論文中英文摘要
廣州爵士音樂人的
作樂實踐與文化身份
關鍵詞：身份認同、作樂、爵士樂文化
曾經風靡全球的爵士樂雖然是帝國主義資本性輸出的商品，但不同時期的爵士樂隱含的社會摩擦與文化交融，都能在一定程度上反應當下的社會關係。自爵士樂首次踏上廣州這片土地以來，已過去近一個世紀了。雖然時至今日廣州當下最流行的樂種並非爵士樂，但仍然有那麼一批人，在樂此不疲地在經營著這個並沒有被市場青睞的音樂。但藝術生產並非只是藝術家一個人的靈光乍現，它的出現仰賴於藝術背後社會各界的精心分工與合作，廣州爵士樂的音樂生產也是如此。
本文在爵士樂的音樂生產和文化背景的基礎上，通過作樂理論與身份認同理論結合形成的研究框架，為廣州爵士音樂人的身份探索和歸屬感提供了豐富的語境。筆者為了研究爵士樂音樂生產背後的社會關係，利用自我民族志研究方法參與廣州爵士樂活動，借助作樂理論與身份認同理論架構，從一個演奏者與聽眾的角度嘗試回答廣州爵士樂音樂生產背後身份認同與探究爵士樂的意義。最後本文認為爵士樂蘊含的文化融合屬性，將有助於形成一個去西方中心主義的身份認同，以創造出一個沒有階級色彩、相對平等的社會文化。
Musicking Practice and Cultural Identity of Guangzhou Jazz Musicians
Abstract
Key words:
Identity, Musicking, Jazz Culture
Although once popular worldwide, jazz was a commodity exported by imperialist capitalism, the social frictions and cultural cross-fertilization implied by jazz in different periods all reflect some extent the social relations of the present. It has been almost a century since jazz first arrived in Guangzhou. While jazz may not be the most popular genre of music in Guangzhou today, there are still a group of people who are passionate about working with this music that is not favored by the mainstream market. Artistic production is not solely the result of the artist's creativity, but rather emerges from the collaborative efforts and careful division of labor within the artistic community. This is also true for jazz music-making in Guangzhou.
Drawing on the music-making and cultural context of jazz, this paper employs a research framework that integrates musicking theory and identity theory to explore the processes of identity exploration and belonging among jazz musicians in Guangzhou. To explore the social relations inherent in the production of jazz music, the author engages in jazz activities in Guangzhou using autoethnographic research methods. Drawing on musicking theory and identity theory frameworks, the author seeks to examine the meaning of jazz from the perspectives of both performers and listeners, while also addressing questions of identity within the context of jazz music-making in Guangzhou. Finally, this paper argues that the cultural fusion inherent in jazz can contribute to the development of a non-Western centered identity, promoting the formation of a more inclusive and egalitarian social culture across class boundaries.