李惠平 - 小泉文夫的臺灣音樂調查（1973）[日本語字幕あり]

發表於2022.03.11(五) 2022重建臺灣音樂史學術研討會
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小泉文夫的臺灣音樂調查（1973）
李惠平（東京藝術大學）
在臺灣音樂研究史的討論裡，日籍學者的調查一直佔有重要的地位。尤以田邊與黑澤兩位學者在臺調查時所留下的資料，為戰前的臺灣音樂文化留下了珍貴的紀錄。而在戰後，雖仍曾有數位日籍音樂學者接續來台進行調查，其研究成果則較未在國內引起太多討論。
1973年7月16日，當時正風靡著日本社會的民族音樂學者小泉文夫（Fumio Koizumi，1927－1983）自東京抵達台北，展開為期六週的田野調查與音樂採集。然而，被認為是日本戰後最具影響力的音樂學者之一的小泉，儘管在返國後將在臺採集的部分錄音發行為兩張唱片，但小泉曾來臺進行調查一事，迄今卻鮮少被人提及。究竟小泉該次來臺調查的軌跡為何？他是如何試圖捕捉臺灣音樂的實態？而小泉在臺灣的所見所聞，又在他未來的理論形成裡佔有怎麼樣的位置？
為回答上述問題，本文將簡單介紹小泉生平，並以東京藝術大學小泉文夫紀念資料室所藏小泉訪台時攜帶的田野筆記兩冊為主，其餘相關資料為輔，嘗試還原1973年小泉來臺調查的始末。並在此基礎上，透過解讀小泉訪台後論及臺灣的出版品，論述小泉音樂觀中對於臺灣音樂的理解。本文認為，小泉獨具個人特色的治學風格，正是導致其所留下的文化資產迄今難以進入臺灣音樂研究史討論裡的主要原因。
關鍵字：臺灣音樂、原住民音樂、田野調查、小泉文夫
 
Fumio Koizumi’s Survey of Formosan Music (1973)
Hui-Ping Lee (Tokyo University of the Arts)
In the history of research on Taiwanese (Formosan) music - I mean inclusively the music of Taiwanese aboriginal peoples and the various traditional music genres of those Han Chinese who later settled in Taiwan - the fieldwork legacies left by pre-1945 Japanese scholars have long been regarded as indispensable. This is particularly true of the works of Hisao Tanabe (1883-1984) and Takatomo Kurosawa (1895-1987). However, while some Japanese scholars also conducted detailed fieldwork on Taiwanese music after 1945 (i.e., after the departure of Japan as the colonial power in Taiwan at the end of WWII), these studies and surveys are not frequently discussed.
On July 16th, 1973, Fumio Koizumi (1927-1983) arrived in Taipei for a six-week trip to survey the music of Taiwan. Koizumi, one of the most influential music scholars of postwar Japan, released two records containing his field recordings after his return to Japan. In addition, he referred to his fieldwork stay in Taiwan in his various articles and speeches. However, this 1973 survey is not well-acknowledged and the results Koizumi obtained remain somewhat unclear. For example, how did Koizumi plan his trip to Taiwan? What was his primary goal? How did Koizumi understand the music he heard and recorded in Taiwan, and what place did Taiwanese music occupy in Koizumi’s theoretical perspectives?
To answer the questions above, this chapter will first start with a brief introduction to Koizumi’s life and achievements, before revealing the details of his field trip in Taiwan. It will do this studying Koizumi’s two fieldwork notebooks - held at Koizumi Fumio Memorial Archives at Tokyo University of the Arts - and other related materials. I will also survey Koizumi’s published materials and shed light on his perceptions of Taiwanese music. Finally, the chapter will argue that Koizumi’s distinctive ways of conducting research inevitably prevented his fieldwork results from being incorporated into wider discussions of the history of research on Taiwanese music.
Keywords: Taiwanese Music, Aboriginal Music, Fieldwork, Fumio Koizumi

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