the 5th ICTM–MEA Conference. Taipei, Taiwan. August 23–25.
- 2015 “Embodying Maoism: Sino–Burmese Revolutionary Performance in Transnational Circulation.” Paper presented at the Annual Conference of the Society of Ethnomusicology (SEM). Austin, Texas, USA. December 2–6.
- 2015 “Performing Revolutionaries: The Cultural Representation of Music and Dance amongst Sino–Burmese Youth in Yangon.” Abstract accepted at the 43rd International Council for Traditional Music (ICTM) World Conference. Astana, Kazakhstan. [The paper was accepted but ultimately I had to decline due to unprecedented time conflict]
- 2014 “Politics and Tactics of the Thachin Gyi’s Recent Revival in Myanmar: A Cross–cultural Case Study.” Abstract accepted for the presentation at the 4th International Symposium of the ICTM Study Group for Musics of East Asia (MEA). Nara University, Japan. August 21–24.
- 2013 “Cultural Homogeneity, Embodied Empathy: Reconstructing the Musical Pasts amongst Burmese Chinese Peoples Worldwide.” Paper presented at the 2013 International Council for Traditional Music (ICTM). Shanghai. July 11–17.
- 2013 “Listening Sensory, Bodily Memory, and the Politics of Cultural Performances among the Burmese Chinese in Rangoon.” Paper presented at the 2013 Association of Asian Studies (AAS). San Diego. March 21–25.
- 2012 “Interactions within Plural–selfhoods: Constructing Musical–self of a Burmese Chinese Musician.” Paper presented at the Annual Meeting of the American Anthropological Association (AAA). San Francisco, USA. November 14–18.
- 2012 “Recollecting the Red Past, Glorifying the New Present: Musical Narratives and Performances among the pro–CCP Burmese Chinese in Rangoon.” Paper presented at the Annual Meeting of the Society of Ethnomusicology (SEM). New Orleans, USA. November 1–4.
- 2012 「多元自我與互為主體性:一位緬甸古典音樂家的音樂自我建構」。發表於「從相逢到交融:人類學與心理學的激盪與對話」會議。台北:中央研究院 民族學研究所,9月4–5日。
- 2012 “Ethnic Festivalization, Subversion, and Intersubjectivity: The Burmese ‘Twin Water Festivals’ in Taiwan.” Paper presented at the 3rd International Symposium of the ICTM Study Group for Musics of East Asia (MEA). Chinese University, HK. July 31–August 2.
- 2012 “Music Covering and Multiple Renditions: Transnational Cover Song Culture amongst Burmese Chinese Singers since 1962.” Paper presented at the 19th Meeting of the International Musicological Society (IMS). Rome, Italy. July 1–7.
- 2012 「身體作為文化記憶或技藝?—緬華的聆聽經驗與文化展演政治」。發表於 國際漢學會議。台北:中央研究院民族學研究所,6月22日。