Loading...
|
Please use this identifier to cite or link to this item:
https://nccur.lib.nccu.edu.tw/handle/140.119/152647
|
| Title: | 音樂祭與利害關係人的價值共創－以簡單生活節為例
The Value Co-creation between Music Festival and Stakeholders: A Case Study of Simple Life |
| Authors: | 彭匯文
Peng, Hui-Wen |
| Contributors: | 張瑜倩
Chang, Yu-Chien
彭匯文
Peng, Hui-Wen |
| Keywords: | 音樂祭
利害關係人
價值共創
利害關係人行銷
Music festival
Stakeholders
Value co-creation
Stakeholder marketing |
| Date: | 2024 |
| Issue Date: | 2024-08-05 13:05:10 (UTC+8) |
| Abstract: | 隨著疫情後環境的復甦，民眾對於社交與現場體驗的渴望日益增加，也逐漸喚醒觀眾對與現場音樂展演的熱情與興趣。音樂祭作為一種集音樂、文化、娛樂、體驗與社交於一體的大型活動，正在各地迅速蓬勃發展。近年來，台灣也有越來越多組織開始籌辦音樂祭，不僅豐富了活動的多元性，也滿足了不同觀眾的需求與喜好，甚至成為推動地方經濟發展的重要推手，促進整體音樂產業的繁榮。以學術角度來看，價值共創 (value co-creation) 討論了行動者彼此協作，創造價值並整合資源的過程 (Galvagno & Dalli, 2014; Saha et al., 2022)，與音樂祭多方利害關係人的合作過程密切相關。然目前有關價值共創的研究較為缺乏與音樂產業的連結，同時也較少聚焦於組織與利害關係人的關係，使音樂祭與利害關係人之間的互動缺乏深入的探討。
為補足上述研究缺口，本研究旨在探討音樂祭與利害關係人如何進行價值共創，並以發展歷史、品牌知名度以及展演內容的多元性作為個案挑選標準，選擇2023年簡單生活節作為個案進行研究。基於價值共創與利害關係人理論的基礎之上，本研究採用深度訪談法與觀察法作為研究方法，深入分析音樂祭各利害關係人之間的互動關係。
本研究提出，音樂祭的品牌價值與活動內容的多元性是策略經營的關鍵因素，並就不同利害關係人所投入之資源與重視的價值，進行詳細的分析與描述，以了解各參與者的目的與期望。此外，本研究也進一步分析利害關係人之間的價值共創的機制，並提出新的研究架構，以全面了解其中的資源交換與價值創造關係。綜上所述，本研究提出未來音樂祭經營的策略建議，以提升音樂祭利害關係人之間的合作成效。最後，本研究建議未來可針對不同形式的組織所籌辦之音樂祭進行研究，以拓展本研究的應用範疇。
As the impact of COVID-19 gradually diminishes, the public’s desire for social interactions and live experiences has grown, reigniting interest in live music performances. Music festivals, which combine music, culture, entertainment, experiences, and social interaction into large-scale events, are flourishing rapidly worldwide. In recent years, Taiwan has seen a growing number of music festivals, enriching the diversity of events and meeting the demand for different audience preferences and interests, while also driving local economic development and boosting the music industry.
From an academic perspective, value co-creation discusses the process of actors collaborating to create value and integrate resources (Galvagno & Dalli, 2014; Saha et al., 2022), which closely relates to cooperative processes among music festival stakeholders. However, current research on value co-creation neglects connections with the music industry and rarely focuses on relationships between music festivals and stakeholders, resulting in a lack of in-depth exploration of their interactions.
This study aims to explore how music festivals engage in value co-creation with stakeholders, using criteria such as historical development, brand awareness, and the diversity of content; thus 2023 Simple Life is selected as a case study. Based on the theories of value co-creation and stakeholders, this study employs in-depth interviews and observational methods to analyze the interactions among the various stakeholders of the music festival.
The study proposes that brand value and the diversity of its event content are crucial factors for music festival management. It provides a detailed analysis and description of the resources invested and the values emphasized by different stakeholders to understand the purposes and expectations of each participant. Additionally, the study delves into the mechanisms of value co-creation among stakeholders and proposes a new research framework to comprehensive understanding of the resource exchanges and value creation relationships involved.
