爵士音樂在二十一世紀逐漸成為研究社群重視的議題，雖然在臺灣尚未形成穩固的學術地位，卻在各領域產出134篇博碩論文，研究成果分散於37所學校和60個系所，是人文社會科學跨領域研究的新對象。回顧爵士音樂在臺灣的研究歷程，卻無法具體地提出一個有邏輯的研究脈絡，由於各學科研究者在慣用的西方理論之間並無太大的關聯性，很少不抽離學術術語，所以呈現出既零散又片面的爵士音樂的論述。學術群體在研究精神、認識框架、理論基礎並無共識，使得後人無法接續前人的實踐。本文綜覽與分析爵士音樂研究在臺灣的歷程，同時一面反思爵士樂在臺灣社會的文化接受現象，是否適用在西方理論框架下討論。整體研究從三個方向梳理爵士音樂的學術化歷程：一、爵士音樂研究在臺灣的知識建構。二、爵士音樂研究在臺灣的發展。三、爵士音樂在國際的研究概況及理論思索。 Jazz is a kind of new field in 21stcentury. Although there are no stable research communities in Taiwan, 134 theses and dissertations are produced in academic field, and research fields are separated in 37 schools and 60 departments. It is the new target of cross-field research about humanities and social sciences. Reflecting the research history of Jazz music in Taiwan, we find out that there is no logical research context presented concretely. Because the researchers of every subject don't have much correlation between habitually used Western theories, and seldom detached from academic terminologies, the discourses of Jazz cannot have any improvement, and academic communities don't have any consensus in research spirit, frame understanding, and theoretical basis. The practice cannot be passed down by descendants from predecessors. This essay gives an overview and analysis about history of Jazz research in Taiwan; meanwhile, it also provides the reflection about whether the acceptances of Jazz in Taiwan society can be discussed under the frame of Western theory. The whole research organizes the academicization process from three directions: 1. Knowledge construction of Jazz research in Taiwan 2. Development of Jazz research in Taiwan 3. Summary of research and theoretical thinking of Jazz around the world.