華樂之南：以馬來西亞與新加坡華樂團為例
中文摘要
放眼民樂的相關研究，多數聚焦於大中華地區，民樂在時間和空間中輾轉更迭至南方，於新加坡與馬來西亞多元族群組成的社會中，更名為華樂，目前與華樂相關的研究，仍相當缺乏。新加坡華樂團，雖為亞洲地區最晚成立的職業華樂團，但其專業水準以及南洋風華樂，使得樂團揚名國際。本研究為一年期的研究，以新加坡華樂團作為研究的開始，以杜維明的「文化中國」概念為基礎，並以貝納子(Bernards) 延伸「文化中國」的概念進而分析南洋文學的研究，作為討論新加坡華樂團南洋風華樂的借鏡。
Abstract
Previous studies on the modern Chinese orchestra have focused primarily on mainland China, Taiwan, and Hong Kong. Little attention, however, has been given to the Chinese orchestras in Singapore and Malaysia. Inaugurated in 1997, Singapore Chinese Orchestra is the only large professional orchestra in Singapore. Although it is the newest professional Chinese orchestra in Greater China, it is world-known for its high performance standards and unique Nanyang music style. This study is a year-long research, which focuses on the Singapore Chinese Orchestra. This research would use the concept of Tu Wei-ming’s “Culture China” as the basic concept. Brian Bernards (2015) extended Tu’s idea in his recent book Writing the South Seas: Imagining the Nanyang in Chinese and Southeast Asian Postcolonial Literature. This book would use the concept of “Culture China” to discuss Nanyang literature as a theoretical framework for Singapore Chinese music. Singapore Chinese Orchestra, coming from a “Non”-China region, has its root of Chinese music in China. However, it is relatively easier to escape “Chinese Culture” of the Great China region and “Han people culture” due to its location in Southeast Asia. The development; therefore, has been free from the traditional Chinese music thinking, becoming a Chinese orchestra with its own unique features among the Great China region.