English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  Items with full text/Total items : 113303/144284 (79%)
Visitors : 50821472      Online Users : 410
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
  • Adv. Search
    HomeLoginUploadHelpAboutAdminister Goto mobile version
    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/101061


    Title: 美國線上音樂平台Conquer Entertainment 之商業模式與迷消費探討
    The Research of the Business Model and Fans’ Consumption of an American Online Music Platform – Conquer Entertainment
    Authors: 劉光倫
    Contributors: 陳秉訓
    劉光倫
    Keywords: 數位音樂
    平台經濟
    迷消費
    社群媒體
    生活型態行銷
    Date: 2016
    Issue Date: 2016-09-01 23:38:20 (UTC+8)
    Abstract: 音樂是藝術領域的一門分支,也是表達情感的一種方式。而音樂產業是文化創意產業中重要的一環,音樂產業在音樂的載體出現之後,由於資訊科技和全球化的發展影響,音樂載體的格式進入數位化時代,人們在網路平台上面創造了許多破壞式創新的商業模式,也由於音樂載體數位化的關係,傳統的唱片廠商開始被動或轉向線上的平台模式經營,以對付搶食線上音樂市場的盜版或非法下載。
    音樂產業的消費者,有些對於音樂創作者或歌曲形式屬於更為著迷惑熱衷的程度,往往可被稱之為「迷」,而音樂迷因為其心理情感的認同所產生的音樂消費則牽動了音樂創作者背後的龐大商機。迷的理論多以心理學或社會學的觀點出發,較少在商業上應用的型態,而傳統唱片產業往往只著重在音樂的行銷手法和音樂相關的產品服務上面,而美國的一個線上音樂平台Conquer Entertainment推出了一個商業模式來引導和一對一服務消費者從音樂消費到非音樂相關的消費。
    本研究透過質化分析的個案研究法,欲研究以下問題(1)Conquer Entertainment之音樂創作者和其樂迷在社群媒體上之互動如何影響其消費行為;(2)比較線上音樂平台與傳統唱片音樂產業價值鏈的異同,以及研究線上音樂平台Conquer Entertainment之商業模式;(3)探討此形態的商業模式在台灣或華語樂壇是否適用於推廣音樂創作者及其他相關產品與服務。
    經過音樂產業價值鏈流程分析九宮格商業模式分析了該平台,以及其SWOT矩陣交叉分析以了解線上音樂產業的變化和相關平台可行的價值鏈分析,最後得到以下幾點不同於唱片產業的結論:(1)社群媒體不同於傳統大眾媒體的雙向互動特質藉由社群媒體的互動帶動迷和消費者音樂以及非音樂產品的消費;(2)價值鏈上的關鍵要素也跟藝人與迷的互動息息相關,線上音樂平台相同的是音樂創作本身仍是主要核心,不同的地方則是由於實體音樂銷量下滑,需要藉由不同的行銷方式來增加非音樂相關產品的消費;(3)給予建議若該平台的商業模式若套用到台灣或華語樂壇的音樂市場,可行的方法則是利基在獨立音樂藝人和新秀歌手市場,最終給予未來研究方向。
    Reference: Anna. 台灣數位音樂的發展趨勢與未來可能. Retrieved August 18, 2016, from http://tavis.tw/files/13-1000-15097-1.php
    Aaker, D. A. (1996). Building strong brands. New York, NY: Simon & Schuster Adult Publishing Group.
    Abercrombie, N., & Longhurst, B. (1998). Audiences: A sociological theory of performance and imagination. Thousand Oaks, CA: Sage Publications.
    Attali, J. (2007). Bruits : essai sur l’économie politique de la musique /. Retrieved from http://tulips.ntu.edu.tw:1081/record=b3384950*cht
    Bruce Swartz (2014, March 23). Conquer entertainment the 2013 UnLabel presentation Retrieved from https://www.youtube.com/watch?v=KwzsPrlCuFY
    Burnett, R. (1995). The global jukebox: The international music industry. New York: Taylor & Francis.
    Caves, R. E. (2002). Creative industries: Contracts between art and commerce A review by Stuart Glover of creative industries: Contracts between art and commerce. Retrieved from http://www.stuartglover.com.au/wp-content/uploads/2011/09/2002-Creative-Industries-Contracts-between-Art-and-Commerce2.pdf
    Cavicchi, D. (1998). Tramps like us: Music and meaning among Springsteen fans. United States: Oxford University Press.
