上個世紀的七十年代中後期，臺灣興起民歌運動，而在八十年代之後這場冠以民歌旗號的文化風潮分別傳入了新加坡及中國大陸，並「催生」了兩地的校園民謠和促進了他們本土音樂的發展。本論文旨在考察這樣一種特殊的音樂文化如何在兩地傳播及發展，並且怎樣與當地的校園文化（在中國大陸主要是大學校園，而在新加坡主要是華校的高中部，如華中初級學院）、本土音樂市場及其當地的主流文化意識形態互相對話及其糾纏。例如臺灣的校園民歌在八十年代初傳入新加坡後，很明顯地促進了當地「新謠（新加坡年輕人自創的歌謠）」這一音樂形式的發展，同時也成為當地華人身份認同的一個重要文化資源。而九十年代在中國大陸興起的校園民謠則更多地呈現了其作為校園青春文化一部分的鮮明特徵。最後，論文通過對這兩起文化個案的分析和比較來論述上個世紀七八十年代以來臺灣音樂文化在東亞地區的越界流動及其與其他國家地區的音樂文化間的牽連互動。

In the late 1970s, Taiwan had witnessed the rise of a so-called “Folk Song Movement.” It spread to Singapore and mainland China in the 1980s and ignited similar waves of musical movements in these two countries. The paper aims to investigate how this unique form of musical culture permeated and developed in these regions, how it interacted with local campus culture (in China, the developed mainly took place in universities while in Singapore, it was mainly in high schools with a Chinese education tradition, such as Hwa Chong Junior College) and how it communicated with local musical industry and mainstream ideologies. In Singapore, the movement from Taiwan directly triggered the birth of xinyao in the early 1980s and through which an important resources of constructing “Chineseness” was created. In the 1990s, the “campus folk song” in mainland China was more a distinctive mark of campus youth culture. Using these two case studies, the paper will analyze and contrast the interregional movement of Taiwanese musical culture in East Asia and its interactions with the musical cultures in other places in the region.