「非－產業」的音樂商業：亞洲社會少數的音樂

＂Non-Industrial＂ Music Business: Music for Social Minorities in Asia

Gisa Jähnichen

非─產業 ； 亞洲文化 ； 非物質文化的世界遺產 ； 社會少數群體 ； non-industrial ； Asian cultures ； intangible world heritage ； social minorities

關渡音樂學刊

19期（2014 / 01 / 01）

91 - 100

英文

音樂會和節慶的音樂演出活動以及CD的錄音，檔案透過網路的分享或非傳統的舞台音樂製作方式，或與儀式、慶典結合等的音樂產品，當它們成為一個所謂的產業產品的對象時，必須從一個寬廣的社會─文化脈絡下來進行分析。在亞洲，每個社會必須因應不同的條件來處理與這個現象有關的產業成長。本文將突顯一些亞洲當地的音樂活動，這些頂著「非物質文化的世界遺產」的光環，並且故意隱藏其產業的外貌；對此作者將以產業發展的觀點去檢驗它們當前的存在性。大部分全球瀕臨消失的音樂活動，它們被聯合國教科文組織（UNESCO）施予保護傘，顯示它們是符合一個「少數」的音樂條件，不管是從族群或社會的觀點來看。一個觀點必須被拿來討論的是，是否這些音樂文化能夠有效地跟隨著市場經濟的運作，或者這些「物品」在二十一世紀，能否免除市場經濟的規律，保有它的理想性。另一個觀點是，克服文化經濟層面上的量化評估，與小幅度的開放及高品質的市場，如此它可能不需要為了吸引觀眾而去隱藏其產業背景，而是採以文化與理想上的價值觀，而非以隨著恣意的市場主流而擺動。這篇論文還進一步提供了關於當地音樂活動的經濟發展歷史的深入觀點，及在亞洲社會少數群體中「非─產業」的商業如何支撐文化發展的一個前景。

Music events such as concerts and festivals as well as music products such as recordings on CD, files shared via internet or staged productions of traditionally informal music-making or music connected to rituals and ceremonies need to be analyzed in a wide socio-cultural context when being subjected from an industrial aspect. In Asia, each community has to deal with different conditions for industrial growth in this matter. This paper is to highlight some Asian music practices that are decorated with the label of being 'Intangible World Heritage' and to inspect their current existence under the aspect of an industrial development that purposely hides its industrial attributes. Most globally endangered music practices that are covered by UNESCO protection may fulfill the condition of being a 'minority'-music, either ethnically or socially. One point to be discussed is whether these parts of music culture can effectively follow a market strategy or if these 'items' remain ideologically exempt from economic processing in the 21st century. Another point is overcoming quantitative assessment in cultural economy and the opening of small scale and high quality markets that may not need to hide their industrial background in order to attract audiences that focus on cultural and ideological values rather than on arbitrary mainstream needs. The paper further gives an insight into the history of economic aspects within these local music practices and an outlook of how ＂nonindustrial＂ business may support cultural development among social minorities in Asia.