    Conquer Entertainment (2015, June 18). Conquer entertainment: Connecting the dots Retrieved from https://www.youtube.com/watch?v=wShSnayp9iM
    Conquer Entertainment (2016, April 26). Conquer entertainment: Music meets lifestyle Retrieved from https://www.youtube.com/watch?v=bi69PAoWVkc
    Corner, & Robins, K. (1991). Tradition and translation: national culture in its global context Enterprise and heritage. Routledge.
    Duffett, M. (2013). Understanding fandom: An introduction to the study of media fan culture. London: Continuum Publishing.
    Fiske, J. (1992). The adoring audience: Fan culture and popular media. New York: Routledge.
    Fowles, J. (1996). Advertising and Popular Culture. Retrieved from https://books.google.com.tw/books?id=YkxMPOkSQ_0C
    G.T. LUMPKIN, & GREGORY G. DESS (2004). E-business strategies and Internet business models: Organizational Dynamics, 33(2), 161–173. doi:10.1016/j.orgdyn.2004.01.004
    Grossberg, L. (1992). Is There a Fan in the House? The Affective Sensibility of Fandom. In L. A. Lewis (Ed.), The adoring audience: fan culture and popular media. London: Routledge.
    Hamilton, J. (Ed.). (2009). The music industry. Detroit: Greenhaven Press.
    Hax, A. C., & Wilde, D. L. (2001). The Delta Project: Discovering new sources of profitability in a Networked economy. United Kingdom: Palgrave Macmillan.
    Hills, M., & 朱華瑄 (2005). 迷文化 /. Retrieved from http://tulips.ntu.edu.tw:1081/record=b2077212*cht
    HipHopDX. (2016, February 4). Fat Joe shoots down market America misconceptions. Retrieved May 26, 2016, from http://hiphopdx.com/news/id.37343/title.fat-joe-shoots-down-market-america-misconceptions
    Hirsch, P. (1969). The structure of the popular music industry. Retrieved from http://www.psc.isr.umich.edu/dis/infoserv/isrpub/pdf/Structure_2913_.PDF
    Hirsch, P. M. (1972). Processing fads and fashions: An organization-set analysis of cultural industry systems. American Journal of Sociology, 77(4), 639–659. Retrieved from http://static.coursekit.com/07ba9a42953c424b9147b2cf7eeb85a1/Hirsch-Processing%20Fads%20and%20Fashions(1).pdf?versionId=lCMaLZuBdcrvPgl.f5tLC7DgY8ygpeVj
    Hoskins, C. (2004). Media economics: Applying economics to new and traditional media. Thousand Oaks: SAGE Publications.
    Jenkins, H. (1988). Star trek Rerun, Reread, Rewritten:Fan Writing as Textual Poaching. Retrieved from http://web.mit.edu/21l.432/www/readings/star%20trek%20rerun.pdf
    Jenkins, H. (1992). Textual poachers: Television fans and participatory culture. New York: Routledge.
    Jenson, J. (1992). Fandom as Pathology:The Consequences of Characterization. In L. A. Lewis (Ed.), The Adoring Audience (pp. 9–29). London: Routledge.
    Jung, S., & Victoria (2011). K-pop, Indonesian fandom, and social media. Transformative Works and Cultures, 8, . doi:10.3983/twc.2011.0289
    Kotler, P., & Keller, K. L. (2008). Marketing management (11th ed.). London: Pearson Education International.
    MacDonald, A. (1998). Uncertain Utopia: Science Fiction Media Fandom & Computer Mediated Communication. In C. Harris & A. Alexander (Eds.), Theorizing Fandom: Fans, Subculture And Identity (pp. 131–152). New York: Hampton.
    Magretta, J. (2002). Why Business Models Matter. Harvard Business Review
    MarketAmerica, Ridinger, A., & Molinaro, M. (2016, August 7). Music meets lifestyle marketing | Amanda Ridinger, Michele Molinaro Retrieved from https://www.youtube.com/watch?v=JL83ch_il14
    McGhie, T. (2015, April 14). Digital music revenues overtake physical sales for the first time. The Telegraph. Retrieved from http://www.telegraph.co.uk/finance/newsbysector/mediatechnologyandtelecoms/11535355/Digital-music-revenues-overtake-physical-sales-for-the-first-time.html
    Negus, K. (1997). Popular music in theory: An introduction. Hanover, NH: University Press of New England.
