Musical Taiwan Under Japanese Colonial Rule: a Historical and Ethnomusicological Interpretation
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MUSICAL TAIWAN UNDER JAPANESE COLONIAL RULE: A HISTORICAL AND ETHNOMUSICOLOGICAL INTERPRETATION by Hui‐Hsuan Chao A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2009 Doctoral Committee: Professor Joseph S. C. Lam, Chair Professor Judith O. Becker Professor Jennifer E. Robertson Associate Professor Amy K. Stillman © Hui‐Hsuan Chao 2009 All Rights Reserved ACKNOWLEDGEMENTS Throughout my years as a graduate student at the University of Michigan, I have been grateful to have the support of professors, colleagues, friends, and family. My committee chair and mentor, Professor Joseph S. C. Lam, generously offered his time, advice, encouragement, insightful comments and constructive criticism to shepherd me through each phase of this project. I am indebted to my dissertation committee, Professors Judith Becker, Jennifer Robertson, and Amy Ku’uleialoha Stillman, who have provided me invaluable encouragement and continual inspiration through their scholarly integrity and intellectual curiosity. I must acknowledge special gratitude to Professor Emeritus Richard Crawford, whose vast knowledge in American music and unparallel scholarship in American music historiography opened my ears and inspired me to explore similar issues in my area of interest. The inquiry led to the beginning of this dissertation project. Special thanks go to friends at AABS and LBA, who have tirelessly provided precious opportunities that helped me to learn how to maintain balance and wellness in life. ii Many individuals and institutions came to my aid during the years of this project. I am fortunate to have the friendship and mentorship from Professor Nancy Guy of University of California, San Diego. For my archival research in Taiwan, I specially appreciate the assistance of the librarians at National Taiwan University Library. I would also like to acknowledge the funding from the Center for Chinese Studies of the University of Michigan, the Horace H. Rackham School of Graduate Studies at the University of Michigan, and the Chiang Ching‐Kuo Foundation for International Scholarly Exchange. Their financial support made the research for and writing of this dissertation possible. Finally, I thank my parents for their generosity, patience and unwavering faith in supporting me through the long years of pursuing a doctoral degree. My appreciation also goes to my loving husband, Jih‐Chiang Tsai, whose companionship has made this journey more meaningful. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS.............................................................................................. ii LIST OF FIGURES........................................................................................................... ix LIST OF TABLES............................................................................................................ xii NOTES ON ROMANIZATION ..................................................................................xiii ABSTRACT .................................................................................................................... xiv CHAPTER ONE INTRODUCTION: THE COLONIAL LEGACY OF MUSICAL TAIWAN ..............1 I. Format of the Dissertation .......................................................................6 II. A Political‐Cultural History of Taiwan................................................16 III. Colonialism and Music ..........................................................................34 IV. Musiking and Japanese Colonization of Taiwan................................42 CHAPTER TWO THEORIZING AND HISTORICIZING MUSICAL TAIWAN UNDER JAPANESE RULE.................................................................................................................................47 iv I. The Soundscape of Musical Taiwan: the Dynamics in Historical Perspective ...............................................................................................48 II. Current Scholarship on Historicizing Musical Taiwan.....................55 III. The Trajectory of Taiwan Historiography in Post‐1949 Taiwan......60 IV. Musical Taiwan, the Development of Music Studies, and Musicology...............................................................................................72 CHAPTER THREE MUSIKING CITIZENS IN EARLY COLONIAL TAIWAN: 1895‐1906...................87 I. Education in Meiji Japan: the Role of Kokugo and Shōka ...................89 II. Education for the Colony.......................................................................99 III. Musiking Shōka: Political and Educational Functions as Reflected in Repertoire (object) and Performance Occasions (site) .....................109 IV. Musiking Japanese Colonialism in Taiwan: Negotiating Shōka and Education ...............................................................................................147 V. Conclusion .............................................................................................155 CHAPTER FOUR MUSIKING TAIWANESE TIME AND SOCIETY....................................................158 I. Constructing Japanese Time and Society in Taiwan........................160 v II. Shisei Kinenhi: Celebrating the Inauguration of Japanese Rule. .....170 III. Tenchōsetsu: the Japanese Emperor’s Birthday..................................178 IV. Conclusion .............................................................................................189 CHAPTER FIVE MUSIKING COLONIAL RITUAL AND RITUAL SPACE: THE TAIWAN JINJA MATSURI.......................................................................................................................191 I. Shinto and Jinja in Meiji Japan ............................................................192 II. Building the Taiwan Jinja: the Historical Development..................195 III. The Taiwan Jinja Matsuri: the Programs ...........................................203 IV. Musiking Inside and Outside the Taiwan Jinja ................................209 V. Musiking Jinja and Musiking Colonization ......................................222 VI. Conclusion: Musiking Colonial Reality.............................................226 CHAPTER SIX MUSIKING ELITE AND RELIGIOUS TAIWANESE: CONFUCIAN CEREMONIAL MUSIC AFTER JAPANESE COLONIZAION..............................228 I. Confucian Temples in Taiwan: a Historical Development.............230 II. Confucian Ceremonial Music and Dance..........................................232 III. Formation of Confucian Ceremonial Tradition in Qing Taiwan ...239 vi IV. Transformation of Taiwanese Confucian Ceremonial Tradition after Japanese Annexation ............................................................................249 V. Negotiating Confucian and Colonial Realities .................................255 VI. Conclusion .............................................................................................264 CHAPTER SEVEN MUSIKING TAIWANESE MODERNITY AND LOCALITY .................................266 I. The Colonial and Modern Infrastructures in Taiwan......................267 II. The Cross‐island Railroad Construction and Its Celebrations.......270 III. Concluding Remarks: Musiking Colonial Modernity .....................288 CHAPTER EIGHT SUMMARY AND CONCLUSION: COLONIAL TAIWAN’S NEW AND HYBRIDIZED SOUNDSCAPE....................................................................................292 I. The Social‐Cultural Policy of Non‐Interference: Negotiating Colonial Authority and Local Traditions ..........................................293 II. Musiking Colonial Taiwan ..................................................................301 III. Conclusion .............................................................................................314 APPENDICES................................................................................................................318 vii BIBLIOGRAPHY ...........................................................................................................337 viii LIST OF FIGURES Figure 1‐1: The Presidential Hall Concert in December, 2006, honoring Taiwanese folksong singer Chen Da and songwriter Deng Yuxian and performed by musicians of various backgrounds and musical styles. ..............................................5 1‐2: Map of Taiwan: Taiwan in Asia and West Pacific. .............................................18 1‐3: Major cities of Taiwan.............................................................................................19 3‐1: Izawa Shūji................................................................................................................96 3‐2: The Japanese teachers and Taiwanese students of the two programs of the Japanese Language Lab in Miaoli, ca. 1896‐1898......................................................106 3‐3: Development of Colonial School System in Taiwan, 1895‐1906.....................109 3‐4: Masugu ni tateyo (“Stand up straight!”), nicknamed “song of discipline,” taught by Izawa Shūji to his Taiwanese pupils at Shizangan gakudō. ....................112 3‐5: Musical example: Kigensetsu (“Empire Day”). ..................................................115 3‐6: The holiday and ceremonial shōka used in Taiwan: Kimigayo (Japanese national anthem). ..........................................................................................................117 3‐7: The holiday and ceremonial shōka used in Taiwan: Tenchōsetsu (Emperor’s birthday).........................................................................................................................118