2019年2月，因為臺灣陳同佳案，在中共中央紀委的倡議下，香港特別行政區政府推動《逃犯條例》修訂草案，引發了六月初開始的反修例運動，向香港特別行政區政府抗議。是次為香港有史以來最大型的社會運動，當中策略眾多，展現了香港人的多元創意。除了遊行、靜坐，以及種種暴力抗爭，在當中各樣的策略轉化，音樂都扮演著重要的角色。
透過深度訪談及文本分析，本文將以六位新進唱作人的歷程為主軸，探究兩個問題：一、他們在音樂與抗爭之間的創作經驗為何；二、他們的作品為香港帶來甚麼聲音與美學？本文除了豐富既有的音樂與社會運動的論述，特別呼應到音樂文化
方面，關於意識形態與文化建構互相交織的關係；亦希望補充獨立唱作人在社會運動之中的真實經驗。
In February 2019, Carrie Lam, the Chief Executive of the Hong Kong Special Administrative Region, proposed to allow the extradition of criminal suspects to mainland China based on the Chan Tong-Kai murder case, and this has triggered widespread concerns. Consequently, the unprecedented Anti-Extradition Bill (Anti-ELAB) Movement took place in June of the same year. Amidst the numerous demonstrations and protests, protestors have continued to employ creative strategies to make an impact. Among them, music played a significant role in the movement.
This article focuses on the life trajectories of 6 junior singer-songwriters through in-depth interviews and textual analysis of their songs. Research questions include: 1) How did they experience the protest with their music? 2) What kind of aesthetics did they deliver in their music productions? This article aims to enrich the discussion on music and protest, especially on the interrelated relations between music culture, ideology, and cultural construction. Furthermore, as scholarship on the experiences of musicians in political struggles is limited, it is hoped that this research can provide new empirical knowledge to the study of music and protest.
