爵士樂的發展在美國建國之後已經擁有百年以上的歷史，爵士樂伴隨著美國在20 世紀初期成為當時普遍流行的庶民文化，爵士樂也同樣伴隨著美國國情的發展，在不同時期，每當美國出現重大事件時，我們就可以在爵士樂當中發現所相對產生的改變，爵士樂從紐奧良開始發展，到後來往芝加哥以及紐約等地遷徙，從大樂隊的多人爵士樂團(Big Band)，到戰後發展成小編制的爵士樂團，從黑人地位的改變，到咆勃爵士(Bebop Jazz)，黑人文藝復興運動以及黑人平權運動的產生，在這些民生問題當中，爵士樂恰巧反映了許多的故事。爵士樂的出現不僅反映了黑人文化的方向，也使得美國文化的在內在上更豐富，美國文化的精華，個人主義(Individualism)、現代主義(Modernism)和多元文化主義(Multiculturalism)，反映出了爵士樂的幾個重要特色：融和、即興和創新。爵士樂不僅豐富了美國文化的內涵，也成為美國在建國之後獨具特色的，屬於美國自己擁有的藝術文化，美國的爵士樂不僅在美國發展，甚至還傳播到全球各地，爵士樂不僅豐富了美國文化，也幫助美國擴展美國的軟實力。美國前總
統威廉‧傑佛森‧柯林頓(Bill Clinton)也甚至認為，美國人對爵士樂的的影響力不夠重視。爵士樂是一個讓美國的民主、美國的國家形象都變好的藝術文化。本論文將試圖透過爵士樂的歷史發展、對黑人文化的反映和與美國文化的呼應探討爵士樂文化的歷史發展、爵士樂文化中之黑白衝突和爵士樂文化對美國文化之影響。

Jazz has been growing up for more than a hundred years since The United State of America was released from the region of Britain. Jazz is a main pop culture at the
beginning of 20 century in America. And, as the history passing by, America had been undergoing a lot of struggle that also carefully form the experience of the country of
American. In this thesis, I will try to explore the development of Jazz history, the racial issue and the impact of Jazz to America through the view of Jazz culture. Jazz is brewing in The colonial history of Louisiana and New Orleans; the development of steam boat and the Great Migration, while the mass market moved from south to the
north cities; and the break out of several wars leads the jazz band a transition from big band to small combo; the evitable African-American social status also reflects the
Bebop jazz music style, Harlem Renaissance and the rise of Civil Right Movement; and, undoubtedly, Jazz is involved in all of them. Jazz not only reflects the culture of
pop culture, it also expands the essence of American culture; it reflects the greatest part of Individualism, Modernism and Multiculturalism with its own features of fusion, improvisation and innovation. Jazz, to me, is an attractive part of American soft power. United States President, Bill Clinton, also stresses the importance of Jazz; he says: “the Jazz music will help the American image better in the future.”

第一章 緒論
第一節 研究動機與目的‧‧‧‧‧‧‧‧‧‧‧‧‧‧P. 1
第二節 研究方法與範圍‧‧‧‧‧‧‧‧‧‧‧‧‧‧P. 5
第三節 文獻回顧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧P. 7

第二章 爵士樂文化的歷史發展
第一節 爵士樂文化之起源‧‧‧‧‧‧‧‧‧‧‧‧‧P. 11
第二節 20 年代後的爵士樂文化發展‧‧‧‧‧‧‧‧‧P. 16
第三節 40 年代後的爵士樂發文化展‧‧‧‧‧‧‧‧‧P. 27

第三章 爵士樂文化發展之衝突
第一節 爵士樂文化所受之批評‧‧‧‧‧‧‧‧‧‧‧P. 35
第二節 爵士樂文化中之黑白衝突‧‧‧‧‧‧‧‧‧‧P. 43
第三節 爵士樂文化於民權運動中之表現‧‧‧‧‧‧‧P. 56

第四章 爵士樂文化與美國文化之內涵
第一節 爵士樂文化和美國文化之相互呼應‧‧‧‧‧‧P. 67
第二節 爵士樂文化對美國文化之影響‧‧‧‧‧‧‧‧P. 79
第三節 爵士樂在未來之發展‧‧‧‧‧‧‧‧‧‧‧‧P. 91

第五章 結論‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧P. 95
參考文獻‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧‧P. 101

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