國立臺灣師範大學音樂學系博士生摘要：2013年，一批自德國波昂東亞研究院（Ostasien-Institut）帶回的檔案，記載了1964–1973年間，臺灣音樂史上一些重要卻被遺忘的故事，其中包含幾個關鍵字，如「華歐學社」、「中國青年音樂圖書館」、「波昂中國音樂中心」等，這些機構在臺灣音樂史中消失，卻又因為檔案的出現，而能夠被世人所理解和看見。透過這批檔案，發現1967年由中國民族音樂研究中心協辦的中國民歌比賽中，出現許多民間藝人，其中又以演唱客家民謠者居多。另外，在比賽手冊中出現了幾張照片，為1967年由史惟亮等人進行民歌採集運動所記錄的客家民謠比賽以及原住民音樂等，其中一張照片以「本年六月十三日在苗栗舉行之『全省客家民謠比賽』冠軍獲得人黃金鳳」為題，從而確認了活動內容與時間。再者，同一批目錄中保存了當年客家歌謠比賽決賽的錄音檔案，藉此原音重現了黃金鳳參與比賽的演唱實況。而透過筆者對黃金鳳進行的田野訪談以及相關文獻的查找後，除確認錄音檔案無誤外，也證實了黃並非當年的冠軍得主。透過不斷的交叉比對後得知，1967年中國民歌比賽與同年的民歌採集運動以及客家歌謠比賽有密切的關係。因為民歌採集運動曾到訪過比賽現場，使得客家民謠演唱者參與中國民歌比賽的比例高於其他類型，藉此推論中國民歌比賽推廣性質高於比賽意義，並且參與中國民歌比賽者與民歌採集發現的藝人有密切關聯性。

In 2013, a batch of archives retrieved from the Ostasien-Institut, Bonn, Germany brought back memories of important episodes in the history of Taiwanese music. Institutions such as “Arbeitsgemein-schaft China-Europa,” “Music Library for Chinese Youth,” ”Chinese Music Center in Bonn,” etc., that were long forgotten, resurfaced in these archives and regained people’s attention. Information yielded from these records reveals that many folk singers participated in the Chinese Folk Song Competition in 1967, with the most majority performing Hakka folksongs. In the brochure for the Competition, there are several pictures of the Hakka Folksong Competition as well as documentation of aboriginal people’s music. These are from the Folksong Documentation Movement, led by Shih Wei-liang in 1967. One picture substantiates the content and date of the Competition. Furthermore, the same catalog preserves audio recordings of the Competition of that year. It recreates circumstances of the final contest “live” and the voice of Huang Chinfeng’s singing. After reviewing relevant documents and my interviews with Huang Chin-feng, I attest to the authenticity of the recordings and confirm that Huang was not the champion of the year. Intensive cross-examining uncovers a close relationship between the Chinese Folksong Competition, Hakka Folksong Competition, and the Folksong Documentation Movement of 1967. Because of the on-site visit of the Documentation team, a greater proportion of Hakka singers also entered the Chinese Folksong Competition. I infer that the Chinese Folksong Competition inclined more toward promotion rather than competition, and the participants were closely related to the singers “uncovered” by the Documentation team.