In summary, this research provides recommendations for managing music festivals and improving stakeholder interactions. Finally, the study suggests that future research could focus on music festivals organized by different types of organizations to expand the application scope of this study. |
| Reference: | 一、中文文獻
SimpleLife簡單生活（2023年11月3日）。Simple Life 簡單生活 Facebook 封面［附圖］［動態更新］。Facebook。2024年5月21日，取自https://www.facebook.com/photo/?fbid=719042710256693&set=a.546825967478369
SimpleLife簡單生活（2023年11月23日）。簡單生活節演出時間表［附圖］［動態更新］。Facebook。2024年3月19日，取自https://www.facebook.com/SimplelifeFestival/posts/pfbid02oRWBVSrUvuz7t1Yw7PvSQ2C7Ru9TT8gxJgVriavErGcz9YbBB9Zicx2TYz7R3pDQl
SimpleLife簡單生活（2023年11月30日）。萬物皆可修工作坊與品牌位置圖［附圖］［動態更新］。Facebook。2024年3月19日，取自https://www.facebook.com/SimplelifeFestival/posts/pfbid0VXgUAiWN4pDREfz3R3nDjpf8dcJP1mfhScAHchxQD1YSSFXqFuxRTT8YXVEDQJa3l
StreetVoice街聲（2023年11月24日）。簡單生活節場域攻略［附圖］［動態更新］。Facebook。2024年3月19日，取自https://www.facebook.com/photo.php?fbid=754865963346774&set=t.100064529120970&type=3
文化內容策進院（2023年7月7日）。2022年文化內容消費趨勢調查報告。2023年11月14日，取自https://taicca.tw/uploads/userfiles/research/20230628/2022%E5%B9%B4%E8%87%BA%E7%81%A3%E6%96%87%E5%8C%96%E5%85%A7%E5%AE%B9%E6%B6%88%E8%B2%BB%E8%B6%A8%E5%8B%A2%E8%AA%BF%E6%9F%A5%E5%A0%B1%E5%91%8A%20.pdf
吳麗珍、黃惠滿、李浩銑（2014）。方便取樣和立意取樣之比較。護理雜誌，61（3），105 - 111。https://doi.org/10.6224/jn.61.3.105
呂鈺秀（2023）。2022臺灣音樂年鑑。國立傳統藝術中心。2023年11月14日，取自https://drive.google.com/file/d/1fxZ3OtC4iwfY_JiRZA3r9KSefVzhtJsU/view
李明哲（2023）。2022年臺灣文化內容產業調查報告III：流行音樂、廣播產業。文化內容策進院。2023年11月14日，取自https://taicca.tw/uploads/userfiles/research/20231228/2022/2022%20Vol%203.pdf
周文韜（2022）。後疫情時代獨立樂團樂迷消費行為之研究。中華印刷科技年報（2022／05），406 - 418。
林秀雲（2021）。社會科學研究方法。臺北市；雙葉書廊。
林金定、嚴嘉楓、陳美花 （2005）。質性研究方法：訪談模式與實施步驟分析. 身心障礙研究季刊，3(2)，122 - 136。https://doi.org/10.30072/jdr.200506.0005
林淑馨（2010）。質性研究 : 理論與實務。台北市；巨流圖書股份有限公司。
屏東縣政府行政暨研考處（2023年12月27日）。2024台灣祭活動委託規劃及執行。決標公告。2024年6月1日，取自https://www.pthg.gov.tw/planra/News_Content.aspx?n=4607120D29F65FBC&sms=662F82A7CEF597C3&s=4A7D3C6CA8A437C4
屏東縣政府傳播暨國際事務處（2024年4月8日）。台灣祭吸引逾百萬人次參與 創造地方經濟效益。屏東縣政府全球資訊網。2024年5月21日，取自https://www.pthg.gov.tw/News_Content.aspx?n=EC690F93E81FF22D&s=21753104BFC716BD
財團法人台灣經濟研究院（2022）。國內外文化產業訊息及趨勢分析雙月報（111年第6期）。文化部。2023年11月10日，取自https://stat.moc.gov.tw/StatisticsResearchList.aspx
高雄市政府經濟發展局市場管理處（2024年5月23日）。下半年活動滿檔 演唱會經濟再創商機 帶動餐飲旅宿觀光成長 2023年高雄住宿餐飲銷售額突破歷史新高。高雄市政府經濟發展局。2024年5月28日，取自https://edbkcg.kcg.gov.tw/News_Content.aspx?n=FA86438944BB37E5&sms=4773608F226124D4&s=FDB4A20C49F5B219
陳沛悌、陳玟方、羅香晴、裴蕾（2022）。節慶活動遊客花費與地方經濟影響效果之評估－以「來竹縣約會吧」為例。觀光與休閒管理期刊，10(1)， 28 - 39。https://doi.org/10.6510/jtlm.202206_10（1）.0003
華山文化創意產業園區（2023）。2022華山文化創意產業園區年度實踐報告。2024年5月30日，取自https://ws.huashan1914.com/QRCODE/2022HSAnnualReport.pdf