    O’Reilly, D. (2004). The marketing of popular music. In Arts Marketing
    Osterwalder, A., Pigneur, Y., Smith, A., Clark, T., van der Pijl, P., Alex, O., … Yves, P. (2010). Business model generation: A handbook for visionaries, game Changers, and challengers (portable version). Amsterdam: Alexander Osterwalder & Yves Pigneur.
    Pateli, A. G., & Giaglis, G. M. (2005). Technology innovation‐induced business model change: A contingency approach. Journal of OrgChange Mgmt, 18(2), 167–183. doi:10.1108/09534810510589589
    Picard, R. G. (2002). The economics and financing of media companies (1. United States: Fordham University Press.
    Porter, M. E. (1998). Competitive advantage: Creating and sustaining superior performance ; with a new introduction. New York: Simon & Schuster Adult Publishing Group.
    Prandstraller, F. Virtual proximity: Creating Connection in an Online Fan Community. Retrieved from http://www.gnovisjournal.org/files/Francesca-Prandstraller-Virtual-Proximity.pdf
    Pullen, K. (2000). I-love-Xena.com: Creating Online Fan Communities. In D. Gauntlett (Ed.), Web Studies: Rewiring Media Studies for the Digital Age (pp. 52–61). London: Hodder Education.
    Richards, M. (2015a). Social media: Dominating strategies for social media marketing with Twitter, Facebook, Youtube, Linkedin and Instagram. United States: Lulu.com.
    Richards, M. (2015b). Social media: Dominating strategies for social media marketing with Twitter, Facebook, Youtube, Linkedin, and Instagram. United States: Createspace Independent Publishing Platform.
    Sandvoss, C., & S, C. (2005). Fandom: The mirror of consumption. Cambridge, UK: Polity Press.
    Shuker, R. (2001). Understanding popular music /. Retrieved from http://tulips.ntu.edu.tw:1081/record=b1937330*cht
    Theberge, P. (2005). Everyday Fandom: Fan clubs, Blogging, and the Quotidian rhythms of the Internet. Canadian Journal of Communication, 30(4), . Retrieved from http://www.cjc-online.ca/index.php/journal/article/view/1673/1810
    Thompson, J. B. (1996). The media and modernity: A social theory of the media. Stanford (Calif.): Stanford University Press.
    Throsby, C. D. (2001). Economics and culture /. Retrieved from http://tulips.ntu.edu.tw:1081/record=b3354394*cht
    Vogel, H. L. (2010). Entertainment industry economics: A guide for financial analysis (8th ed.). Cambridge: Cambridge University Press.
    Wernerfelt, B. (1984). A resource-based view of the firm. Strategic Management Journal, 5(2), 171–180. doi:10.1002/smj.4250050207
    Wikström, P., & Wikstrom, P. (2014). The music industry: Music in the cloud (2nd ed.). United Kingdom: Polity Press.
    Wimmer, R., & Dominick, J. (1994). An introduction to mass media research. Retrieved from http://www.academia.edu/download/46068430/An_Introduction_to_Mass_Media_Research.docx
    Zubernis, L., Larsen, K., & Larsen Katherine Zubernis Lynn S (2014). Fandom at the crossroads: Celebration, shame and fan/producer relationships. Newcastle: Cambridge Scholars.
    劉維公. (2000). 當代消費文化社會理論的分析架構. Retrieved June 26, 2016, from http://www.scu.edu.tw/society/journal/abstract/j11-4.htm
    劉韋伶. (2010). 偶像商品與消費:以台灣傑尼斯迷為例. Retrieved June 26, 2016, from 元智大學碩士論文, http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id=%22098YZU05210034%22.&searchmode=basic
    卞宗瑩 (2009). 數位音樂時代下獨立音樂產業的新經營模式: 以 [城市音樂] 網路平台為例. 中華傳播學會年會研討會
    吳國豪. (1999). 網際網路虛擬社群象徵互動之探索─以irc.Hinet.Net為例__臺灣博碩士論文知識加值系統. Retrieved June 18, 2016, from http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id=%22087TKU00023008%22.&searchmode=basic
    吳彥明 (2008). 從 [大眾商品的迷] 到 [政治迷]:[政治迷] 的論述建構.
    廖玉玲 (2016). 串流音樂 唱片業救世主. 經濟日報
    張振鴻 (2012). 濱崎「步」一樣的偶像-日本流行音樂迷群之偶像認同與消費研究.
