一“民族音乐”或“我们的音乐”纵观台湾近代的传统音乐研究活动,可见两种特征:其一,此类音乐经常被归类为所谓“民族音乐”;其二,其研究者很少单以音乐为对象,而时常有意识地将台湾文化与音乐并置讨论,并且在其研究动机中,陈述探索自身成长环境的兴趣,甚至强调族群身份认同意识的觉醒历程。这两种特征就表象来看,显然都指向对于“民族”的想象与表现,但就精神本质而言,“民族”概念于二者之主客位置有着根本差异,因而明显地相互抵触。这种抵触,简言之, A survey of traditional music in Taiwan’s modern history shows two characteristics: First, such music is often classified as so-called “national music.” Its “folk music” or “our music” Second, their researchers seldom take music as their object, and they often deliberately place Taiwanese culture and music side by side and discuss their motivations in the research to explore the interest of their own growth environment and even emphasize the awakening process of ethnic identity awareness . Both of these two features, on the other hand, apparently point to the imagination and expression of “nation ”. However, in terms of spiritual essence, the concept of “nation ” is fundamentally different from the subject and object of the two, conflict. This conflict, in short,