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專任研究人員 - 呂心純(Lu, Hsin-Chun)

呂心純(Lu, Hsin-Chun)照片

呂心純(Lu, Hsin-Chun)

職稱:副研究員
研究室:R2513
在本所任職期間:2008年8月迄今
電話:26523435
研究概述

音樂的流動性是我長期以來的研究關懷,其內容廣及由這個音樂特質所開展出來的多種游移文化,包括經由人口流動而產生的音樂離散現象,與音樂科技及載體發展、或市場擴展所帶來的音樂流播,以及在時間流轉下,音樂所推動的社會與文化意義之(再)生產。而其中具體研究對象為緬甸境內及境外的緬甸古典音樂家、緬甸移工與緬華移民三類社群,議題大多聚焦在他們所實踐及經驗的樂舞形式上,並針對這些形式進行歷史的爬梳與多方面議題的探討。在此涵蓋的範疇包括:音樂再現族裔文化的現代性、認同與困境、文化差異的操演性、音景建構及跨境策略、移民社群的社會底層性與能動性等。而在這些討論當中,我也致力落實民族音樂學本科的理論創見,聚焦音樂與空間相關議題與移民音樂的多重歷史思考,並力圖深化個體研究、多點域比較與習藝等研究方法的討論。

近十年來,我以下列幾個面向來切入音樂的流動性,作為研究主題的開展:

一、聲響、情感與感知之間的動態互動:試圖從游移文化內的聲響本身,探索它所反映出的集體情感、文化記憶,同時梳理隱含在其中並用以定義世代或認同的情緒結構;此外,亦著重於聲響所引發的聆聽與身體律動等感知,從中理解那些以文字語言無法、或不得言說的情緒。二、音樂的空間性:為突破過去學者對於單一族群、固定時空脈絡的研究格局,我嘗試從多個維度開展音樂空間性的議題,力求揭發多元的行動主體,包括有過去 vs 現代、日常 vs 非日常、結構 vs 非結構、「公開式文本」vs「隱藏式文本」(Scott 1990)、底層 vs 上流、家鄉 vs 他鄉、在地 vs 全球化 vs 區域化、非營利 vs 半營利 vs 純營利,甚至被研究者 vs 研究者等。由於不同維度之間的音樂形式、符號意義與文化詮釋,可能相互連動或彼此暗示,因此,在個案研究中亦試圖從幽微互動中尋求詮釋的空間。三、多點域的田野實踐:有鑑於每個音樂「場景」,皆是錯綜文化邏輯、人們音樂經驗與價值觀念的文化場域,牽涉多元行動者、社會慣習、資本與複雜權力關係;且單一田野場景所處的社會結構,又經常限定了研究者進入田野場域的視野及路徑,因此我強調的研究實踐之一,在於從多點場景中進行「互文」,以尋求相對固定的原則,進而過渡到音樂知識的建構與書寫。另外,透過在多點域之間來回思辨、互文尋找不同主體的能動表現,方能從民族音樂學家Timothy Rice與 Mark Slobin所奠立的文化空間分析架構上向前推進,開啓更多「第三空間」的詮釋可能。

學歷

  • 美國加州大學洛杉磯分校民族音樂學博士(2003.09 - 2007.09)

現職

  • 中央研究院民族學研究所副研究員(2013.03.14 -)

經歷(點擊展開)

  • 中央研究院民族學研究所助研究員(2008.08.02 - 2013.03 )
  • 國立台灣大學音樂學研究所兼任助理教授(2012.02 - 2012.07)
  • 國立台南藝術大學民族音樂學研究所兼任助理教授(2009.02 - 2009.07)
  • 美國北伊利諾州立大學音樂系講師(2008.01 - 2008.06)
  • 美國北伊利諾州立大學緬甸研究中心博士後研究(2007.09 - 2008.08)

學術榮譽與得獎紀錄(點擊展開)