華山文化創意產業園區（2023）。華山文創園區邁向未來10年 各領域專家共談華山永續。園區公告 展演資訊。2024年5月30日，取自https://www.huashan1914.com/w/huashan1914/news_23070410550448982
黃瑞琴（2021）。質性教育研究方法。新北市：心理出版社。
黃詩尹、童秋霞、熊乃歡、邱紹群（2023）。後疫情現場演唱會再訪意願之調查。觀光與休閒管理期刊，11(1)，187 - 203。 https://doi.org/10.6510/JTLM.202306_11(1).0014
資誠聯合會計師事務所（2023）。2023-2027全球娛樂暨媒體業展望。2023年11月10日，取自https://www.pwc.tw/zh/publications/topic-report/assets/taiwan-entertainment-and-media-outlook-2023-2027.pdf
潘淑滿（2022）。質性研究：理論與應用（第二版）。新北市；心理出版社。
蔡立勳（2024）。登BlackPink、酷玩來台首選 高雄演唱會經濟，馬桶流速也要管。天下雜誌，799，88-91。
簡妙如（2023）。COVID-19中的Live House：臺灣中小型音樂場館的生存結構與挑戰。文化研究，（37），103-152。https://doi.org/10.6752/jcs.202310_(37).0004
二、英文文獻
360 Research Reports. (2022). Global music festival industry research report, competitive landscape, market size, regional status and prospect. https://www.360researchreports.com/global-music-festival-industry-research-report-competitive-landscape-market-22217433
Abfalter, D., Stadler, R., & Mueller-Seeger, J. (2012). The Organization of Knowledge Sharing at the Colorado Music Festival. International Journal of Arts Management, 14, 4-15.
Adongo, R., & Kim, S. (2018). Whose festival is it anyway? Analysis of festival stakeholder power, legitimacy, urgency, and the sustainability of local festivals. Journal of Sustainable Tourism, 26(11), 1863-1889. https://doi.org/10.1080/09669582.2018.1514042
Andersson, T. D., & Getz, D. (2008). Stakeholder management strategies of festivals. Journal of Convention & Event Tourism,
Arcodia, C., & Whitford, M. (2007). Festival Attendance and the Development of Social Capital. Journal of Convention & Event Tourism, 8(2), 1-18. https://doi.org/10.1300/J452v08n02_01
Ballantyne, J., Ballantyne, R., & Packer, J. (2014). Designing and managing music festival experiences to enhance attendees’ psychological and social benefits. Musicae Scientiae, 18(1), 65-83. https://doi.org/10.1177/1029864913511845
Benn, S., Abratt, R., & O'Leary, B. (2016). Defining and identifying stakeholders: Views from management and stakeholders. South African Journal of Business management, 47(2), 1-11.
Bourreau, M., Moreau, F., & Gensollen, M. (2008). The digitization of the recorded music industry: impact on business models and scenarios of evolution.
Bowen, H., & Daniels, M. (2005). Does the music matter? Motivations for attending a music festival. Event Management, 9, 155-164. https://doi.org/10.3727/152599505774791149
Bowman, C., & Ambrosini, V. (2000). Value Creation Versus Value Capture: Towards a Coherent Definition of Value in Strategy. British Journal of Management, 11(1), 1-15. https://doi.org/https://doi.org/10.1111/1467-8551.00147
Braun, E. (2008). City Marketing: Towards an integrated approach.
Brown, A. E., & Sharpley, R. (2019). Understanding festival-goers and their experience at UK music festivals. Event Management, 23(4-5), 699-720.
