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| Title: | 抬頭發聲：台灣地下嘻哈領域的正統性、身份與發展
Raise Your Voices: Authenticity, Identity, and the Evolution of Taiwanese Underground Hip-Hop |
| Authors: | 吳望明
Uwanamodo, Anene Kelechi Daniel |
| Contributors: | 劉曉鵬
Liu, Philip Hsiaopong
吳望明
Uwanamodo, Anene Kelechi Daniel |
| Keywords: | 嘻哈文化
饒舌
正統性
地下嘻哈
Taiwan
Hip-Hop
Underground
Ethnomusicology |
| Date: | 2024 |
| Issue Date: | 2024-03-01 12:33:18 (UTC+8) |
| Abstract: | 本研究採用地下和主流的框架來關注台灣嘻哈的發展。 本研究參考世界各地地下嘻哈場景的研究，以深度半結構化訪談為主要研究方法，探討地下場景中的饒舌歌手是否以及如何定義正統性、身分和意識形態的概念。 本研究認為主流（隸屬於三個獨立嘻哈廠牌 True Color 本色、Kao!INC 顏社 和 Kung Fu Entertainment 人人有功練 的藝術家）與迅速擴張的地下圈之間存在著顯著的分離。
這項研究的三個主要目的是：透過研究最近的發展來擴展 Meredith Schweig 的台灣嘻哈年表； 將這一領域的發展與美國和全球嘻哈趨勢、台灣社會以及有影響力的技術進步聯繫起來； 並透過地下和主流二分法的視角進行分析，為現有文獻做出貢獻。 為了實現這些目標，該研究補充了對 20 多人的半結構化訪談和數位對話，以及對嘻哈活動和相關物理空間的額外參與觀察、歌詞分析和社交媒體社群觀察。 研究得出的結論是，嘻哈文化在台灣主流音樂產業中的地位變得更加根深蒂固，這從嘻哈音樂在頒獎典禮和一般流行音樂中的出現就可以看出。 研究還發現，當地嘻哈地下音樂的參與者對正統性和性別認同的態度與施威格的研究提出的不同，並將嘻哈文化的增長歸因於嘻哈專用數位社區和學生社團的激增在高中和大學階段。
This study focuses on the development of Taiwanese hip-hop by adopting the framework of underground and mainstream. Referencing research on underground hip-hop scenes around the world and adopting in-depth semi-structured interview as the primary research method, this study explores if and how rappers in the underground scene define the concepts of authenticity, identity, and ideology. It contends that there is a distinction between the mainstream (artists affiliated with the three independent hip-hop labels True Color, Kao!INC, and Kung Fu Entertainment), and a rapidly expanding underground.
This research is undertakenwith three main aims: to expand on Meredith Schweig's chronology of Taiwanese hip-hop by researching recent developments; to contextualize the development of this scene within American and global hip-hop trends, Taiwanese society, and influential technological advancements; and to contribute to the existing literature by analyzing through the lens of a dichotomous underground and mainstream. To accomplish these goals, the study supplements the semi-structured interviews and digital conversations with over 20 individuals with additional participant observation of hip-hop events and associated physical spaces, lyrical analysis, and investigation of social media communities. The research concludes that hip-hop has become more entrenched within Taiwan's mainstream music industry, demonstrated by the presence of hip-hop in award shows and larger pop music. It also finds that participants in the local hip-hop underground espouse different attitudes about authenticity and gender identity than those proposed by Schweig's study, and attributes the growth of hip-hop culture to the proliferation of hip-hop dedicated digital communities and student clubs at the high school and university level. |
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| Description: | 碩士
國立政治大學
國際研究英語碩士學位學程(IMPIS)
110862019 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0110862019 |
| Data Type: | thesis |
| Appears in Collections: | [國際研究英語碩士學位學程] 學位論文
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