  • 2015中研院年輕學者赴國外進修獎助
  • 2014-05中研院年輕學者研究著作獎
  • 2013-07吳大猷先生紀念獎
  • 2013First Prize for the 2013 New Taipei City’s Documentary-Making Funds, awarded Project: “Musical Twin Cities in and beyond Burma"
  • 2012-11Rulan Chao Pian Publication Prize
  • 2012Chosen article listed in the Yearbook of Science & Technology, Taiwan (中華民國科技年鑑)
  • 2007-03Postdoctoral Fellowship, The American Association of University Women (AAUW) Educational Foundation (US)
  • 2006-12Tokumaru Yoshihiko Prize (East Asia)
  • 2006UCLA, Edna and Yu-Shan Han Fellowship Award, Graduate Division
  • 2006UCLA, Ralph C. Altman Memorial Fund Award, Fowler Museum Fellowship for Graduate Students
  • 2005蔣經國國際學術交流基金會「中華民國留學生博士論文獎學金」
  • 2004Quality of Graduate Education Supplemental Award, UCLA
  • 2005Pacific Rim Research Program Mini-grant, University of California
  • 2004Edna and Yu-Shan Han Fellowship Award, UCLA
  • 2003Ethnomusicology Department Fellowship, UCLA

研究專長

  • 民族音樂學、離散研究、全球化、音景、現代性

研究區域

  • 緬甸/全球緬甸離散地

研究計畫獎助(點擊展開)

  • 2018-2021 【科技部一般研究計畫】 文化產業化、族群觀光及地方想像:桃園及澳門兩地緬甸相關文化慶典之比較(編號:107-2410-H-001-095-MY3)
  • 2016-2018 【科技部一般研究計畫】 雙城與雙胞慶典:台灣與澳門兩地緬華文化節慶化與展演政治的比較研究(編號:105-2410-H-001-072-MY2)
  • 2014-2018 【科技部吳大猷先生紀念獎計畫】新時代的緬甸古典音樂:世襲、懷舊與陽性氣質(編號:103-2410-H-001-093-MY4)
  • 2014-2016 【科技部優秀年輕學者研究計畫】文革與去文革:仰光與澳門緬甸華人歌舞的身體展演與記憶政治(編號:103-2628-H-001-004-MY2)
  • 2014-2017 【蔣經國國際學術交流基金會國際合作計畫】中國境外的樂舞與文化大革命(編號:RG009-D-13)
  • 2011-2014 【國科會專題研究計畫】音樂聆聽感知、情感與地方感:緬甸仰光與台灣中和兩地緬甸華僑社群的比較研究(編號:100-2410-H-001-092-MY3)
  • 2008-2010 【中央研究院亞太區域研究中心:個人型計畫】根源、路徑、回歸:當代緬甸華僑在音樂實踐中形構的離散認同。

著作目錄

專書、論文集 (點擊展開)

2012
《未褪色的金碧輝煌:緬甸古典音樂傳統的再現與現代性》(ISBN: 9789860336993)。台北:國立台灣大學出版中心。隨書出版一片音樂光碟。

主編之專書(論文集) (點擊展開)

2012
蕃族調查報告書第五冊:泰雅族-前篇,臺灣總督府臨時臺灣舊慣調查會原著。台北:中央研究院民族學研究所。
2010
蕃族調查報告書第七冊:泰雅族-後篇,臺灣總督府臨時臺灣舊慣調查會原著。台北:中央研究院民族學研究所。
2012
呂心純,2012,《蕃族調查報告書第五冊:泰雅族-前篇,臺灣總督府臨時臺灣舊慣調查會原著。》,共356頁,台北:中央研究院民族學研究所。。
2010
呂心純, 2010, 蕃族調查報告書第七冊:泰雅族-後篇,臺灣總督府臨時臺灣舊慣調查會原著。, 203 pages, 台北: 中央研究院民族學研究所。.

期刊論文 (點擊展開)

