The Heritance and Creation of Taiwanese Rap: A Case Study of the Taiwanese Album "I Am the Big Tire"

• Main Authors: Shao, Ta-lung, 邵大倫
• Other Authors: Tsai, Chia-Fen
• Format: Others
• Language: zh-TW
• Published: 2017
• Online Access: http://ndltd.ncl.edu.tw/handle/8xanuw

碩士 === 國立臺灣師範大學 === 流行音樂產業碩士專班 === 105 === The author has been in the Taiwanese pop music industry for more than ten years, and witnesses the rise and fall of it. The crux of the industry’s ups and downs has been on debate, and divergent opinions are raised to explain it. Back in the martial law period when speaking local languages was a political taboo, Taiwanese, or the so-called Southern Minnan dialect in the eyes of the authorities, was labeled as grassroots, and thus the development of Taiwanese songs was limited. In fact, Taiwanese pop music greeted its heyday as early as in 1932, thanks for the influence of films. The movie “Peach Blossom Weeps Tears of Blood” was a hit in the year, and its theme song sung in Taiwanese became widely known, thus starting the era of Taiwanese pop music. Since then, film studios began to advocate Taiwanese pop music as the tool to promote silent films imported from China. However, the KMT government, after taking over Taiwan, used every means to foster Mandarin pop music, until the end of the martial law period. Even in today, the label it was given still remains imperceptibly. This thesis through study aims to analyze and interpret “talking and singing” for more possibilities in crafting Taiwanese songs, and provide more information for the coming generations who use and inherit the legacy of Taiwanese.