    徐雅娟. (2002). 台灣地區跨國音樂集團之品牌策略研究--以影響因素為例__臺灣博碩士論文知識加值系統. Retrieved June 26, 2016, from http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dnclcdr&s=id=%22090TKU00023013%22.&searchmode=basic
    徐韻婷. (2010). 社群媒體與音樂消費:以K-Pop迷群為例__臺灣博碩士論文知識加值系統. Retrieved June 18, 2016, from http://handle.ncl.edu.tw/11296/ndltd/06243981403249740313
    徐文芝. (2014, December 17). 北美智權報 第122期:救世主還是魔鬼?串流音樂平台讓音樂創作者又愛又恨. Retrieved May 20, 2016, from http://www.naipo.com/Portals/1/web_tw/Knowledge_Center/Innovative_Gadgets/publish-66.htm
    曾慧文. (2007). 韓劇迷收看韓劇後對韓劇及韓國文化的認知及態度之研究 =:Investigating the effect of viewing Korean drama on fans’ awareness and attitude toward Korean drama and culture /. Retrieved from http://tulips.ntu.edu.tw/record=b2869998*cht
    李昇穎等. (2005). 台灣線上音樂之商業模式探討《網路社會學通訊期刊》第52期,2006年1月15日. Retrieved May 20, 2016, from http://mail.nhu.edu.tw/~society/e-j/52/52-09.htm
    林智新 (1983). 品牌春秋 /. Retrieved from http://tulips.ntu.edu.tw:1081/record=b1613537*cht
    林富美 (2006). 台灣新聞工作者與藝人: 解析市場經濟下的文化勞動. 台灣: 秀威資訊科技(股)公司.
    洪曉辰等. (2006). 線上音樂分析企劃-以KKbox為例. Retrieved from http://www.scu.edu.tw/ba/homework/95STC_1.pdf
    白紀齡 (2013). 線聲說法 : 數位音樂產業專題 /. Retrieved from http://tulips.ntu.edu.tw:1081/record=b4809334*cht
    簡妙如, & 大眾傳播 (1996). 過度的閱聽人:[迷] 之初探.
    羅名君 (2007). 線上音樂平台業者與音樂內容提供者的合作及營運式探討. 東吳大學國際貿易學系碩士在職專班碩士論文
    許韋婷 (2012). 圖解簡明世界局勢 : 政治.經濟.環境資源.國際社會.人文 : 2013年版 /. Retrieved from http://tulips.ntu.edu.tw:1081/record=b4196990*cht
    郭良文. (1998). 台灣近年來廣告中認同之建構:解析商品化社會的認同與傳播意涵. Retrieved June 26, 2016, from http://ccs.nccu.edu.tw/paperdetail.asp?HP_ID=904
    鄭貞銘 (1999). 公共關係總論. Retrieved from 9789571119342.
    陳秀惠. (2001). 音樂產業價值創造系統演進之研究. Retrieved June 18, 2016, from http://nccuir.lib.nccu.edu.tw/handle/140.119/85249
    陳威如 (2013). 平台革命: 席捲全球社交、購物、遊戲、媒體的商業模式創新. 天下文化.
    陳玉華. (2015, December 10). 今周刊 - 不妥協的妄想 蘇打綠. Retrieved June 18, 2016, from http://www.businesstoday.com.tw/article-content-80732-133905
    高宣揚 (2002). 流行文化社會學 = Sociology of fashion /. Retrieved from http://tulips.ntu.edu.tw:1081/record=b1947422*cht
    黃秀慧 (2006, June 30). IFPI與EZPEER 和解 盼KURO跟進. 中國時報
    黃均人. (2009). 留聲年代. Retrieved June 18, 2016, from 台灣師範大學民族音樂研究所多媒體應用組, http://web.ntnu.edu.tw/~697910315/speaker.html
    黃顗穎 (2003). 流行音樂歌手形象, 偶像崇拜與消費行為關係研究.
    Description: 碩士
    國立政治大學
    智慧財產研究所
    100361005
    Source URI: http://thesis.lib.nccu.edu.tw/record/#G1003610052
    Data Type: thesis
    Appears in Collections:[智慧財產研究所] 學位論文

    Files in This Item:

    File SizeFormat
    005201.pdf2104KbAdobe PDF2551View/Open


    All items in 政大典藏 are protected by copyright, with all rights reserved.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏,無償提供學術研究與公眾教育等公益性使用,惟仍請適度,合理使用本網站之內容,以尊重著作權人之權益。商業上之利用,則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作,已盡力防止侵害著作權人之權益,如仍發現本網站之數位內容有侵害著作權人權益情事者,請權利人通知本網站維護人員(nccur@nccu.edu.tw),維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback