Journal • May 1，2026 ｜ Past Issues 前期

我们对陈淑桦音乐的重视，部分源于她作品的历史和文化意义。除了八十年代后期“都市女子”的象征外，八十年代初，陈淑桦的作品反映了台湾文化的变动，尤其是受教育学生群体的崛起。1980年的电影专辑《规程》是个好例子。专辑里收藏了电影《金榜浪子吴政辉》的曲目。这个电影是通过吴政辉的故事改写的，他原本是个退学、入狱的年轻人，改过自新后以高分考入台湾中央大学。电影获得第17届金马奖最佳剧情片提名，并掀起了学生电影的浪潮。四十多年后，电影已经难以寻觅，但其中的歌曲在陈淑桦的专辑里保留了下来。

专辑中一首重要的歌曲是首版的「秋别」，十六年后陈淑桦在告别歌坛时重新演唱了这首歌。这首诗词般的歌描述一位女子在与恋人告别时的情景：她在给他敬酒时心情沉重，而他的心却如秋风一样轻。原版的演唱表达了电影中的情绪，而1995年重录版却更像是陈淑桦对歌迷，乐坛，和自己的一部分的告别。

这两版的对比显出十几年来陈淑桦歌艺的变化。1980年的原版歌声明亮而清澈，那种强烈的悲伤像是在对分离提出抗议。重录版音调较低，歌声更平稳和醇厚，悲伤里掺杂着对命运的接受。这两版录音不仅在音调和节奏上有差异。哪怕是将歌曲调整到相同的节奏和音调，歌声却仍然无法完全对齐。和原版相比，陈淑桦在重录版里对音节处理上的定位有明显的变化，时而提前、时而滞后，将强烈的痛苦转化为平缓的忧伤。也许，在音乐界“抗议”了这么久之后，陈淑桦早已明白离别是必然的。

以下几年，陈淑桦塑造了清纯优柔的音乐形象，其中一个重要的方式是演唱台湾校园民谣13。和情歌及酒吧小调不同，校园民谣崛起于受过教育的学生族，以”清新、自然“著称，在当时被认为是更具文化品位的音乐类型14。然而，陈淑桦去不掉自幼就开始的情歌演唱史15, 她也没有就放弃抒情歌曲。 

但无论陈淑桦自己的品行有多端正，职业带来的阴影始终存在。1985年金钟奖后，娱乐圈里有人造谣说她和一位男歌手有瓜葛。为了澄清谣言，陈淑桦不得不公开她的长期男友，她父亲朋友的儿子16。但谣言带来的伤害不可弥补，两人最终分手。1986年，台湾记者采访问到这件事17。陈淑桦黯淡地说：「本来我们的情况就很不乐观，他的家人不喜欢我的职业，这次我又把他说出来，他们家的人怕他受到伤害，觉得我不够诚恳，对我十分不谅解，就这样。」记者替她报冤，说：「就这样, 难道他自己没意见嘛？」她无奈地说：「哎，压力太大吧！」随后将话题转向命运。

陈淑桦不是唯一由于职业而失去恋情的台湾女歌星。几年前，邓丽君和马来西亚富豪之子分手，也是因为他家人反对她的职业18。无论有多不公平，社会对华语女歌手的清白有根深蒂固的怀疑，连星妈制也不能完全消除男方家庭的顾虑和成见18,19。

Catch-22 or not, Sarah Chen did not hold back.

The question I am most often asked when talking with friends about Sarah Chen is: Did she write her own songs? After all, in 21st-century Western pop, songwriting is often seen as a key marker of a singer’s artistic identity28. My answer is no, though likely not because she lacked the skills or ambition3. She received no songwriting credit even when she was closely involved in the conceptual development of songs, such as those on Woman's Heart, Tomorrow Will You Still Love Me, and Talk to You, Listen to You. In a system that subjected female singers to moral scrutiny, Chen risked her reputation simply by performing love songs. Writing such songs, and thus claiming authorship, might have made her even more vulnerable to moral judgment.

Chen walked a tightrope throughout the three decades of her career. The catch-22 that bound her gives us a deeper appreciation of the music she created. She sang campus folk, as well as songs about friendship, the self, and society, but her core repertoire remained romantic ballads. She performed some of the most moving love songs in Mandopop. She also recorded English albums, singing with an intimacy that even took me by surprise.  For the sake of artistic expression, Chen set aside concern over how she might be judged.

Yet Chen’s own experience suggested that the better she was at expressing love in her songs, the more scrutiny she might receive. Even colleagues sensed a gap between her songs and her private self. In the 2003 documentary A Letter to Sarah, one colleague noted the mismatch between Sarah the person and her 1995 song “Say You Love Me.” “Mother Chen taught Sarah many good manners, yet she still sang that line,” he said.

