Draft:Gramophone in Taiwan

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Shapes and materials

P. 2, flared-opening gramophone.

Different shapes and materials in gramophones could cause different sound effects. According to the YouTube video “你愛聽的臺灣｜EP02｜聲音中的台灣史-留聲機”, the introduction by National Museum of Taiwan History, there are some examples of gramophones in Taiwan that differs in shape, materials, and also sounds. During 1910-1920s, gramophones in Taiwan were usually with a flared-opening (P. 2). This structure makes the sound waves diverge. And there were also bowl-shaped gramophones, which made sound waves gathered in a point and came out. When it came to 1930s, there were gramophones that had brass tubes, which help to deliver sound. The brass material would make it sounds fuller and louder (‘Rti中央廣播電臺’, 2023). comparing to other gramophones with other metal materials. Therefore, we could realize that different shapes and materials of gramophones was made in different time period, and also bring diverse sound feasts.

The gramophone’s arrival and evolution of the gramophone industry in Taiwan

The Gramophone’s Names in Taiwan

When the Gramophone first arrived in Taiwan, the island was home to a rich diversity of linguistic communities. The Japanese referred to it as 蓄音機 (chikuonki), while Taiwanese Hokkien speakers called it hòng sàng thâu. In English, the phonograph was sometimes nicknamed “big mouth”, or referred to as khe-khì-im, which means “a machine that makes sound.” Mandarin speakers, on the other hand, used the term 話匣子, which metaphorically suggests someone who talks a lot. These varied names reflect the phonograph’s early role as a cultural novelty across different language groups in Taiwan.

Taiwan’s  Encounter with the Gramophone

The earliest known record of the phonograph’s arrival in Taiwan dates back to 1898. A man from Guangdong brought what was described as a “qin” to a teahouse in Dadaocheng. This man claimed he could single-handedly perform all the roles of a traditional Chinese opera—including sheng (male role), dan (female role), and chou (comic role)—along with the musical accompaniment.

To the audience’s astonishment, they heard vivid opera voices but saw no one performing on stage. Some were so bewildered that they even suspected the presence of a supernatural being. This event, which took place in a Dadaocheng teahouse—a location that remains historically significant today—marked Taiwan’s very first documented encounter with recorded sound technology.

The Gramophone’s Entry into the Taiwanese Market

In 1907, a joint Japanese-American venture established the first phonograph and record production company—“Nichi-Bei Phonograph Manufacturing Co.” In 1910, a branch opened in Honcho, Taipei (now Hengyang Road), and soon about ten authorized stores emerged across Taiwan thats when gramophones officially entered the Taiwanese consumer market through the Japanese Gramophone Trading Company, which imported both gramophone devices and records from Japan, the West, and other parts of the world. This period marked a turning point in Taiwan’s musical landscape. Before the arrival of the gramophone, music was primarily a live experience enjoyed at teahouses, temples, or theaters. The gramophone revolutionized this tradition by allowing people to listen to music at home, transforming it from an exclusive, in-person event to an everyday part of life.

From Luxury to Everyday Life: The Democratization of Music

At first, gramophones were luxury items accessible mainly to the elite. In 1914, the first company to establish a presence in Taiwan was Nipponophone, a Japanese firm that initially targeted high-end consumers. It released Taiwan’s first batch of records under the “Flying Eagle” brand, featuring Taiwanese music like beiguan and gezaixi. As demand grew, more Japanese record companies entered Taiwan, laying the foundation for the island’s booming record era. In 1926, Kincho Records began releasing affordable shellac-coated cardboard records (marketed as cheap, durable, and even usable as fans). He also hired local geisha and musicians to record songs, sparking a new wave of enthusiasm for Taiwanese records. As gramophones became more affordable, they gradually entered middle-class households, helping to create a shared modern listening culture. To reach this growing market, Nipponophone launched a more affordable sub-label called Camel. Other companies, such as the gold bird company, soon joined the competition by offering low-cost alternatives.

