王櫻芬。〈尋回金屬盤中的聲音：以未發行錄音重建臺灣古倫美亞流行歌產製過程〉。《民俗曲藝》231 (2026.3): 1–59。
Wang Ying-fen. “Recovering Sound from Metal Discs: Reconstructing the Production Process of Taiwan Columbias’s Popular Songs Using Unreleased Recordings.” Journal of Chinese Ritual, Theatre and Folklore 231 (2026.3): 1–59.
Abstract
臺灣古倫美亞販賣商會（以下簡稱臺灣古倫美亞）創始於1930年，1933年升格為株式會社，母公司為日本蓄音器商會（以下簡稱日蓄）。它是臺語流行歌的開創者，所發行的流行歌數量也是日治時期最高，且資料最為完整，因此重建其流行歌產製過程，對於了解日治時期臺語流行歌發展至關重要。本文以我過去對於日蓄臺灣唱片錄音過程的研究作為基礎，利用我在日本大阪民族學博物館發現的日蓄未發行金屬盤，重建臺灣古倫美亞流行歌發展過程。本文首先釐清流行歌作為樂種名稱的定義，再透過未發行金屬盤，重建臺灣古倫美亞從無到有繼而發展的各批流行歌錄音，歸納各批特色，勾勒出其整體產製過程，並觸及其與日本音頭系列、日本勝利唱片新小曲、大陸歌謠、以及戰爭時局的互動關係。由於未發行78轉唱片金屬盤在國際上仍屬罕見，因此本文除了補充臺語流行歌發展史過去的空白，也希望能為唱片工業和歷史錄音研究提供新的視角和研究方法。
Taiwan Columbia Sales Company was founded in 1930, and was
upgraded to a stock company in 1933. Its parent company was Nipponophone Co.
(Nippon Chikuonki Shōkai or Nitchiku). Taiwan Columbia was a pioneer in
producing Taiwanese popular songs, releasing the highest number of such songs
during the Japanese colonial era. Therefore, reconstructing the production
process of its popular music is crucial for understanding the history of that
period’s popular songs in Taiwan. Building upon my previous research on the
recording processes of Nichiku’s Taiwanese records, this article utilizes
Nitchiku’s unreleased metal discs that I discovered at the National Museum of
Ethnology in Osaka, Japan, to reconstruct the trajectory of Taiwan Columbia’s
popular songs. The article first clarifies the definition of popular song as a
music genre. It then reconstructs the production trajectory of Taiwan
Columbia’s popular song recordings from their initial stages batch by batch,
summarizes the characteristics of each batch, outlines the overall developmental
process, and touches upon its interactions with the Japanese ondo
series, Victor Records’ sin-sió-khik (new ditties), Japan’s “continental
melodies,” and the wartime situation. Given that unreleased 78 rpm metal discs
remain rare internationally, this article not only fills previous gaps in the
history of Taiwanese popular song development but also aims to offer new
perspectives and research methods for studying the recording industry and
historical sound recordings.
Also in Journal
of Chinese Ritual, Theatre and Folklore:
王櫻芬。〈作出臺灣味：日本蓄音器商會臺灣唱片產製策略初探〉。《民俗曲藝》182 (2013.12): 7-58。
Wang Ying-fen.
“Sounding Taiwanese: A Preliminary Study on the Production Strategy of
Taiwanese Records by Nippon Phonograph Company.” Journal of Chinese Ritual,
Theatre and Folklore 182 (2013.12): 7-58.
http://ritualtheatreandfolkloreat.blogspot.tw/2014/03/blog-post.html
王櫻芬。〈一九三○年代臺灣南管樂人潘榮枝的跨界與創新〉。《民俗曲藝》178 (2012.12): 25-73。
Wang Ying-fen.
“Pan Rongzhi’s Nanguan
Crossovers in the 1930s in Colonial Taiwan.”
Journal of Chinese Ritual, Theatre and
Folklore 178 (2012.12): 25-73.
http://ritualtheatreandfolkloreat.blogspot.tw/2012/12/blog-post_30.html#more
王櫻芬。〈南管曲目分類系統及其作用〉。《民俗曲藝》152 (2006.6): 253-97。
Wang Ying-fen.
“The Classification System of Nanguan Songs and Its Functions.” Journal
of Chinese Ritual, Theatre and Folklore 152 (2006.6): 253-97.
王櫻芬。〈殖民化與全球化：從日治時期音樂學者的調查記錄看臺灣原住民音樂的變遷及其成因〉。《民俗曲藝》148
(2005.6): 43-102。
Wang Ying-fen.
“Colonialization and Globalization: Musical Change and Its Factors among
Taiwan Aborigines Based on the Observations Made by Musicologists during the
Japanese Colonial Period.” Journal of Chinese Ritual, Theatre and
Folklore 148 (2005.6): 43-102.