我看完這篇..好想哭喔.... 台灣真的缺演奏人才阿, 聲樂也是, 為了學術...逼走了多少音樂家？... 我有好幾個歐洲文憑的老師, 就這樣離開台灣了，到別的國家進軍世界... ""其實就算我十年熬不出一個博士學位，我熬個十五年博士，還是可以拿到，但
是如果我
鋼琴彈了十年，無法成為一個鋼琴家，彈二十年也成不了鋼琴家。演奏家是需要天份的。 ........"
Tsai Chia-jung蔡佳融 http://www.wretch.cc/blog/teddy0760320/20623189
Position:Konzertexamen Posaune, HfM Detmoldm
Part-time Lecturer, Department of Music, Taipei National University of
the Arts. 職務 :德國國立得特蒙音樂院長號演奏家文憑，台北藝術大學兼任講師
Europe is the
cradle of Western culture, and even today is still renowned for its
development in arts education. However, students from Taiwan who major
in the arts often experience difficulty in having their European
degrees recognized. What are the problems in certifying European arts
degrees in Taiwan? What breakthroughs have been made so far, and what
do these solutions mean? The European Union Study Association- Taiwan
invited scholars in the arts to share their experiences, and to analyze
and discuss the significance of certifying European arts degrees in
Taiwan.
歐洲是西方藝術文化的發源地，歐洲藝術今日在學術與專業上的發展，更執世界之牛耳。然而，台灣留歐的藝術系學生過去卻由於文憑
認定的問題，在學成歸國之後，苦無用武之地。台灣過去對於藝術文憑的認定到底出了什麼問題？這些問題至今有了哪些突破？而這些突破又代表了什麼樣的意義？
主辦單位歐盟協會特別邀請藝術領域的學者專家，就台灣近日歐洲藝術文憑認定通過的意義進行分析討論與個人經驗的分享。本報特別整理其中部分精采內容以饗讀
者。
Yen Lu fen: Taiwan, the United States and Europe have
different systems for recognizing degrees awarded in the arts. Taking
Germany as an example, the so-called university (Universitaet) is
defined as an academic system. Students need to take quite a lot of
courses and must take regular written and oral exams. Finally, they
have to write a thesis and take a final examination before they can
obtain their master's degrees or doctorates. Arts or music academies
are the highest learning institutions for the nurturing of artists and
have a strong touch of a master-disciple system. Those who receive
these degrees from these German universities are exceptional musicians,
and are recognized by Austria as such. The learning process is not
complicated at all, although there are a few theoretical courses and
courses in arts history. Still, these are not many, and most important
are four to six hours of practice in one's technical subject (including
reading sheet music, analyzing music etc.), and appearance in the final
performance (this is also an examination). Studying for a degree
generally takes four to six years. Following tradition and convention,
there are all sorts of names for these programs. Taking music as an
example, currently the most common degrees are artistic training
(Kuenstlerische Ausbildung) and graduate musician (Diplom-Musiker).
Besides these, there are instrumentalist (Instrumentalist), artistic
instrumental training (Kuenstlerische Instrumentalausbildung) and so
on. The training process and graduation requirements for these degrees
are stricter than for the master's degree in the U.S. system.
顏綠芬：在
藝術方面的學歷認證上，台灣、美國與歐陸的系統是很不一樣的。以德國為例，所謂的大學界定為學術的體系，學生要修習相當多的課程和通過規定的筆試、口試，
最後還有論文、學位考試，才能獲得碩、博士學位；藝術（音樂）學院則是培養藝術家的最高學府，師徒制的氣息很濃厚，理論課、與藝術史課並不多，最重要的是
每天四至六小時術科的練習（包括讀譜、分析等），以及最後展演的呈現（也是考試）。其修業年限一般需四至六年。藝術學院的文憑名稱並不一致，隨著傳統、慣
稱也是五花八門。以音樂為例，目前最常見的是藝術家文憑、音樂家文憑，另外還有器樂家文憑、藝術器樂家文憑等，比起美國系統的碩士，在訓練過程及畢業水準
要求上更嚴格。得到這張文憑的都是十分優秀演奏者，連奧地利人都推崇德國的最高演奏文憑。
The problem is that
the latter, which clearly states that it is a master's degree, does not
have to go through a recognition process in Taiwan at all. But the
German and Austrian degrees in the arts with their myriad of names
usually need to go through a recognition process. Even if they are, in
the end, usually recognized as equaling a master's degree and degree
holders are appointed as lecturers, the entire process still takes
quite some time.