Carvalho, P., & Alves, H. (2023). Customer value co-creation in the hospitality and tourism industry: a systematic literature review. International Journal of Contemporary Hospitality Management, 35(1), 250-273.
Chaney, D. (2012). The music industry in the digital age: Consumer participation in value creation. International Journal of Arts Management, 15(1), 42-52.
Chen, Z., King, B., & Suntikul, W. (2020). Co-creation of value for cultural festivals: behind the scenes in Macau. Tourism Recreation Research, 45(4), 430-444. https://doi.org/10.1080/02508281.2020.1737793
Christensen, F. (2022). Streaming Stimulates the Live Concert Industry: Evidence from YouTube. International Journal of Industrial Organization, 85, 102873. https://doi.org/https://doi.org/10.1016/j.ijindorg.2022.102873
Crompton, J. L., & McKay, S. L. (1997). Motives of visitors attending festival events. Annals of Tourism Research, 24(2), 425-439. https://doi.org/https://doi.org/10.1016/S0160-7383(97)80010-2
Custom Market Insights. (2023). Global Music Event Market 2023–2032. https://www.custommarketinsights.com/report/music-event-market/
Edward Freeman, R. (2010). Managing for Stakeholders: Trade-offs or Value Creation. Journal of Business Ethics, 96(1), 7-9. https://doi.org/10.1007/s10551-011-0935-5
Foster, P., Borgatti, S. P., & Jones, C. (2011). Gatekeeper search and selection strategies: Relational and network governance in a cultural market. Poetics, 39(4), 247-265. https://doi.org/https://doi.org/10.1016/j.poetic.2011.05.004
Freeman, R. E. (1984). Strategic Management: A Stakeholder Approach. Pitman. https://books.google.com.tw/books?id=4PUJAQAAMAAJ
Freeman, R. E., Harrison, J. S., & Wicks, A. C. (2007). Managing for Stakeholders
Survival, Reputation, and Success. Yale University Press. http://www.jstor.org/stable/j.ctt1npxrg
Gallan, B. (2012). Gatekeeping Night Spaces: the role of booking agents in creating ‘local’ live music venues and scenes. Australian Geographer, 43(1), 35-50. https://doi.org/10.1080/00049182.2012.649518
Galvagno, M., & Dalli, D. (2014). Theory of value co-creation: a systematic literature review. Managing Service Quality, 24(6), 643-683.
Getz, D. (2005). Event Management & Event Tourism. Cognizant Communication Corporation.
Getz, D., & Andersson, T. (2010). Festival Stakeholders: Exploring Relationships and Dependency Through a Four-Country Comparison. Journal of Hospitality & Tourism Research, 34(4), 531-556. https://doi.org/10.1177/1096348010370862
Getz, D., Andersson, T., & Larson, M. (2006). Festival Stakeholder Roles: Concepts and Case Studies. Event Management, 10(2), 103-122. https://doi.org/10.3727/152599507780676689
Getz, D., & Page, S. J. (2019). Event studies: Theory, research and policy for planned events. Routledge.
Harper, T. (2015). 2 - Aura, iteration, and action: digital technology and the jouissance of live music. In A. C. Jones & R. J. Bennett (Eds.), The Digital Evolution of Live Music (pp. 17-27). Chandos Publishing. https://doi.org/https://doi.org/10.1016/B978-0-08-100067-0.00002-6
Hazel, D., & Mason, C. (2020). The role of stakeholders in shifting environmental practices of music festivals in British Columbia, Canada. International Journal of Event and Festival Management, ahead-of-print. https://doi.org/10.1108/IJEFM-07-2019-0037
Hein, A., Weking, J., Schreieck, M., Wiesche, M., Böhm, M., & Krcmar, H. (2019). Value co-creation practices in business-to-business platform ecosystems. Electronic Markets, 29, 503-518.
Hillebrand, B., Driessen, P. H., & Koll, O. (2015). Stakeholder marketing: theoretical foundations and required capabilities. Journal of the Academy of Marketing Science, 43(4), 411-428. https://doi.org/10.1007/s11747-015-0424-y
Holt, F. (2010). The economy of live music in the digital age. European Journal of Cultural Studies, 13(2), 243-261. https://doi.org/10.1177/1367549409352277
Hracs, B. J. (2012). A creative industry in transition: The rise of digitally driven independent music production. Growth and Change, 43(3), 442-461.
Jackson, C., Morgan, J., & Laws, C. (2018). Creativity in events: the untold story. International Journal of Event and Festival Management, 9, 00-00. https://doi.org/10.1108/IJEFM-10-2017-0062
Jones, A. (2015). 3 - What’s my scene: festival fandom and the applification of the Big Day Out stage. In A. C. Jones & R. J. Bennett (Eds.), The Digital Evolution of Live Music (pp. 29-40). Chandos Publishing. https://doi.org/https://doi.org/10.1016/B978-0-08-100067-0.00003-8
Jones, M. L. (2012). Introduction: Music Industry and the Music Industries. In M. L. Jones (Ed.), The Music Industries: From Conception to Consumption (pp. 1-7). Palgrave Macmillan UK. https://doi.org/10.1057/9781137027061_1
Journée, R., Weber, M. (2017). Co-creation of Experiences in Retail: Opportunity to Innovate in Retail Business. In Bellemare, J., Carrier, S., Nielsen, K., Piller, F.T. (Eds.), Managing Complexity. Springer Proceedings in Business and Economics. Springer, Cham. https://doi.org/10.1007/978-3-319-29058-4_31
Kinnunen, M., & Honkanen, A. (2021). Impacts of the COVID-19 pandemic on music festival attendees. Popular Music, 40(3-4), 317-346. https://doi.org/10.1017/S0261143021000611
Krueger, A. B. (2019). Rockonomics: A backstage tour of what the music industry can teach us about economics and life. Currency.
Lacher, K. T. (1989). Hedonic consumption: Music as a product. ACR North American Advances.
Lee, J.-S., Lee, C.-K., & Choi, Y. (2011). Examining the Role of Emotional and Functional Values in Festival Evaluation. Journal of Travel Research, 50(6), 685-696. https://doi.org/10.1177/0047287510385465
Leenders, M., Telgen, J., Gemser, G., & R, W. (2010). Success in the Dutch Music Festival Market: The Role of Format and Content. American Journal of Medical Genetics Part B-neuropsychiatric Genetics - AM J MED GENET PART B, 7, 79-94. https://doi.org/10.1080/14241277.2005.9669431
Leurdijk, A., Nieuwenhuis, O., & Poel, M. (2014). The Music Industry. In G. De Prato, E. Sanz, & J. P. Simon (Eds.), Digital Media Worlds: The New Economy of Media (pp. 133-146). Palgrave Macmillan UK. https://doi.org/10.1057/9781137344250_9
Luonila, M. (2016). The network of meanings and management in the festival production—Case studies of Finnish arts festivals. Studia Musica, 70.
Luonila, M., Suomi, K., & Lepistö, T. (2018). Unraveling Mechanisms of Value Cocreation in Festivals. Event Management, 23, 41-61. https://doi.org/10.3727/152599518X15378845225320
Lusch, R. F., & Vargo, S. L. (2006). Service-dominant logic: reactions, reflections and refinements. Marketing Theory, 6(3), 281-288. https://doi.org/10.1177/1470593106066781
Mair, J., & Weber, K. (2019). Event and festival research: a review and research directions. International Journal of Event and Festival Management, 10, 209-216. https://doi.org/10.1108/IJEFM-10-2019-080
Maklan, S., Knox, S., & Ryals, L. (2008). New Trends in Innovation and Customer Relationship Management: A Challenge for Market Researchers. International Journal of Market Research, 50(2), 221-240. https://doi.org/10.1177/147078530805000206
Martin, B., Bridges, W., & Grunwell, S. (2006). A comparison of two music festivals: implications for festival managers and planners. Hospitality, Tourism, Leisure Science Journal, 2(1), 1-9.
