| Summary: | 碩士 === 臺北市立教育大學 === 社會科教育研究所 === 94 === The main purpose of this paper is to incorporate the backdrop behind the development of Taiwanese popular songs in the 1930s with the connotations of the lyrics in order to explain the social values and historical significance contained in the Taiwanese popular songs of the 1930s.
The paper consists of 6 chapters. Chapter 1 “Introduction” describes the motive and purpose of the study. Against the background of Viva Tonal, it reconstructs the Taiwanese society in the 1930s. Based on literature reviews it then explores the origins, original places and key players of Taiwanese popular songs of the 1930s as the foundation of this paper. In closing, it explains the research method, which is founded on the sociology of music in conjunction with literature collection and analysis, and the scope and limitation of this study and outlines the research framework via diagrams.
Entitled “Background of the Development of Taiwanese Popular Songs in the 1930s,” Chapter 2 sets out from 4 perspectives, the political, economic and cultural environments and the popular dissemination techniques of Taiwan in the 1930s, and explores whether there was anything in these dimensions that caused popular songs to thrive in the 1930s. The Taiwan of the 1930s was under the totalitarian rule of the Japanese colonialists, and the hand of the government was in every tangible and intangible social activity to curtail people’s life and thought. As a result of industrial and commercial development, urbanization of major cities intensified, and the accumulated investors and consumers formed a solid foundation for the flourishing of popular songs. The style of these popular songs, as a part of the popular culture, was closely associated with many social elements of the time.
Chapter 3 “Background of Song Writers and Composers” looks into the life of the creators, how they became involved in the creation of popular songs, their lives and motives behind the creative works, and how the lyrics and music they conceived stirred ripples in listeners’ hearts. From the major organizations that these writers and musicians joined, it catches a glimpse of their mission and significance to the arts and cultures of the time.
Captioned “Development of Taiwanese Popular Songs in the 1930s,” Chapter 4 divides the evolvement of Taiwanese Popular Songs into 3 stages: Beginning with film promotion songs, prosperous heydays and the end of popular songs under the colonization policy. It examines how investment of record companies, participation of writers and government policy and intervention shaped the short yet glorious boom of popular songs.
The title of Chapter 5 is “Analyzing Connotations of the Lyrics of Taiwanese Popular Songs in the 1930s.” Popular songs stirred and pleased the hearts of common people. The meaning came from within, not defined by those from above. Delving into the contents of songs of the 1930s, this chapter brings readers face to face with the perspectives of the people then, as well as the unique characteristics and values of the time.
Chapter 6 is “Conclusion.” In less than 10 years during the Japanese reign, the curtain of Taiwanese popular songs rose and fell. It was a time that the social environment of Taiwan went through transformations, a crucial moment in the history of Taiwanese popular songs. Ruthless oppressions of the colonial government, clashes of foreign and domestic cultures, and creators’ painstaking involvement gave birth to the Viva Tonal in which many conflicts continued to clash and reconcile. Perhaps, it takes a time as such to inspire so many classics for us to reminisce today, opening our eyes to the songs, and to the history behind them.
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