But Chen chose professionalism over concerns for herself. Catch-22 or not, she did not hold back. Over two decades under her mother's watch, the emotional intensity of her performances deepened - from singing “shy flowers,” to singing poetic love, to telling love stories, to demanding love. By 1993, when she sang the famous “Dancing Light,” a song about a female snake seducing a man, you could hardly have found a more seductive voice, or a braver singer.

After winning the Golden Bell Award in 1985, Chen reflected on her purpose as a singer. She recalled meeting overseas Chinese communities and realizing that they connected with their culture through her songs29. She resolved to “leave some Chinese songs for a generation of listeners.” 29,30

Three decades after leaving the stage, her music has continued to be passed down across generations. A few days ago, sitting in my car with her teenage friend, my daughter said that the English song playing was by a Chinese singer. “That’s Sarah Chen. She’s from Taiwan,” I said.

当我和朋友谈起陈淑桦时，他们最常问的是：她有没有自己写歌? 毕竟在21世纪西方流行音乐里，写歌是歌手艺术身份的重要标志28。 我的回答是，她没有，但也许不是因为她没有写歌的技能或愿望3。 当年陈淑桦花了很多功夫在某些专辑的构思和创作中（如《女人心》、《明天还爱我吗》，《跟你说 听你说》），按理说应该得到创作署名。但她处在一个对女歌手品行质疑的社会里，演唱情歌已经危及到她的名声和清白。如果她再亲自写情歌，听众更会认为那是她的心声。在中国传统文化里，这只会将她的名声越抹越黑。

在传统道德观的束缚下，陈淑桦的生涯如同走了数十年的钢丝。回想她面临的两难，让我们更加珍惜她留下来的作品。陈淑桦唱了些校园民谣，也唱过关于友情、自我、或社会的歌曲，但她作品的主体是抒情歌曲。她演唱了华语流行中一些最深情、动人的情歌。她在英文专辑中表达的爱意更直白，有些英文歌如此亲密，连我都有些诧异。为了创造出最佳的艺术，陈淑桦放下了对外界评论的顾虑。

她这么做，明知她越能演绎歌中的深情，别人就越是对她产生嫌疑。连她的同事都感觉到她的歌曲和她的为人有出入。在2003年纪录片《给淑桦的一封信》中，同事提到她1995年制作「淑桦盛开」专辑时，竟然敢唱“说吧，说你爱我吧”。他说，陈妈妈教了她那么多礼节，你再听她唱这首歌，感觉有些格涩。

而大家低估的是陈淑桦的胆识和敬业精神。即使身陷“第22条军规”，她却毫不退让。在星妈伴随了她的二十年里，她在歌中的深情一步步增加，从海山期的“含羞草”，到百代前期的诗情画意，再到百代后期的爱情故事，最后是在滚石“说你爱我”。职业后期，1993年她演唱了「流光飞舞」，那首歌描述了女蛇诱惑许仙的一段，只有陈淑桦有胆唱出歌中的妖娆。

在1985年获得金钟奖后的采访中，陈淑桦谈到她的演唱是为了什么。她说一次去南欧和当地的华侨会面，她意识到她是一些华侨的精神支柱，她的歌起到了传递文化的作用29。 她受了鼓励，决定「要为一代的中国人留下一些中国歌曲」29,30。

在陈淑桦离坛三十年后，她的歌传了不止一代人。几天前，我家小朋友和同学坐在我车里。她跟同学说车里正在放的那首英文歌是一位中国歌手唱的。「那是 Sarah Chen，她从台湾来」，我告诉她们。

即使身陷“第22条军规”，陈淑桦却毫不退让。

注释："第22条军规"的含义和来源 

“第22条军规”出自 Joseph Heller 1961 年的小说，指的是书中美国空军的一条军规：如果飞行员精神失常，他就不用执行危险的轰炸任务；但如果他主动提出免除任务，就恰恰说明他神志清醒，因而必须执行任务。此后，“第22条军规”用来形容由于互相矛盾的规则造成的进退两难处境：无论你怎么做，都无法摆脱体系的逻辑。

The meaning and origin of "Catch-22" 

“Catch-22" comes from Joseph Heller's 1961 novel. It refers to a paradoxical rule: if a bomber pilot is insane, he can be excused from flying dangerous missions, but if he asks to be excused, that proves he is sane enough to keep flying. Today, "Catch-22" is used to describe a no-win situation created by conflicting rules. No matter what a person does, they remain trapped by the logic of the system.