In 1925, Japan developed a low-cost cardboard-based small disc. From 1927, recording technology shifted from mechanical to electric, using powered microphones that improved sound quality and efficiency more. As phonograph prices fell, many record companies were established, and normal Taiwanese people can start affording them.In 1928, Kashino established the Columbia Record Company in Taiwan, focusing on importing Peking opera records from Shanghai and producing local music. In 1929, the Flying Eagle brand was renamed “Improved Eagle Records,” with its English name changed from “Nipponphone” to “Eagle.”

The Rise of Local Companies and the Birth of Taiwanese Pop Music

This wave of commercialization quickly changed people’s listening habits. Taiwanese popular music began to emerge and spread widely, thanks to the gramophone’s increasing accessibility. International companies also took notice. Columbia Records entered the Taiwanese market and later merged with Nipponophone. Together, they produced records specifically tailored to local audiences at affordable prices. One of their most influential releases was 〈桃花泣血記〉which marks the golden era of Taiwanese pop music’s in 1932.

In 1933, the Taiwan Columbia Company was officially established. To compete with the Victory Record Company, the budget-friendly “Rikaya Records” was launched, further boosting the local record market. Over the next decade, hundreds of Taiwanese pop songs were released. Many classics—such as Rainy Night Flower, Longing for Spring Breeze, and Four Seasons Red—emerged during this time. However, the Columbia Company’s facilities were destroyed in WWII bombings in 1945, bringing the “dancing era” to an end.

Impact on Taiwanese music industry

Japanese colonization era

the records were mainly made of shellac, and were able to turn 78 times per minute, play one song each face. Taiwanese pop songs were developed in around 1930s, thus, the content of records could be separated into 2 types according to this time boundary: before and after Taiwanese pop songs developed. Before Taiwanese pop songs developed, the main content of records was Taiwanese opera and comedy (笑詼). For example, a comedian record then, “北兵拉路鰻” (the short-tempered woman and the rouges), described an humorous story about the chaotic relationship between a short-tempered woman and rouges. People then listened to these stories as their entertainment (‘Rti中央廣播電臺’, 2023).

After Taiwanese pop songs developed, they soon became main content of records in Taiwan. Not only the songs be recorded, but also their derivative dramas were released. For instance, the famous song then “雨夜花” (Flowers in rainy night) had had a set of derivative drama, which was named same as the song. The derivative drama used two records, which is four faces, to state its story. It talked about a tragic story, with musical elements and also the song “雨夜花” inside (‘Rti中央廣播電臺’, 2023).

Post-war era (After WWII)

vinyl records came into sight in 1957. It turns 33 times per minute, which makes it able to record around 4 songs each face. Since the material of vinyl records, plastic, is much lighter and stable than shellac records, it became the main material of records. 8 songs could be recorded in one record, therefore, albums were able to be released. Wen Shia, a famous singer who covered many Japanese songs, released his first album through vinyl records.

Soon after vinyl records developed, Taiwan came into the period of Martial Law. During this era, many songs could be banned from “查禁歌曲甲編” (“Banned Songs Collection A”), hence couldn’t be played on radio broadcasts and sold on markets. However, vinyl records got some ways to survive from the system, and the audiences would turn to buy them since it became the only source of music listening. This behavior had stimulated the sales volume of vinyl records. For example, the record “今天不回家” (“I am not coming home today”) was banned from Banned Songs Collection A since it was thought “harming public morals”, but after it was banned, the cover of the record changed into “今天要回家” (“I am coming home today”). Thus, it could still be sold on the markets. If one looked at the record inside the cover, he or she would find out the record inside was still the same record (‘Rti中央廣播電臺’, 2023). Another example was also a famous record then, “鹽埕區長” (“Supervisor at Yian-cheng”), its sales volume reached up to 200,000 copies due to this policy (‘Rti中央廣播電臺’, 2023)

Social impact

In Taiwan of 1950s and 1960s, musical records highlighted the multicultural historical background and political context of society. Taiwanese musical scene was influenced by Japanese enka songs, American folk music and Chinese opera tunes, highlighting the legacy of Japanese colonization, American support during the Cold War and the new Sinicization-based policies of Chiang Kai-shek.