2019
"Politics and Tactics in Revolutionary Performance: A Sino-Burmese Arts Troupe in Transnational Circulation." Asian Theatre Journal 36(2): upcoming. (A&HCI)
2018
〈時空流轉下的緬華革命樂舞〉,《考古人類學刊》88: 35-82。
2016c
“Water Festival as Spectacle: Sino-Burmese Identities, Ethnic Politics and Public Performances in Macau.” Routledge Handbook on Asian Music: Cultural Intersections (accepted).
2016b
〈跨文化表演的研究途徑:臺灣一場緬甸音樂表演的互為主體與多點民族誌研究〉, 《民俗曲藝》193: 11-62。(TSSCI)
2016a
“Cultural Homogeneity, Embodied Empathy: Incorporating Musical Pasts among Burmese Chinese Peoples Worldwide.” Ethnomusicology Forum 25(1): 14-34. (A&HCI)
2011b
“Performativity of Difference: Mapping Public Soundscapes and Performing Nostalgia among Burmese Chinese in Central Rangoon.” Asian Music 42(2): 19-55. (A&HCI)
2011a
〈音樂作為一種離散社會空間:台灣中和地區緬甸華僑的音景與族裔空間建構〉,《民俗曲藝》171: 11-64。(TSSCI)
2010
〈音聲空間研究的全球趨勢與本土回應初探〉,《關渡音樂學刊》(與楊建章合著)13: 77-96。
2009c
“Shaping Asian-Pacific Subjectivity in Cross-cultural Music Collaboration: An Asian-American Perspective.”Formosan Journal of Music Research 9: 125-154.
2009b
熱門與前瞻學術議題深度報導:音樂學研究的空間新視野。人文與社會科學簡訊 11(1): 15-23。
2009a
“The Burmese Classical Music: An Introduction.”Fontes Artis Musicae 56(3): 254-271. (A&HCI)
2008
“Festivalizing Thingyan, Negotiating Ethnicity: Burmese Chinese Migrants in Taiwan.”Journal of Burma Studies 12: 29-62.
2002
當代緬甸樂器saung-gauk之歷久彌新:以象徵意義作為探討對象。刊於九十一年中華民國民族音樂學會青年學生研討會論文集,頁120-45。
1999
淺析唐代驃國獻樂的意義--以「新唐書」『南蠻傳』為主要探討對象。 刊於第一屆全國大學院校研究生音樂學術研討會論文集,頁1-26。
2017
Hsin-Chun Tasaw Lu, accepted, “Embodying Maoism: Sino-Burmese Revolutionary Performance in Transnational Circulation”, The Drama Review. (A&HCI)
2016-09
呂心純,2016,〈跨文化表演的研究途徑:台灣一場緬甸音樂表演的互為主體與多點民族誌研究〉,《民俗曲藝》,193: 11-62。(TSSCI)
2016
Hsin-chun Tasaw Lu, 2016, “Cultural Homogeneity, Embodied Empathy: Incorporating the Musical Pasts amongst Burmese Chinese Peoples Worldwide”, Ethnomusicology Forum, 25(1): 14-34. (A&HCI)
2011-07
Hsin-chun Lu, 2011, “Performativity of Difference: Mapping Public Soundscapes and Performing Nostalgia among Burmese Chinese in Central Rangoon”, ASIAN MUSIC, 42 (2), 19-55. (A&HCI)
2011-03
呂心純,2011,〈音樂作為一種離散社會空間:台灣中和地區緬甸華僑的音景與族裔空間建構〉,《民俗曲藝》,171: 1-61。(TSSCI)
2011-01
楊建章、呂心純, 2011, “音聲與空間研究的全球趨勢與本土回應”, 關渡音樂學報, 13, 1-22.. (THCI)
2009-12
楊建章、呂心純, 2009, “音樂學研究的空間新視野”, 人文與社會科學簡訊, 11(1): 15-23.
2009-10
Hsin-chun Lu, 2009, “Shaping Asian-Pacific Subjectivity in Cross-cultural Music Collaboration: An Asian-American Perspective”, 台灣音樂研究, 9, 125-153. (THCI)
2009-10
Hsin-chun Lu, 2009, “The Burmese Classical Music: An Introduction”, FONTES ARTIS MUSICAE, 56(3), 254-271. (A&HCI)
2008-10
Hsin-chun Lu, 2008, “Festivalizing Thingyan, Negotiating Ethnicity: Politics and Performance in a Burmese Community in Taiwan”, Journal of Burma Studies, 12, 29-62.

專書(論文集)之一章 (點擊展開)

