第一次見到施永德教授（Prof. DJ Hatfield）時，他穿著民族風印花上衣，隨性的棕色寬褲，腳上踩著一雙漂亮的木屐，舉手投足散發舒適卻別具一格的藝術家氣息，他帶著強烈的個人風格來到我們面前，開口便是流利到讓人吃驚的中文，讓人不禁好奇他與臺灣的故事是從何開始。
一趟中文學習的旅程，開啟美國青年在臺灣的故事
施永德教授，人稱「阿德」，出身於美國維吉尼亞州東部的小鎮，從小在門諾教派（Mennonites）家庭下成長，生活方式較為簡樸、保守，教徒們相當重視社區的維護及互助。不過因數次的搬家經驗，隨著環境的轉變，他開始對周邊人事物與社會結構產生濃厚的興趣。就讀華盛頓與李大學（Washington and Lee University）東亞研究系（East Asian Studies）時，施永德教授便開始他的中文學習路，儘管遇到嚴格且可怕的中文老師，施永德教授每週一到週五仍準時出現在課堂之中，用功地學習，並在語言實驗室裡反覆地聽卡帶、錄音，紮實地進行中文訓練。最終，施永德教授的努力讓他成為班上極少數完成兩年課程的學生。大二時，中文老師告訴他：「在這裡（學校），你的中文無法再有更大幅度的進步了，你應該去臺灣學中文，即使延畢一年也沒關係，以後不會有人在意你是否準時畢業，但在臺灣的學習經驗卻會成為人生中珍貴的回憶」。於是，1987年施永德教授來到位於臺灣臺中的東海大學，開始他為期一年的交換生生涯。不過，有趣的是施永德教授學會的第一句中文「謝謝」其實是曾在臺中清泉崗當過空軍的爸爸所教。
施永德教授形容1987年的臺中是「可愛的城市」，未經過度開發，所以城市規模偏小，早點起床還能看到美麗的中央山脈。也因當時的臺中沒有太多外國人，所以施永德教授在這也就不得不使用中文溝通。這一年，他在東海大學華語中心學習中文外，也修了一些社工系一年級的課程，藉此了解臺灣的社會問題。他更因參加東海山服社，認識了一些原住民，其中之一便是著名的三地門鄉排灣族藝術家撒古流巴瓦瓦隆（Sakuliu Pavavaljung）。校園外也是施永德教授認識臺灣的好場域，不管是公車上搭話的年輕人或是路上遇見的原住民，施永德教授都能與他們產生一定程度的連結，並在互動交流的過程中更進一步了解臺灣社會及原住民文化。
從遊子到歸人，施永德教授與臺灣的緣分
完成為期一年的交換生計畫後，施永德教授回到美國完成他的學士學位，隨後前往芝加哥大學（University of Chicago）攻讀人類學碩博士學位，並以閩南人的民間信仰作為論文主題。為了深入研究，他投入大量時間進行田野調查，頻繁往返臺美兩地，在臺灣期間，他以鹿港為主要研究地點，穿梭大小廟會，積極參與活動，研究臺灣宗教的實踐。除了待在鹿港，施永德教授也經常前往都蘭部落，在大自然賦予的美麗環境中整理田野筆記、安靜悠閒地寫作。部落裡的人將施永德教授類比為候鳥，說道「每次看到阿德就知道豐年祭要到了！」這些溫暖的人際互動，讓他與部落居民建立深厚的情誼，也結識多位原民部落中的非主流音樂界的音樂人。施永德教授與當時在都蘭的藝術家集結一塊在金樽海灘創作，後續長期待在都蘭，更開啟他對原住民文化、音樂創作及聲音藝術的探索。以此為契機，他開始探討主流音樂與非主流音樂間的互動關係，並以「多元的軌跡」為題作為第二個研究項目，深入研究流行音樂與傳統歌謠的融合。
2014年開始透過訪問學者、Fullbright等不同計畫，施永德教授來臺的頻率越來越高，待在臺灣的時間也越來越長，使得他很難在柏克理音樂學院待滿完整的一年。期間，更多音樂人紛紛邀請施永德教授共同合作音樂創作。臺大人類學系林瑋嬪老師、北藝大陳俊斌老師、台東大學蔡政良老師等學術界長期合作的好友更大大地鼓勵施永德教授留在臺灣。經過施永德教授的多方評估以及他對臺灣的深厚情緣、對臺灣社群的情感，最後在林瑋嬪老師的引薦之下，施永德教授選擇前往臺大音樂學所任教，成為他定居臺灣的起點。
從人類學家到聲音藝術工作者