A part of the industry was also dedicated to the promotion of local stars and Taiwanese Hokkien songs, enabling a pathway for an increasingly politically limited cultural affirmation. Local stars were promoted among Taiwanese indigenous peoples as well, when several studios such as Ring Ring Recordings started to specialize in indigenous music (Tan, 2008). However, these songs were oftentimes taken out of their original context and traditions, which raises question of the limits of ethical cultural preservation.

In the 1960s, Taiwanese records were becoming increasingly popular abroad in Hong Kong and the wider region of South-East Asia. Many studios such as Haishan Records realized the marketing potential Chinese diaspora in these countries represented and actively sold their products in thousands every year, representing Taiwan culturally abroad.

References

• 李坤城（2009）從留聲機到黑膠唱片。留聲年代。https://web.ntnu.edu.tw/~697910315/speaker.html (Accessed: 12 June, 2025).
• 林良哲（2022）留聲機時代：日治時期唱片工業發展史。https://books.google.com.tw/books?hl=zh-TW&lr=&id=BJdrEAAAQBAJ&oi=fnd&pg=PT2&dq=台灣留聲機 (Accessed: 12 June, 2025).
• 林良哲、廖彩伶（2022）寶島有意思。寶島聯播網。https://www.youtube.com/watch?v=sLKavb1AZak (Accessed: 12 June, 2025).
• 陳歆怡（2009）78轉老唱片，召喚時代聲音。台灣光華雜誌。https://www.taiwan-panorama.com/Articles/Details?Guid=a2f21440-82b9-4848-b9e8-31943f97eef4&CatId=8&postname=78%E8%BD%89%E8%80%81%E5%94%B1%E7%89%87%EF%BC%8C%E5%8F%AC%E5%96%9A%E6%99%82%E4%BB%A3%E8%81%B2%E9%9F%B3&srsltid=AfmBOoqdfZbD1NOmbO8bpR37FtUTrN0AtWAg1u7NhwJMkzlvooOk770p (Accessed: 12 June, 2025).
• 張夢瑞（2005）我對你懷念特別多－海山唱片浮沈錄。台灣光華雜誌。 https://www.taiwan-panorama.com/Articles/Details?Guid=0f38f338-83ee-485b-9a7d-1e44f85ce206&langId=3&CatId=8&srsltid=AfmBOoor9Q1WenEFJT4Ae21S7dhAYbYNJNZ2rrkHdRPrtctI5oklnBRu (Accessed: 12 June, 2025).
• Meng-jui, C(2005). The Haishan Records Story. Available at: https://www.taiwan-panorama.com/en/Articles/Details?Guid=0f38f338-83ee-485b-9a7d-1e44f85ce206&CatId=8&postname=The%20Haishan%20Records%20Story&srsltid=AfmBOoqZAnwn4aTf1hOyO6TGvkgG0j4_QpE0c0JYGFJMn8oDzuI8NAnh (Accessed 23 May 2025).
• Rti中央廣播電台 (2023). 你愛聽的臺灣系列. 17 October. Available at: https://www.youtube.com/watch?v=uj-sAVQ06qU&list=PLUVNcpyCoTdr2XqzED0gFS0ENsy_7p9__&index=11 (Accessed: 11 June, 2025).
• Scheihagen, E(2018). Taiwanese popular music: World War II to the 1960s (Part I). Available at: https://taiwaninsight.org/2018/07/11/taiwanese-popular-music-world-war-ii-to-the-1960s-part-i/. (Accessed 4 Jun. 2025).
• Scheihagen, E. (2018). Taiwanese Popular Music: World War II to the 1960s (Part II). Available at: https://taiwaninsight.org/2018/07/21/taiwanese-popular-music-world-war-ii-to-the-1960s-part-ii/ (Accessed 4 Jun. 2025).
• Tan, S.E. (2008). Returning to and from ‘Innocence’: Taiwan Aboriginal Recordings. Journal of American Folklore, 121(480), p.222. doi: https://doi.org/10.2307/20487599.