This research analyzes the emergence and operation of the "Hakka music" record industry in postwar Taiwan. Specifically, I explore the processes through which a record industry associated with the socio-musical categorization of "Hakka" took shape, evolved, and declined during the 1960s-1990s. I collected data through archival work and interviews with people in relation to the record production and dissemination of Meilu and Ring Ring Records of the 1960s-1970s, and the Shangfa, Jisheng, Longer, Lanya, and Hanxin Records of the 1980s-1990s. My analysis is centered on 1) these social actors' participant logics and social networks; 2) the ways through which these people produced and disseminated Hakka music; 3) the background in which the sound of Hakka music and records were used and mediated. I examine the context by which related cultural production was made possible, and the record histories of Hakka music recognized by these actors. In addition, I analyze the socio-cultural meanings of the sound conveyed by the sound of the Hakka song records using a framework of “technology-in-use” and “mediation”.
|Effective start/end date||2017/08/01 → 2019/07/31|
- postwar Taiwan
- history of Hakka music
- record industry
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