政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/116096
English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  全文筆數/總筆數 : 113311/144292 (79%)
造訪人次 : 50929528      線上人數 : 930
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
搜尋範圍 查詢小技巧：
  • 您可在西文檢索詞彙前後加上"雙引號"，以獲取較精準的檢索結果
  • 若欲以作者姓名搜尋，建議至進階搜尋限定作者欄位，可獲得較完整資料
    •  進階搜尋


    請使用永久網址來引用或連結此文件: https://nccur.lib.nccu.edu.tw/handle/140.119/116096


    題名: 社群媒體時代的台灣獨立音樂：台灣獨立歌手如何平衡創作、創業及行銷的調查研究
    Taiwan Indie Music in the Social Media Era: an Empirical Investigation of How Taiwan Indie Singers Balance Creating, Entrepreneurship and Self-Promotion
    作者: 黃執虔
    Huang, Andrew
    貢獻者: 林怡潔
    Lin, Yi-Chieh
    黃執虔
    Huang, Andrew
    關鍵詞: 台灣獨立音樂
    社群媒體時代
    台灣獨立歌手
    創作
    創業
    行銷
    Taiwan indie music
    Social media era
    Taiwan indie singers
    Creating
    Entrepreneurship
    Self-promotion
    日期: 2018
    上傳時間: 2018-03-02 11:52:08 (UTC+8)
    摘要: 本文探討台灣獨立音樂界的結構機制以及台灣獨立音樂人如何在社交媒體時代操控事業。出於對獨立音樂本質的興趣，及藝術家，觀眾與市場之間的互動，我邀請業界20位音樂專業人士（包括歌手及幕後人員）進行深度訪談，來架構關於台灣獨立音樂生產鏈的各個階段的多角度觀察。我對資訊進行詳細的分析及討論，包括藝術家的分眾和定位，音樂出版和發行，臉書音樂推廣，現場表演，敘事能力，創作與自我推銷的矛盾，最後，受訪者認為什麼是“獨立音樂精神，”及獨立音樂生涯的典型發展模式。
    本研究結論是，在獨立音樂出版領域，真才實力的才華是建立事業的前提。雖然數位音樂製作及社群媒體讓音樂製作成本得以民主化，令所有人皆有宣傳管道，但是經營社群媒體所須的時間和專業依舊牽絆著獨立歌手，致使只有極少數獨立歌手運過社群媒體的宣傳成功打入主流市場。然而，許多獨立歌手認為他們從事生涯的目標，並非用音樂為工具來獲得名利，而是通過音樂來分享他們的故事。
    This thesis investigates the mechanism of Taiwan`s independent music sector and how Taiwanese independent musicians operate in the era of social media. Departing from an interest in the nature of independent music and the interactions between artist, audience and the market, I conduct in-depth interviews with 20 music professionals from the industry (including singers and behind-the-scene personnel) to derive multi-perspective observation about the various stages of production chain of Taiwan’s independent music. The data is analyzed and discussed in details with the following themes: artist segmentation and positioning, music release and distribution, Facebook music promotion, live performance, storytelling, creating versus self-promotion, what they perceive as the “indie music spirit,” and finally what is the typical indie music career pattern.
    This research concludes that, in the realm of independent music publishing, veritable talent is the prerequisite to establishing a career. While digital music production and social media democratized the cost of music making and provides publicity access to everyone, the amount of time and expertise required for managing social media constraint indie singers so that only very few reach mainstream recognition through self-promotion in social media. However, many indie singers perceive their career goals as sharing stories through music rather than using music as means to reach fame and fortune.
    參考文獻: Bourdieu, P. (1996). The State Nobility: Elite Schools in the Field of Power. Stanford University Press.
    Hamilton, S.L. (2011). Extreme Dance: Rock. ABDO Publishing Company.
    Hansen, D., Shneiderman, B., & Smith, M. A. (2011). Analyzing social media networks with NodeXL: Insights from a connected world. Boston: Elsevier.
    Hesmondhalgh, D & Meier, L. M. (2015). Popular Music, Independence and the Concept of the Alternative in Contemporary Capitalism. Media Independence: Working with Freedom Or Working for Free? Routledge.
    King, G. (2005). American Independent Cinema. I.B. Tauris Publishing.
    Li M. T. (2015). Echo of the Time (時代迴音). Locus Publishing. November 31.
    Mason, M. (2009). Pirate’s Dilemma. Simon & Schuster. May.
    Mjos, O. J. (2012). Music, Social Media and Global Mobility: MySpace, Facebook, YouTube. Routledge, U.K.
    Tuten, T. L. & Solomon, M. R. (2015.) Social Media Marketing. Sage Publishing, UK.
    Tracy, L. Tuten, M. & Solomon, R. (2017). Social Media Marketing. Sage Publishing.
    Treadaway, C. & Smith, M. (2010). Facebook marketing an hour a day. Wiley Publishing, Indianapolis.