問題在於，美國的文憑清清楚楚的標明碩士學位，在台灣根本不需經過認定的過程。而德奧藝術文憑名稱林林總總，通常需要一個認定的過程，即使最後為比照碩士學位、得聘為講師，都經過相當一段時日。這是第一個問題。
I
have personally studied piano at Taiwan's Tung Wu University, and
continued my music education in Germany, where I received my Doctor of
Philosophy (PhD) degree. So now I am not a musician, but a scholar of
music. In truth, although it took me 10 years to earn a PhD, even if I
could not obtain the PhD degree in 10 years, I would probably still
have received it eventually with an additional five years of study. On
the other hand, if I am still not a concert pianist after 10 years of
playing the piano, another 10 years will not make a difference. For a
musician, talent is a must.
我本身在台灣東吳大學音樂系主修鋼琴，後來到德國則往學術路線發展，並且拿到博士學
位，所以我現在不是音樂家，而是音樂學者。我讀了十年書才讀到一個音樂博士學位，其實就算我十年熬不出一個博士學位，我熬個十五年博士，還是可以拿到，但
是如果我鋼琴彈了十年，無法成為一個鋼琴家，彈二十年也成不了鋼琴家。演奏家是需要天份的。
However, 50- to
60-year old music professors in Taiwan's colleges, who began their
academic careers as lecturers, must wonder how these young musicians
with the highest degrees in music performance (Konzertexamen), who have
nonetheless never written a doctorate dissertation, could expect to be
accorded the status of a PhD holder when they return to Taiwan. If
these young musicians are allowed to teach as professors, wouldn't that
be too lax? I've continually urged these professors to support these
young musicians. Take for example Professor Tsai Jia-rong. He received
his Konzertexamen in Germany, auditioned and was accepted by a
professional philharmonic society. For such an exceptional talent, his
salary upon returning to Taiwan was a mere NT$30,000! Actually, good
philharmonic groups abroad pay much more than schools in Taiwan, and if
you consider that, we really do not respect artists.
但是現在在台灣大專院校五、六
十歲的音樂教授可能會覺得，以前我們也從講師開始做，慢慢熬到現在的職位的。你們這些年輕的演奏家沒有寫博士論文，就靠著一張最高演奏文憑，一回國就想要
比照博士的待遇，如果允許的話，會不會太放水了？我不斷和那些教授溝通，要鼓勵年輕人。譬如今天來到現場的蔡佳融老師，在德國拿到了最高演奏文憑，還考上
了當地的職業樂團，那麼優秀的人回來，竟然只拿三萬多塊的薪水！其實在國外的好的公立樂團提供的薪水，比我們的教授薪水還高。由此可見，我們對藝術家的不
尊重。
The Ministry of Education also held a meeting around late
May and early June, at which it decided to recognize the Konzertexamen
as an equivalent of the PhD, allowing these degree holders to be hired
as assistant professors.
今年五月底、六月初時，教育部也開了一個常會，終於通過了最高演奏文憑等同於博士學位，可以比照博士學位被聘認為助理教授。
I
had previously organized a forum with a few professors in music
education roughly my age who have studied in Germany and Austria. For
the sake of their students, we urged these youngsters not to study in
Europe before the degree recognition issue is settled. Instead, we
suggested they study in the United States, where it is possible for
them to obtain their PhDs in three years. I don't think this is
necessarily a good thing for Taiwan. If we are to develop the arts, to
globalize and diversify it we cannot ignore Europe. While U.S. art
institutes are a good place to learn about modern and trendy things,
European art academies are ideal places to learn about foundations and
traditions.
我上次開了一個座談會，幾位和我差不多年紀的音樂教授，他們都是留學德、奧的，為了愛護他們學生，我們只能跟學生說，
在學位承認這件事情還沒解決之前，不要去歐洲！要去美國，快一點的話三年就把博士拿回來，卡位！──我覺得這不是國家之福，因為如果台灣的藝術發展要國際
化、多元化，我們就不能疏忽歐洲藝術這一塊。在藝術方面，如果要學傳統的東西，如果要打根基，歐洲的藝術學府是一個很理想的地方；如果你要學先進、潮流的
東西，美國的則有很多值得學習的地方。
Yen Lu fen顏綠芬,Position :Director of the Center for Teacher Education, Taipei National University of the Arts.職務 :台北藝術大學師資培育中心主任
I
know a talented pianist who came back to Taiwan to teach after
receiving his degree from The Berlin University of Arts, but couldn't
even get a part-time job at any of the universities here, not even one
class hour. Having always been outstanding in the field of music, he
took it hard. Eventually, he went to the U.S. to obtain a PhD. This is
not good for Taiwan's music scene either. We need these musicians, but
if these talents all go to the U.S. for their PhD, they will need to
spend a lot of time on dissertations, and not enough on developing as
better musicians. Moreover, their dissertations will probably not be as
good as those written by us musicologists, who spend all day hitting
the books. In the end, the quality of the dissertation suffers, and
their performance suffers because they do not have the time to practice
as European musicians do.
