「寶島低音歌王」之路：洪一峰創作與混血歌曲之探討

Past discussions on 1950-1970’s Taiwanese popular songs were often related to “the meaning of producing mixed-blood songs,” and some related issues such as blaming mixed-blood songs which were covered from Japanese songs for Taiwanese popular song’s decline, or taking as for granted that Taiwanese popular songs were filled with Japanese flavour. However, taking Hung, Yi-Feng’s genre for example, there are both mix-blood songs and his own compositions, which is contradictory to the past discourse on Taiwanese popular music. Therefore, the importance of research on the individual musician could not be ignored.This research re-exams the discourse on “the historical meaning of Taiwanese popular songs”through the case study of the music work and life of a Taiwanese popular bass singer, Hung,Yi-Feng (1927-2010). By gathering LP recordings, 1950-1970’s song books, related newspaper articles, and information from related person by interview, I would re-construct the historical context of Taiwanese popular songs and the transmission of Hung ,Yi-Feng’s music with the perspective of Andrew Jone’s “media-loop”. This research found that, Hung,Yi Feng’s compositions make up the same ration as his mix-blood songs, and this result shows that Taiwanese popular song’s genre not only consisted of “mix-blood songs” but also musician’s compositions. In addition, Hung, Yi-Feng also made use of his bass singing characteristics in his performance by singing “mix-blood songs” and his compositions. After obtaining the title of “the best bass singer,” Hung, Yi-Feng’s bass singing became the audience’s best choice through his music’s circulation in the media loop. That is to say, “mix-blood songs” and “compositional songs” both provide nutrients to Taiwanese popular songs in the case study to Hung’s music.