    Acar, A. S. & Polonsky, M. (2007). Online Social Networks and Insights into Marketing Communications. Journal of Internet Commerce. P 55-72.
    Berthona, P. R., Pittb, L. F., Planggerb, K., & Shapiro, D. (2012). Marketing Meets Web 2.0, Social Media, and Creative Consumers: Implications for International Marketing Strategy. Business Horizons. Volume 55, Issue 3, May–June, P 261–271.
    Castronovo, C., & Huang, L. (2012). Social Media in an Alternative Marketing Communication Model. Journal of Marketing Development. (February), P 117-134.
    David, G. (2010). Camera Phone Images, Videos and Live Streaming: a Contemporary Visual Trend. New Media Review. March 22, P 89-98.
    De Vries, L., Gensler, S., & Leeflang, P. S. H. (2012). Popularity of Brand Posts on Brand Fan Pages: an Investigation of the Effects of Social Media Marketing. Journal of Interactive Marketing. P 83-91.
    Entman, R. M. (2007). Framing Bias: Media in the Distribution of Power. Journal of Communication. Volume 57, Issue 1, March,P 163–173.
    Galuszka, P. (2014). New Economy of Fandom. Popular Music and Society. October 30, P 25-43.
    Hinz, O., Skiera, B., Barrot, C., & Becker, J. U. (2011). Seeding Strategies for Viral Marketing: An Empirical Comparison. Journal of Marketing. Vol. 75, No. 6, November, P 55-71.
    Huang, A. (2010). The Reluctant Celebrity. The Taipei Times. January 14.
    Jien, M. R. (2013). The Production Politics of Taiwan Independent Music (台灣獨立音樂的生產政治). Retrieved from academia.edu.
    José I. P. A. (2012). The Semiotics of Performance and Success in Madonna. The Journal of Popular Culture. Volume 45, Issue 1, February, P 173-196.
    Jung, S., & Shim, D. (2014). Social Distribution: K-Pop Fan Practices in Indonesia and the ‘Gangnam Style’ Phenomenon. International Journal of Cultural Studies. Vol 17, Issue 5.
    Kaikati, A. M., & Kaikati, J. G. (2004). Stealth Marketing: How to Reach Consumers Surreptitiously. California Management Review. 46 (4), P 6-22.
    Kaplan, A., & Haenlein, M. (2012). The Britney Spears Universe: Social Media and Viral Marketing at Its Best. Business Horizons. (February), P 27-31.
    Kaplan, A., & Haenlein, M. (2011). Two Hearts in Three-Quarter Time: How to Waltz the Social Media/Viral Marketing Dance. Business Horizons. Volume 54, Issue 3, May–June, P 253–263.
    Kaplan, A. M., & Haenlein, M. (2010). Users of the World, Unite! The Challenges and Opportunities of Social Media. Business Horizons. 53 (1), P 59-68.
    Kozinets, R. V., de Valck, K., Wojnicki, A. C., & Wilner, S.J.S. (2010). Networked Narratives: Understanding Word-of-Mouth Marketing in Online Communities. Journal of Marketing. 74(2), P 71-89.
    Lin, Y. R. (2016). "Is This a Fake Review? Analytics on Types of Opinion Posting and Social Network of Spammers" (這是業配文嗎？網軍的貼文型態與網絡分析). Taipei University Information Management graduate school degree thesis. Retrieved from: airitilibrary.com. P 1-69.
    Liu, Y. F. (2015). "Hou Hsiao-hsien New Cinema`s Individual Concern and Artistic Spirit" (侯孝賢“新電影”的個體關懷與藝術精神). Criticism and Creation. Volume 18. P. 92-98.
    McQuarrie, E. F., Miller, J., & Phillips, B. J. (2013). The Megaphone Effect: Taste and Audience in Fashion Blogging. Journal of Consumer Research. Vol. 40, No. 1. June, P 136-158.
    Newman, N. (2009). The Rise of Social Media and Its Impact on Mainstream Journalism. Reuters Institute for the Study of Journalism: Working Papers.
    Retrieved from: https://ora.ox.ac.uk/objects/uuid:a980df14-1b49-401b-a136-78d47ab76cdc
    Oh, I., & Park, G. S. (2012). From B2C to B2B: Selling Korean Pop Music in the Age of New Social Media. Korea Observer. Autumn, P 365-397.
    Salo, J., Lankinen, M., & Mantymaki, M. (2013). The Use of Social Media for Artist Marketing: Music Industry Perspectives and Consumer Motivations. International Journal on Media Management. February 8, P23-41.
    Tai, Y. (2005). The Practice of the Independent Record Label in Taiwan - A Case Study of White Wabbit Records (台灣獨立唱片廠牌實作：以小白兔橘子唱片為例). Retrieved from: nccur.lib.nccu.edu.tw.
    Thomas, G. M. (2004). Building the Buzz in the Hive Mind. Journal of Consumer Behaviour. 4 (1), P 64-72.
    Thorburn, E. D. (2013). Social Media, Subjectivity, and Surveillance: Moving on from Occupy, the Rise of Live Streaming Video. Communication and Critical/Cultural Studies Journal. 23 September, P 52-63.
    Trusov, M., Bucklin, R. E., & Pauwels, K. (2009) Effects of Word-of-Mouth Versus Traditional Marketing: Findings from an Internet Social Networking Site. Journal of Marketing. Vol. 73, No. 5, September, P 90-102.