我認識一位非常優秀的鋼琴家，德國柏林藝術大學畢業之後回到台灣，在所有的大學連兼任一
個鐘頭的課都爭取不到，他就到處跑那個中學音樂班兼課。因為他在音樂方面的表現一直非常傑出，因此這樣的待遇對他打擊很大，最後他決定再去美國拿一個博
士。這對台灣的音樂界來說也不是一個福氣，因為我們很需要演奏人才，如果這些演奏人才都到美國去修音樂博士，他必定要花很多時間在論文寫作上，就沒有辦法
在演奏技術更精進。而且他的論文一般來說也沒有辦法跟我們這些不搞演奏、整天翻書比，結果他論文也沒寫好，演奏也沒辦法跟歐洲這些成天在搞演奏的人比。
Recognizing the Konzertexamen awarded to these distinguished
musicians as the equivalent of the PhD is significant in many ways.
First, it conforms to the principles of fairness and justice,
encouraging artists who studied in Europe and recognizing their
accomplishments. Second, it has a deep significance for culture and the
arts, because Europe is the cradle of Western art, and recognizing
European art degrees can encourage more people to study in Europe,
absorb its influences and bring the knowledge back to Taiwan. Third, it
will bring a balance to the destinations of Taiwanese students for
overseas education. We shouldn't limit Taiwanese students in music and
the arts to studying in English-speaking countries. A similar
proportion should head for France, Germany, Switzerland, Italy and
other European countries, because when they return, these students will
be our replacements, the ones who will nourish the diversification of
Taiwan culture and establish a new culture for Taiwan.
讓這些卓越藝術家的最高演
奏文憑能夠比照博士學位的認定，我想有幾個意義，第一是符合公平，正義的原則，鼓勵那些留歐的藝術家，也肯定他們的成就。第二個是對文化跟藝術深層的意
義，因為歐洲是西方藝術的源頭，歐洲藝術學位的認定可以鼓勵更多人繼續往歐洲去研究與接受它的薰陶，把它帶回來台灣。第三是平衡我們留學生的去處。不要讓
音樂藝術的留學生都是往英語系國家發展，要平均到法國、德國、.瑞士、義大利等歐洲國家，因為這些人回來，就是我們的生力軍，可以作為我們台灣多元文化的
養分，建立台灣的新文化。
Tsai Chia-jung: I was really deeply moved by
Professor Yan's words. A majority of students heading for Germany are
told by teachers and parents: "After you finish your studies, when you
return to this country your diploma is useless. Do you still want to
go?" Yes, I still want to go! And when they get there, these students
will meet other students from Taiwan. Together, they will reflect on
their predicament and realize: that's just the way it is! Of course,
these overseas students will eventually come home to be with their
family. However, before they move back home they must prepare to see
the fruits of their labor trampled on.
蔡佳融：聽到剛剛顏老師講的話，我真的非常的感動。大部分留
學德國的人在他出國之前，他們的老師、父母就已經跟他們說：「你學成歸國之後，你的文憑是沒有用的，這樣你還要去嗎？」──我還是要去！到了那邊，在學習
過程中遇到一些同樣來自台灣的同學，大家下完課坐在一起聊聊天，聊到這個話題時，最後的感想就是兩個字：認了！當然沒有任何一個留德學習音樂的人到了國外
之後，就不想回家，因為我們爸爸、媽媽都在這裡，但是在回來之前，你必須要有準備，你的努力成果會被人家踐踏。
Professor
Yan has helped our overseas students in Germany and diploma holders
from German universities overcome these obstacles. This is an important
time in our history. It represents not only the recognition of our
individual efforts, but also shows our country finally giving us the
opportunity to apply what we have learned abroad to teach the next
generation.
顏教授幫我們所有留德並且拿這個演奏文憑的人克服了這個困難，這對我們來說是一個歷史的時刻，這不只代表我們個人長久以來辛苦的付出得到肯定，我們的國家也終於為我們打開一扇門，讓我們有機會將所學回饋鄉里，教育我們的下一代。
I
am currently the first in Taiwan to hold a brass instrumentalist
diploma. At first I did not plan on coming back, because I had been
accepted into the professional philharmonic society. I was able to
return because by chance, the Evergreen Symphony Orchestra was
recruiting. It was a small organization, and they sent me the pages of
a thick contract by fax. At the time, the leader of the group would
make a follow-up call and discuss each line of the contract with you,
and afterwards, he'd ask you if you were satisfied with the terms of
the contract. It made me feel very much respected, so I left my hard
earned spot at the professional philharmonic group in Germany and came
home, much to the surprise of my professors and classmates, who knew my
diploma would not be recognized in Taiwan.
