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Musicking in Her “Golden Age”: Music Education at the Taipei Third Girls School in the 1920s Colonial Taiwan

  • Journal of the Korean Society for Musicology
  • Abbr : JKSM
  • 2020, 28(2), pp.121~163
  • DOI : 10.34303/mscol.2020.28.2.004
  • Publisher : The Korean Society for Musicology
  • Research Area : Arts and Kinesiology > Musicology > Other Musicology
  • Received : October 15, 2020
  • Accepted : November 26, 2020
  • Published : December 30, 2020

Seo Seung Im 1

1국립대만대학교 박사과정

Accredited

ABSTRACT

Under Japanese colonial rule, the cultivation of Western styled music in the modern educational system allowed Taiwanese to participate regularly in music activities. Under the radical social changes triggered by the colonial order, Western music emerged as a new medium for inter-regional, inter-ethnic mobility, especially in the education sector. The Taipei Municipal Third Girls School (台北州立台北第三高等女學校), one of the secondary school for girls students with the highest rate of Taiwanese out of other High Girls Schools (高等女學校) in Taiwan was a significant locale in which many Taiwanese girls engaged in musical activities in a “civilized” way by the Japanese educational policy. This study takes the Third Girls School’s music education as a research subject. A drastic change of music education in the Third Girls School occurred in the early 1920s by the revised second education ordinance in 1922, followed by His Imperial Highness of Japan’s visit to the school in 1923. A chain of political events performed by the Governor-General of Taiwan entailed a shift in using music at the Third Girls School not only as a tool of discipline but also as a demonstration to show off the “level” of Taiwanese women's education in public. Here, Taiwanese girl students located as principal musical agencies who carried out various musical activities and constantly negotiated themselves with inevitably confronted the pressure of being “advanced” musically. The historical documents regarding musical experiences of two students, Chen Zhao-zhi and Zhou Hong-long, provide significant clues to understand a subtle nuance between their ardor for practicing music and “the pressure of assimilation.”

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