施永德教授的聲音研究起源於偶然的興趣。從某個時期開始，施永德教授習慣帶著錄音機，到菜市場、夜市錄下熱鬧的聲音，到海邊、河畔採集風吹的聲音，這樣隨意、漫無目的的錄音讓當時的他以為自己淪為一位失敗的人類學家。在回芝加哥與朋友交流後，才發現原來自己一直在做的事是「聲音研究」。漸漸地，除了透過音樂的方式（如：頻率、節奏）來分析聲音，施永德教授更關注聲音的發聲者與傾聽者之間的互動關係，以及聲音如何受時空背景與文化脈絡影響，並深入研究將聲音轉為文本的方式—歷史聲音景觀。採訪當天施永德教授舉了一個例子解釋不同群體對聲音的解讀所造成的差異。阿美族原住民下班後在家附近喝酒、唱歌的聲音對他們來說代表原住民社交的聲音，但同樣場景發生在都市，在他人眼裡卻被解讀為原住民無法適應都會生活，需要關懷的聲音。如果聽者不了解某個聲音的脈絡、故事與經驗則很難了解聲音代表的全貌。
聽覺習慣也成為施永德教授的研究主題之一。在臺灣，聽到少女的祈禱則能不自覺地聯想到垃圾車，如何透過作品讓觀眾對聲音產生感覺或讓有聽覺習慣的人產生疑問，拒絕自動化的聯想，以不同方式解讀聲音便是個有趣的議題。除了持續發表相關學術文章外，施永德教授更透過策展、演講、演唱會等方式，將聲音研究以有趣、貼近的方式帶給社會大眾，讓音樂學能以實作、應用的方式在大家的生活中展現。
臺大的教學生活
與在柏克理音樂學院（Berklee College of Music）主要教授通識課程的模式有所不同，施永德教授在臺大音樂研究所裡擁有自己研究室，能針對每位指導學生的所學所需，提供更精緻化的教學。透過建立學習社群（Learning Community），學生與老師在學期的前兩堂課共同討論該學期的課程內容、選定教材，並制定學習公約，在後續的每周，學生們會為自己及他人提供建議及回饋。施永德教授希望透過對話及互動，了解學生真正需要的教學是什麼，並打造充滿能量的學習氛圍。雖然多數人認為臺灣學生在學習表現上較為安靜及被動，但施永德教授笑著反駁，說道：「這些年輕人的父母可是當年的叛逆者！」，帶著挑戰威權的精神及血液，他相信若能提供發言的機會，學生們一定能展現出獨特的思維與見解。他也重視培養學生獨立研究的能力，並能在探討學術理論之餘，懂得如何將所學所獲教導給其他人，更期待學生能養成對自己學習負責的態度。
“I’m still not a Taipei person.” 施永德教授如此說道。他仍然愛著河流、海洋，喜歡臺東的艷陽高照、喜歡都蘭的部落生活，但他也漸漸習慣臺北的都市生活，除了臺大的校園日常外，浮洲橋下旅居北部的原住民社群、小碧潭的溪洲部落以及烏來的原住民族群都是施永德教授在臺北的歸屬，讓他在繁忙的都市生活中，尋得一絲舒適的空間。
12月某個寒冷的冬天，我偶然在校園裡再次遇到施永德教授，他穿著藍黃圖騰相間、散發青春氣息的毛衣，頭上戴著深藍色的毛帽，依舊保持獨特的穿搭風格，我說：「老師，你的毛帽好好看！」，施永德教授：「是我自己織的喔！」寒暄幾句後才知道，這段時間老師忙於國科會的計畫申請，下個月就要前往台東都蘭，回到那個離海很近、被山擁抱的淨土。
Collaborating with artists in Dulan and creating on the shores of Jinzun Beach opened new doors for him—leading him to explore indigenous culture, music, and sound art. This inspired his second major research project, "Diverse Trajectories," which focused on the interactions between mainstream and non-mainstream music, as well as the fusion of pop music with traditional indigenous songs.