我是目前台灣第一個拿到銅管獨奏家文憑的人，本來我
也是不打算回來的，因為我在德國已經考上職業樂團了。能夠回台灣，真的是因緣際會，那時候正好長榮交響樂團招考團員，很小的編制，他們以越洋電話傳真，將
一頁頁團員的合約的傳過來，厚厚的一疊，當時的音樂總監打電話來再針對合約內容一條一條跟你討論，講完之後就問你，你滿意嗎？使我感到自己真的非常受尊
重，所以就把我在德國那邊好不容易考上的職業樂團辭掉了，這個動作讓所有音樂院的同學、教授都非常的震驚，因為他們知道台灣不承認我的文憑。
After
I came back to Taiwan, to put it bluntly, it was career suicide. In the
second month after I came back, I was assigned to the Evergreen Hotel
piano bar to play the piano. Evergreen paid a fairly reasonable salary
of NT$50,000. My classmate said to me, if your are going to be a prince
of pianists at a piano bar, and never play the trombone again, then you
could freelance and earn quite a lot of money. The problem is, he said,
you trained as a trombonist in Germany, beating 70 other musicians in
an audition to become the lead trombonist performing at the German
Opera House, only to end up playing the piano at Evergreen Hotel.
Actually, it's an interesting story that I should probably write, but
personally, it was a very uncomfortable experience.
等到我回台灣之後，講難聽點，等
於送死！回來第二個月之後，我就被派到長榮桂冠酒店的鋼琴酒吧彈鋼琴。長榮的薪水是合理的，一個月五萬多塊，我的同學說，如果你真的要去鋼琴酒吧當鋼琴王
子，不再吹長號了，你可以到處跑，一個月可以賺更多。問題是，我在德國主修長號，在德國歌劇院管絃樂團裡是首席長號。我考那個位置的時候，七十幾個來自各
國的好手一起來競爭，結果回到台灣，卻是在長榮桂冠裡彈鋼琴。其實我應該可以把這個故事寫下來，讀起來應該是滿耐人尋味的，但是我自己經歷起來的時候，真
的是不大舒服。
On principle, the art of performing music is an art
that uses time as its medium. Once a piece is performed over a period
of time it is gone. It is very abstract. On the other hand, other
fields of art use a more concrete medium, such as canvas used by
painters. The artist can express his ideas on color, mood and tone on a
piece of canvas, and that work will be there forever. But to a
(concert) musician, melody exists only as each note is played, tooted
or sung. It's so abstract, that is why we are so easily disregarded and
do not receive proper respect.
音樂演奏這門藝術原則上是一個以時間當作媒介的表演藝術。一段音樂在某一個時
間裡被演奏完畢之後，它就不見了，它是非常抽象的。相較之下，另外一個藝術領域如繪畫，它是以畫布或者畫紙作為藝術表達的媒介，畫家可以將他想要的色彩、
氣氛與情趣，畫在畫紙或畫布上，然後那個作品就永遠在那裡了。但是對演奏者來說，一首曲子必須經過我們一直吹奏或彈唱，不斷重新呈現，它才會存在。音樂如
此抽象，所以容易受到忽略，也無法得到應有的尊重。
Music theory is very important to us
musicians, because without it, our performances are empty. And the
origin of music theory is forged in actual performances, so it's
actually a complementary relationship. We have to spend a lot of time
fathoming each note, studying how it's interpreted, what it represents
(in an entire score), and delve into each piece of music to understand
everything it's trying to say. Then we step onto the stage and
interpret everything into the music that you hear. So you can't say
that each time we play an instrument it is not researched, because if
you do not do your homework, you will not be able to give a complete
performance. Even though we did not write dissertations and what we
present is abstract, the work we put into it before we appear on stage
is no less than that of academics.
音樂理論對我們音樂演奏者來說非常重要，因為如果缺乏理論的支持，我
們演奏出來的東西都是空洞的；而音樂理論的來源，很多又都是從實際的操作裡淬練出來的，所以它是一種相輔相成的關係。我們必須花很多時間去揣摩一個音，去
研究如何詮釋與表達，以及了解一個作品背後許多非常值得被探討出來的東西，然後我們到台上去，把我們平常研究的成果做一個很抽象的呈現。因此不能說我們吹
一首曲子，是沒有做研究的。如果你不研究它的話，你就沒有辦法做很完整的表演，所以雖然我們沒有寫論文，雖然我們呈現出來的東西是抽象的，但是這演奏之
前，我們所付出的心力呀，應該不會輸給寫論文的
