國家古典音樂人才培育的補助機制－以文建會「音樂人才庫」為例

“The Music Talent Bank Development Plan” is one of the few policies continuously in use among the many subsidy mechanisms of the Council for Cultural Arts despite changes of the ruling party and legislators. Why is it that “classical music” has long been defined as a “minority”, and is only continuously in use to “develop the ‘cultural elites’”, despite the existence of many other subsidy policies? How can the subsidy authorities achieve steady positioning and performance improvement? Additionally, in terms of the relationship between music talents’ performances and the effectiveness of the national cultural policies, how can we establish identity and continuation with such limited supply and demand resources? Based on the author’s long-term commitment in caring for the performing arts and participating in practical undertakings, it was found that many members selected as members of “The Music Talent Bank”, in the past or at present, have continued to render efforts in music studies and in performing circles at home and abroad. In addition, because of the marketing planning and platform structure of Taiwan’s overall classical music industry, as well as local people’s music consumption habits, popular music and foreign music performers remain a priority. A considerable number of musicians who are discovered through overseas music contests or performing circles therefore are not given appropriate opportunities to establish and develop a platform where they can show their talents. Instead, they are contacted and trained by foreign agents. Hence, regarding the “Music Talent Bank” system itself and Taiwan’s overall classical music industry, the issue of whether or not the government sectors and private units should engage in more effective integration and supplementary labor division to enable music talents to engage in cross-disciplinary links with the overall classical music industry and performing arts in Taiwan and engage in vertical downward cultivation of new talents remains an issue worthy of further investigation. In this research, with the “Music Talent Bank” under the Council for Cultural Affairs as the case study and the public sectors’ talent development subsidy mechanism as the issue of discussion, the four capitalistic perspectives of Pierre Bourdieu, family economy (personal economic capital), family and school education (cultural capital), national policies and industrial empowerment (social capital), and personal art achievement and corresponding national image (symbolic capital), were adopted in the analysis. The cultural capital, economic capital, social capital, and symbolic capital of the selected members were explored to find whether there were other possible variables and phenomena, through which an attempt to find other paths outside of these variables was made. Supplemented by interviews with the trainees over the years, grass-root administrative undertakers of subsidy authorities, and art industry in-charges from the private sector, the current situation of the classical music talent pool since its founding was explored. The change of organizers, descriptions of the system contents, and the personal experience sharing of the participating members were also explored, thereby gaining an insight into the standpoint of the national policies and subsidy mechanism and organizational transformation and positioning-related views. Through the study compilation in this research, the exploration covers: the implementation performance and cultural value of the national subsidy mechanism, how to engage in sound and comprehensive planning and marketing for musicians, consumers’ classical music consumption and message delivery, and establishment of the overall national image, thereby providing observations and study compilations related to the policy aspect and the industrial aspect and keeping a complete record of the formation, all of which shall contribute positively to the formation of the music talent development mechanism, as well as the provision of specific suggestions.