    Chang, H. Y. (2016). Chen Wei-ru: the Root Searching Journey of Music Creating (陳瑋儒 音樂創作的尋根之旅). New Hakka People Profile (新客家人群像). Retrieved from: http://hkp.nctu.edu.tw/HakkaPeople/article/9732?issueID=619
    Bleu & Book. (2017). Artists are Adventurous, but Opening a Record Company Might not Be. Retrieved from: www.Readmoo.com. January 9.
    Blow editor. (2017). Seven New Trends in Digital Music Development 2016 (2016年數位音樂發展的七個新趨勢). Blow.streetvoice.com. January 5.
    Chen H., H., & Lin C., W. (2016). Golden Melody Nomination: Zhang Hui-mei Vies for Best Female Singer the 13th Times. Tanya Chua Fights for Her Fourth Crown. Apple Daily. May 13.
    Fang, H. Z. (2017). Lin Sheng-Xiang’s 20 Years Career—the Near Dark Moment even 7 Golden Melody Awards Couldn’t Shine on (林生祥出道20年—7座金曲獎也擦不亮的臨暗時刻). The Reporter. May 17. https://www.twreporter.org/a/lin-sheng-xiang-20-years
    Guo, D. Y. (2017). These are the Most Popular Videos on Taiwan YouTube in 2017. Storm Media. http://www.storm.mg/lifestyle/369427
    iamnomoh. (2011). 2010 Taiwan Independent/Non Mainstream Music Year End Ranking. January 05. http://iamnomoh.pixnet.net/blog/post/26323667
    KKBOX editor. (2018). KKBOX 2017 Mandarine Single Top 10. January 21. Retrieved January 2018. https://www.kkbox.com/tw/tc/column/features-0-2418-1.html
    Ko, A.. (2016). Niche Music Becomes Mainstream! Deserts Xuan, Cheer Chen and Sodagreen’s Indie Emotions. March 31.
    Ren G. H. (2014). Dawning Light of the Island Lights up Taiwan. Fire Ex Band. Pixnet.net. May 23.
    StreetVoice. StreetVoice 2017 Year End Report (StreetVoice 街聲 2016 年度洞察報告). 2017.
    Yiu Y. N. (2016). Jolin Tsai`s "Play" MV Receives Nod from International Award (蔡依林〈呸〉MV再度Play國際大獎). The China Times E-Paper. April 11.
    Xuan, D. (2014). Deserts Xuan`s hiatus announcement. Facebook post.
    描述: 碩士
    國立政治大學
    國際傳播英語碩士學位學程(IMICS)
    104461002
    資料來源: http://thesis.lib.nccu.edu.tw/record/#G0104461002
    資料類型: thesis
    顯示於類別:[國際傳播英語碩士學程] 學位論文

    文件中的檔案:

    檔案 大小格式瀏覽次數
    100201.pdf2597KbAdobe PDF2501檢視/開啟


    在政大典藏中所有的資料項目都受到原著作權保護.


    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 ©   - 回饋