2019
“Water Festival as Spectacle: Sino-Burmese Identities, Ethnic Politics and Public Performances in Macau.” Routledge Handbook on Asian Music: Cultural Intersections, edited by Tong Soon Lee. Oxford: Taylor & Francis Group Ltd.
2014
〈「多元自我」與「互為主體」:一位緬甸古典音樂家的音樂自我建構〉,《同理心、情感與互為主體:人類學與心理學的對話》,頁157-206。台北:中央研究院民族學研究所。
2014
“Recounting, Resistance, and Reflection: An Analysis of a Burmese Classical Musician’s Narrative.” In Eric Tagliacozzo and Wen-chin Chang, ed. Burmese Lives: Ordinary Life Stories Under the Burmese Regime. Chapter 5, pp. 109-131. New York: Oxford University Press.
2013
〈追憶「紅」過往,光耀新時代:緬甸華人的聆聽感知、身體記憶與文化展演〉。刊於《身體、主體性與文化療癒:跨域的搓揉與交纏》(余安邦主編),頁167-208。台北:中央研究院。
2018
Hsin-chun Tasaw Lu, accepted, “Water Festival as Spectacle: Sino-Burmese Identities, Ethnic Politics and Public Performances in Macau”, editor(s): Tong Soon Lee, Routledge Handbook on Asian Music: Cultural Intersections.
2014
呂心純,2014,〈多元自我與互為主體性:一位緬甸古典音樂家的音樂自我建構〉,劉斐玟編,《從相逢到交融:人類學與心理學的激盪與對話》,頁157-205,台北:中央研究院民族學研究所。。
2013
Hsin-chun Tasaw Lu, 2013, “Recounting, Resistance, and Reflection: An Analysis of a Burmese Classical Musician's Narrative”, editor(s): Eric Tagliacozzo and Wen-chin Chang, Burmese Lives, pp. 109-131, New York, USA: Oxford University Press.
2013
呂心純, 2013, “追憶「紅」過往,光耀新時代:緬甸華人的聆聽感知、身體記憶與文化展演”, editor(s): 余安邦, 身體、主體性與文化療癒, pp. 167-208, 台北: 中央研究院.

學術書評 (點擊展開)

2013
Hsin-chun Lu, 2013, “Book Review on “Asian Theatre Puppets: Creativity, Culture and Craftsmanship.” London: Thames & Hudson.”, Chime, 18-19: 176-177.
2008-12
Hsin-chun Lu, 2008, “Book Review on Footsteps in the Dark: The Hidden Histories of Popular Music”, Taiwan Journal of Anthropology, 2(2), 195-198.

研究/計畫報告 (點擊展開)

2011-2014
  國科會新進人員研究計畫:「音樂聆聽感知、情感與地方感:緬甸仰光與台灣中和兩地緬甸華僑社群的比較研究」
2008-2010
  中央研究院人文社會科學研究中心亞太區域研究計畫:「根源、路徑、回歸:當代緬甸華僑在音樂實踐中形構的離散認同〔一個緬甸、台灣、澳門的比較研究〕」

學術會議(研討會)論文 (點擊展開)

2018
“Experience Macau, Touching Moments”: Burmese Music and Dance Performances, Identity Negotiation, and City Tourism in Macau. Paper presented at the 13th International Burma Studies Conference. Pullman Grande Sukhumvit, Bangkok, Thailand. August 3-5.
2016b
“Embodying Maoism: Sino-Burmese Revolutionary Performance in Transnational Circulation.” Paper presented at the 5rd International Symposium of the ICTM Study Group for Musics of East Asia (MEA). Institute of Ethnology, Academia Sinica, Taipei. August 25-27.
2016a
Intercultural Negotiation and Reconciliation: The Sino-Myanmar Festival Performances in Macau.” Paper presented at the workshop “Music, Modernity, and Public Sphere.” University of Chicago Center, Delhi, India. February 27-28.
2015
“Performing Revolutionaries: The Cultural Representation of Music and Dance amongst Sino-Burmese Youth in Yangon.” Paper presented at the annual meeting of Society of Ethnomusicology (SEM). Austin, US. December 2-5.
2013b
“Cultural Homogeneity, Embodied Empathy: Reconstructing the Musical Pasts amongst Burmese Chinese Peoples Worldwide.” Paper presented at the 2013 International Council for Traditional Music (ICTM). Shanghai. July 11-17.
2013a
“Listening Sensory, Bodily Memory, and the Politics of Cultural Performances among the Burmese Chinese in Rangoon.” Paper presented at the 2013 Association of Asian Studies (AAS). San Diego. March 21-25.
2012f
“Interactions within Plural-selfhoods: Constructing Musical-self of a Burmese Chinese Musician.” Paper presented at the Annual Meeting of the American Anthropological Association (AAA). San Francisco, USA. November 14-18.
2012e
“Recollecting the Red Past, Glorifying the New Present: Musical Narratives and Performances among the pro-CCP Burmese Chinese in Rangoon.” Paper presented at the Annual Meeting of the Society of Ethnomusicology (SEM). New Orleans, USA. November 1-4.
2012d
「多元自我與互為主體性:一位緬甸古典音樂家的音樂自我建構」,發表於「從相逢到交融:人類學與心理學的激盪與對話」會議。台北:中央研究院民族學研究所,九月四日。
2012c
“Ethnic Festivalization, Subversion, and Intersubjectivity: The Burmese ‘Twin Water Festivals’ in Taiwan.” Paper presented at the 3rd International Symposium of the ICTM Study Group for Musics of East Asia (MEA). Chinese University, HK. July 31-August 2.
2012b
“Song Covers as Hidden Transcripts: Negotiating Identity and Reidentifying Home amongst Burmese Chinese Singers.” Paper presented at the 19th Meeting of the International Musicological Society (IMS). Rome, Italy. July 1-7.
2012a
「身體作為文化記憶或技藝?—緬華的聆聽經驗與文化展演政治」,發表於國際漢學會議。台北:中央研究院民族學研究所,六月二十二日。
2011c
「另一種鄉愁:多點域緬甸華人在音樂實踐中的時空建構」,發表於臺灣人類學與民族學學會第四屆年會。台北:中央研究院民族學研究所,十月八日。
2011b
「『異地』或『在地』風格?官版與緬華版潑水節歌舞展演的多重主體發聲」,發表於第二屆藝術論衡國際研討會。台南:國立成功大學,九月二十四日。
2011a
“Cohesion and Collision: The Everyday Politics of Burmese Classical Musicians in Modern Rangoon.” Paper presented at the 2011 Association of Asian Studies. Honolulu, USA. March 31.
2010e
「差異的展演性:仰光緬甸華僑的公共音景繪製與鄉愁展演」, 發表在亞太區域研究專題中心。台北: 中央研究院,九月十六日.
2010d
“Music as Social Space: Constructing Ethnic Soundscapes in a Burmese Chinese Community in Jhong-he, Taiwan.” The 2nd Conference of the ICTM Study Group for the Musics of East Asia. Seoul, Korea. August 24-26.
2010c
“Transnational Music Remaking and Home Reidentifying: Chinese Migrant Singers in Burmese Pop.”Center for Burma Studies. Marseille, France. July 6-10.
2010b
“Isolationism and Simplicity as Resistance: An Analysis of a Burmese Classical Musician’s Self-Narrative.”Paper presented at the workshop of “The Lived Histories of People from Burma.”New York, USA. June 4-5.
2010a
“Performativity of Difference: Making Public Soundscapes in the Sino-Burmese Community in Central Yangon.”International Forum For Young Musicologists 2010, organized by The Musicological Society Of Japan, Yokohama, Japan. May 14-17.
2009d
“Crossing Over: Burmese Chinese Migrants, Diasporic Identity, and Burmese Pop.”Paper presented with performance at the conference “Cross-Fertilization in Asian Arts.”Organized by University of Washington, Seattle, USA. October 30-31.
2009c
“Sino-Burmese in Yangon: Soundscapes Formation and Its Politics.” Paper presented at the Workshop of “Ethnic Chinese in Contemporary Indochinese States and Myanmar.”organized by National University of Singapore, Singapore. August 6.
2009b
“Nan-chi-chao No. 7: Transnationality and Localization of the Sino-Burmese Soundscapes in Jhong-he.”Paper presented at the 2009 Southeast Asian Area Studies Conference. Taipei, Taiwan. April 24.
2009a
“Identity Construction through Personal Narratives: A Burmese Migrant Woman in Taiwan.”Paper presented at the 2009 Association of Asian Studies. Chicago, USA. March 26-29.
2008
“The Soundscapes of Ethnic Chinese in Rangoon between 1948 and 1988. ”Paper presented at the International Burma Conference. IL: DeKalb, USA. October 3-5.
2006b
“Kyaw Kyaw Naing Meets the APPEX: A Burmese Musician's Representation and Advocacy in the Postmodern West.”Paper presented at 2006 SEM Pre-Conference: "Whose Asia-Pacific? Representation and Presentation in Ethnomusicology." Honolulu, USA. November 15.
2006a
“Festivalizing Thingyan, Negotiating Ethnicity: Politics and Performance in a Burmese Community in Taiwan.”Paper presented at 2006 East Asian Music and Modernity Conference. I-Lan, Taiwan. September 1.
2002
當代緬甸樂器saung-gauk之歷久彌新:以象徵意義作為探討對象。發表於九十一年中華民國民族音樂學會青年學生研討會。私立文化大學主辦。
1999
淺析唐代驃國獻樂的意義--以「新唐書」「南蠻傳」為主要探討對象。 發表於第一屆全國大學院校研究生音樂學術研討會論文集。國立中山大學主辦。
2018-08
Hsin-chun Tasaw Lu, 2018, ““Experience Macau, Touching Moments”: Burmese Music and Dance Performances, Identity Negotiation, and City Tourism in Macau.”, paper presented at 13th International Burma Studies Conference, Bangkok, Thailand: The Center for Burma Studies, 2018-08-03 ~ 2018-08-05.
2017-11
呂心純,2017,〈形構觀光「異域」:龍岡米干節的歌舞展演與邊區文化想像〉,發表於2017 年音樂的傳統與未來年度研討會,嘉義佛光山嘉義會館(嘉義市博愛路二段241號):南華大學,2017-11-17 ~ 2017-11-18。
2017-07
Hsin-chun Tasaw Lu, 2017, “Museum Exhibitions as Alternative Way of Building Ethnomusicological Knowledge”, paper presented at 44th ICTM World Conference, University of Limerick: University of Limerick, 2017-07-13 ~ 2017-07-19.
2016-08
Hsin-chun Tasaw Lu, 2016, “Embodying Maoism: Sino-Burmese Revolutionary Performance in Transnational Circulation”, paper presented at 5th ICTM-MEA Conference, 中央研究院民族學研究所: 國立臺北藝術大學/中央研究院民族學研究所, 2016-08-23 ~ 2016-08-25.
2016-02
Hsin-Chun Lu, 2016, “Intercultural Negotiation and Reconciliation: The Sino-Myanmar Festival Performances in Macau”, paper presented at Music, Modernity, and Public Sphere, Delhi, India: University of Chicago Center, 2016-02-27 ~ 2016-02-28.
2015-12
Hsin-chun Tasaw Lu, 2015, “Embodying Maoism: Diasporic Performances of a Sino-Burmese Music and Dance Troupe”, paper presented at The Annual Meeting of Society of Ethnomusicology, Austin, Texas: Society of Ethnomusicology, 2015-12-02 ~ 2015-12-06.
2014-08
Hsin-chun Tasaw Lu, 2014, “Politics and Tactics in the Recent Revival of Myanmar Thachin gyi: A Cross-Cultural Performance in Taipei”, paper presented at ICTM MEA Symposium in Nara, Nara University of Education, Nara, Japan: Nara University of Education, 2014-08-21 ~ 2014-08-23.
2013-07
Hsin-chun Lu, 2013, “Cultural Homogeneity, Embodied Empathy: Reconstructing the Musical Pasts amongst Burmese Chinese Peoples Worldwide”, paper presented at Biannual Meeting of the International Council for Traditional Music (ICTM), Shanghai, China: International Council for Traditional Music, 2013-07-11 ~ 2013-07-17.
2013-03
Hsin-chun Lu, 2013, “Listening Sensory, Bodily Memory, and the Politics of Cultural Performances among the Burmese Chinese in Rangoon”, paper presented at Annual Meeting of Association for Asian Studies, San Diego, USA: Association for Asian Studies, 2013-03-21 ~ 2013-03-24.
2012-11
Hsin-chun Tasaw Lu, 2012, “Multiple Selves and Intersubjectivity: Constructing Musical-self of a Burmese Classical Musician in Rangoon”, paper presented at Annual Meeting of the American Anthropological Association, San Francisco: American Anthropological Association, 2012-11-14 ~ 2012-11-18.
2012-10
Hsin-chun Tasaw Lu, 2012, “Recollecting the Red Past, Glorifying the New Present: Musical Narratives and Performances among the pro-CCP Burmese Chinese in Rangoon”, paper presented at Annual Meeting of the Society of Ethnomusicology, New Orleans: Society of Ethnomusicology, 2012-10-31 ~ 2012-11-05.
2012-09
呂心純, 2012, “多元自我與互為主體性:一位緬甸古典音樂家的音樂自我建構”, paper presented at 從相逢到交融:人類學與心理學的激盪與對話國際研討會, 台北: 中央研究院民族學研究所: 中央研究院民族學研究所, 2012-09-04 ~ 2012-09-05.
2012-07
Hsin-chun Tasaw Lu, 2012, “Ethnic Festivalization, Subversion, and Intersubjectivity: The Burmese ‘Twin Water Festivals’ in Taiwan”, paper presented at Annual Meeting for the Musics of East Asia, Chinese University of Hong Kong, Hong Kong: ICTM Study Group for Musics of East Asia, 2012-07-31 ~ 2012-08-02.
2012-07
Tasaw Hsin-chun Lu, 2012, “Song Covers as Hidden Transcripts: Negotiating Identity and Reidentifying Home amongst Burmese Chinese Singers”, paper presented at 3rd ICTM Music of East Asian Studies Meetings, Chinese University of Hong Kong, Hong Kong: The study of group of ICTM Music of East Asian Studies, 2012-07-30 ~ 2012-08-02.
2012-06
呂心純,2012,〈身體作為文化記憶或技藝?--緬華的聆聽經驗與文化展演政治〉,發表於漢學會議,中央研究院民族學研究所:中央研究院,2012-06-20 ~ 2012-06-22。
2011-10
呂心純, 2011, “另一種鄉愁:多點域緬甸華人在音樂實踐中的時空建構”, paper presented at 台灣人類學與民族學學會第四屆年會, 中央研究院民族學研究所: 臺灣人類學與民族學學會, 2011-10-08 ~ 2011-10-09.
2011-09
呂心純, 2011, “『異地』 或『在地』風格?官版與緬華版潑水節歌舞展演的多重主體發聲”, paper presented at 第二屆藝術論衡國際研討會, 國立成功大學: 國立成功大學, 2011-09-23 ~ 2011-09-24.
2011-03
Hsin-chun Lu, 2011, “Cohesion and Collision: The Politics of U Tin Yi’s Bi-Musicality Performance in Burma”, paper presented at Association of Asian Studies Anual Meeting, Honolulu, Hawaii: Association of Asian Studies, 2011-03-31 ~ 2011-04-05.
2010-09
呂心純,2010,〈差異的展演性:仰光緬甸華僑的公共音景繪製與鄉愁展演〉,發表於亞太區域研究專題中心,中央研究院:亞太區域研究專題中心,2010-09-16。
2010-08
Hsin-chun Lu, 2010, “Music as Social Space: Constructing Ethnic Soundscapes in a Sino-Burmese Community in Jhong-he, Taiwa”, paper presented at The Second Conference of the ICTM Study Group for Musics of East Asia, South Korea: The Academy of Korean Studies: The Study Group of East Asian Music of ICTM, 2010-08-24 ~ 2010-08-26.
2010-07
Hsin-chun Lu, 2010, “Transnational Music Remaking and Home Reidentifying: Chinese Migrant Singers in Burmese Pop”, paper presented at International Burma Conference, France: Marseille: Center for Burma Studies, 2010-07-06 ~ 2010-07-10.
2010-06
Hsin-chun Lu, 2010, “Isolationism and Simplicity as Resistance: An Analysis of a Burmese Classical Musician’s Self-Narrative”, paper presented at The Lived Histories of People from Burma, Boston: Harvard University: Harvard-Yenching Institute, 2010-06-04 ~ 2010-06-05.
2010-05
Hsin-chun Lu, 2010, “Performativity of Difference: Mapping Public Soundscapes and Performing Nostalgia among Burmese Chinese in Central Rangoon”, paper presented at International Forum For Young Musicologists 2010, Yokohama: The Musicological Society Of Japan, 2010-05-14 ~ 2010-05-17.
2009-10
Hsin-chun Lu, 2009, “Crossing Over: Burmese Chinese Migrants, Diasporic Identity, and Burmese Pop”, paper presented at Cross-Fertilization in Asian Arts, Seattle: University of Washington: University of Washington, 2009-10-30 ~ 2008-10-31.
2009-08
Hsin-chun Lu, 2009, “Sino-Burmese in Yangon: Soundscapes Formation and Its Politics”, paper presented at Ethnic Chinese in Contemporary Indochinese States and Myanmar, Singapore: National Univeristy of Sinagpore, 2009-08-03 ~ 2009-08-05.
2009-04
Hsin-chun Lu, 2009, “Nan-chi-chao No. 7: Transnationality and Localization of the Sino-Burmese Soundscapes in Jhong-he”, paper presented at 東南亞研究會議, 中研院民族所: 亞太區域研究, 2009-04-23 ~ 2009-04-24.
2009-03
Hsin-chun Lu, 2009, “Identity Construction through Personal Narratives: A Burmese Migrant Woman in Taiwan”, paper presented at Association of Asian Studies (AAS), Chicago, USA: Association of Asian Studies, 2009-03-23 ~ 2009-03-27.
2008-10
Hsin-chun Lu, 2008, “The Soundscapes of Ethnic Chinese in Rangoon between 1948 and 1988”, paper presented at International Burma Conference, DeKalb, Illinois: Center for Burma Studies, 2008-10-03 ~ 2008-10-05.
2019-11
Hsin-chun Tasaw Lu, 2019, “The Construction of the “Enchanted Golden Triangle” through Music and Dance in a Yunnan Diasporic Community in Taiwan”, paper presented at The 64th at the Annual Conference of the Society of Ethnomusicology (SEM), Bloomington, Indiana: The Society of Ethnomusicology, 2019-11-7 ~ 2019-11-10.
2019-07
Hsin-chun Tasaw Lu, 2019, “Challenge, Compromise, and Cohesion: Transmitting Myanmar Hsaing-waing Music in A Taiwan’s World-Music Ensemble Class Setting”, paper presented at The 45th ICTM World Conference, Bangkok, Thailand: The International Council for Traditional Music (ICTM), 2019-07-11 ~ 2019-07-17.
2019-06
呂心純,2019,〈超有感/無感:樂舞身體及跨文化理解〉,發表於「文字。說不得」研討會暨工作坊,台北:中央研究院:中央研究院民族學研究所,2019-06-25 ~ 2019-06-26。

研究旨趣(點擊展開)

筆者主要的研究興趣在於對「傳統音樂」的當代現象進行深層探討,進一步實踐音樂民族誌 (musical ethnography)的寫作。筆者主要的學術研究區域為緬甸╱東南亞、亞太與台灣,過去探討對象側重在緬甸本土、亞太地區(台灣、港澳與美國西岸)、以及美國西岸不同緬甸離散社群的音樂活動,包括這些地區的緬甸人╱緬甸華人╱其他緬甸族群;近來筆者的研究對象也涉及亞太地區其他東南亞移民,特別是亞裔美國人社群。
其研究旨趣有二:
第一,建立傳統民族音樂學的一般音樂知識。強調記錄當代個人與團體的音樂活動與音樂內容,並對音樂傳承、音樂概念化、以及音樂創新的方式等主題進行探討。筆者特別有興趣的研究課題之一,在於理解弱裔族群如何建構或想像一個『音樂文化遺產』,並如何對當代的「傳統」概念賦予新義。研究範圍也伸及融合不同傳統音樂與其他要素所產生的新興音樂現象,例如美國西岸在汎亞裔  (Pan-Asian)藝術家之間所創作出、具前衛作風的「音樂合作」(musical collaboration),以及當代全球化的流行音樂現象(特別是「世界音樂」、「嘻哈」、以及「饒舌歌」)。民族音樂學另外強調,唯有藉由研究者自身對於其研究樂種的學習以及進行彈奏(或歌唱),才能對於音樂的傳承與概念化有更為深刻的理解。因此除了包括緬甸曼駝鈴、豎琴、鋼琴等的緬甸傳統器樂彈奏外,筆者也具備印度音樂、印尼音樂、台灣音樂、以及西方古典音樂的彈奏能力與理論基礎。 
第二,強調音樂對於整體文化建構與多重認同塑造的重大意義。筆者側重說明當代人們如何利用音樂作為協商、策略化、並且「再現」(represent)社會關係的機制,藉此達到不同認同層面上的建構。筆者採用跨學科的理論與研究方法,並特別強調民族音樂學的視野與理論方法對探討這個機制的貢獻。筆者強調由於當代人們處在一個相較過去更為錯綜複雜的環境,研究者應該透過一個抽象化、具多層次的空間概念來思考音聲創作的所在脈絡,例如個人、家庭、社區、區域、(跨)國家、以及全球等,而人們的認同就在音聲創作過程中,進行與不同層面相關政治的協商與策略化。另外,研究者也應採取對不同層次空間交織下多樣概念的探討,這些概念包括有個別性、再現、多元文化主義、(跨)國家主義、全球化、性別、族群性、現代性等等。
筆者特別有興趣的研究對象為弱裔族群在主流文化強勢壓迫下所進行的音樂活動。對於如此的研究關注,筆者欲提出兩點見解:第一,對於被使用的音樂因素中,任何包括專制╱反抗、統治╱被統治、中心╱邊緣等有關對立衝突的二重概念,應該加以著重分析。第二,此研究關注應該在一個更寬廣的對象下進行實踐,研究對象不僅包括在公共領域下具族群特色的節慶或儀式等,也須要強調在私有領域展現的音樂活動,例如離散社群中具族群特色的卡拉OK店,以及這些移民或難民的音樂聆聽慣習等。最後,筆者強調在民族誌寫作上,研究者應自我反省這個被賦予寫作「文化知識」的特權。這樣的反省包括研究者對於自身所在的其他多重位置的意識,以及對於在如此多重位置所建構下的知識進行理解與探討。

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