Starting from 2014, through diverse programs, including Fulbright fellowships and visiting scholar exchanges, his trips to Taiwan became increasingly frequent, and his stays grew longer. It became difficult for him to spend a full academic year at Berklee College of Music, where he was teaching at the time. Meanwhile, more musicians invited him to collaborate on music projects.
His long-time academic collaborators, including Professor Lin Wei-Pin from National Taiwan University, Professor Chen Chun-Bin from Taipei National University of the Arts, and Professor Tsai Cheng-Liang from National Taitung University, strongly encouraged him to stay in Taiwan. After much consideration and driven by his deep emotional connection with Taiwan, he finally decided to join the Graduate Institute of Musicology at NTU—marking the beginning of his permanent residency in Taiwan.
From Anthropologist to Sound Artist
Professor Hatfield’s passion for sound research started as an accidental hobby. He used to carry a recorder to night markets, capturing the lively sounds, or to the seaside and riversides, collecting the sounds of the wind. Initially, he thought these recordings made him a failed anthropologist. However, after discussing with friends back in Chicago, he realized that what he had been doing all along was actually "sound studies."
Over time, his research expanded beyond analyzing sound through music (such as frequency and rhythm). He began focusing on the interaction between sound producers and listeners and how sound is shaped by historical and cultural contexts. He also studied the concept of historical soundscapes—how sound is recorded and interpreted over time.
During our interview, he provided an example of how different groups perceive sound differently. For Amis indigenous people, singing and drinking after work represents an essential social activity. However, in an urban setting, outsiders may misinterpret these same sounds as a sign of indigenous people struggling to adapt to city life. Without understanding the context, it is difficult to fully grasp the true meaning of sound.
Another aspect of his research focuses on auditory habits. For example, In Taiwan, hearing "Maidens’ Prayer" (a classical piano piece) immediately reminds people of garbage trucks. How can an artist make audiences question their auditory experiences or interpret sounds in new ways? This is an interesting challenge that Professor Hatfield continues to explore.
Beyond academic publications, he actively brings sound studies to the public through exhibitions, lectures, and concerts—allowing musicology to be experienced in a practical and engaging way.
Teaching at NTU
Unlike his time at Berklee College of Music, where he primarily taught general education courses, Professor Hatfield now has his own research office at NTU’s Graduate Institute of Musicology. This allows him to provide more tailored guidance to students.
He establishes "learning communities" where students and teachers collaborate to determine the course structure, select materials, and set learning agreements. Each week, students provide feedback to one another, fostering a dynamic learning atmosphere.
Although many believe Taiwanese students are quiet and passive, he humorously refutes this: "These young people’s parents were once rebels themselves!" He believes that if given the right opportunities, students will express unique thoughts and insights. His goal is to cultivate independent research skills and encourage students to take responsibility for their own learning.
"I’m still not a Taipei person," he admits. He loves rivers and the ocean, enjoys the sunny weather in Taitung, and cherishes the tribal life in Dulan. However, he is slowly adapting to Taipei, finding comfort in communities such as the indigenous groups under Fuzhou Bridge, Xizhou Tribe in Xiaobitan, and Wulai’s indigenous settlements. These places provide him with a sense of belonging amid the city’s hustle and bustle.
One cold December day, I ran into Professor Hatfield on campus again. He was wearing a vibrant blue and yellow patterned sweater and a deep blue beanie—maintaining his signature style.
"Professor, your beanie looks great!" I said.
He smiled and replied, "I knitted it myself!"
After a brief chat, I learned that he had been busy applying for research grants and would soon be heading back to Dulan—to the peaceful land embraced by mountains and close to the sea.