Mathwick, C., Malhotra, N. K., & Rigdon, E. (2002). The effect of dynamic retail experiences on experiential perceptions of value: an internet and catalog comparison. Journal of Retailing, 78(1), 51-60. https://doi.org/https://doi.org/10.1016/S0022-4359(01)00066-5
Max, B. E. C. (1995). A Stakeholder Framework for Analyzing and Evaluating Corporate Social Performance. The Academy of Management Review, 20(1), 92-117. https://doi.org/10.2307/258888
Mazur, J., & Zaborek, P. (2015). Validating Dart Model. International Journal of Management and Economics, 44(1), 106-125. https://doi.org/doi:10.1515/ijme-2015-0012
Mia, L. (2002). A political approach to relationship marketing: case study of the Storsjöyran festival: Political Approach to Relationship Marketing. The International Journal of Tourism Research, 4, 119-143. https://doi.org/10.1002/jtr.366
Mitchell, R. K., Agle, B. R., & Wood, D. J. (1997). Toward a Theory of Stakeholder Identification and Salience: Defining the Principle of Who and What Really Counts. The Academy of Management Review, 22(4), 853-886. https://doi.org/10.2307/259247
Morey, Y., Bengry-Howell, A., Griffin, C., Szmigin, I., & Riley, S. (2014). Festivals 2.0: Consuming, Producing and Participating in the Extended Festival Experience. In A. Bennett, J. Taylor, & I. Woodward (Eds.), The Festivalization of Culture (1st ed., pp. 251-269). Routledge.
Morgan, M. (2008). What makes a good festival? Understanding the event experience. Event Management, 12(2), 81-93.
Mortimer, J. H., Nosko, C., & Sorensen, A. (2012). Supply responses to digital distribution: Recorded music and live performances. Information Economics and Policy, 24(1), 3-14. https://doi.org/https://doi.org/10.1016/j.infoecopol.2012.01.007
Mossberg, L., & Getz, D. (2006). Stakeholder Influences on the Ownership and Management of Festival Brands. Scandinavian Journal of Hospitality and Tourism, 6(4), 308-326. https://doi.org/10.1080/15022250601003273
Musante, K., & DeWalt, B. R. (2010). Participant observation: A guide for fieldworkers. Rowman Altamira.
Palmer, A. (2013). EBOOK: Principles of services marketing. McGraw Hill.
Pedrini, M., & Ferri, L. M. (2019). Stakeholder management: a systematic literature review. Corporate Governance: The International Journal of Business in Society, 19(1), 44-59.
Peñaloza, L., & Mish, J. (2011). The nature and processes of market co-creation in triple bottom line firms: Leveraging insights from consumer culture theory and service dominant logic. Marketing Theory, 11(1), 9-34.
Pera, R., Occhiocupo, N., & Clarke, J. (2016). Motives and resources for value co-creation in a multi-stakeholder ecosystem: A managerial perspective. Journal of Business Research, 69(10), 4033-4041. https://doi.org/https://doi.org/10.1016/j.jbusres.2016.03.047
Perron-Brault, A., Grandpré, F., Legoux, R., & Dantas, D. (2020). Popular music festivals: An examination of the relationship between festival programs and attendee motivations. Tourism Management Perspectives, 34, 100670. https://doi.org/10.1016/j.tmp.2020.100670
Prahalad, C. K., & Ramaswamy, V. (2000). Co-opting customer competence. Harvard Business Review, 78(1), 79-90.
Prahalad, C. K., & Ramaswamy, V. (2004). Co-creation experiences: The next practice in value creation. Journal of Interactive Marketing, 18(3), 5-14. https://doi.org/https://doi.org/10.1002/dir.20015
Prahalad, C. K., & Ramaswamy, V. (2004). Co‐creating unique value with customers. Strategy & leadership, 32(3), 4-9.
Pratt, A. C. (2004). Creative Clusters: Towards the Governance of the Creative Industries Production System? Media International Australia, 112(1), 50-66. https://doi.org/10.1177/1329878x0411200106
PwC. (2023). Perspectives from the Global Entertainment & Media Outlook 2023–2027. https://www.pwc.com/gx/en/industries/tmt/media/outlook/insights-and-perspectives.html
Ramaswamy, V. (2011). It's about human experiences… and beyond, to co-creation. Industrial Marketing Management, 40(2), 195-196.
Research Reports World. (2023). Global music festival industry research report 2023, competitive landscape, market size, regional status and prospect. https://www.researchreportsworld.com/global-music-festival-industry-research-report-2023-competitive-landscape-market-22365832
Roser, T., Defillippi, R., & Samson, A. (2013). Managing your co-creation mix: Co-creation ventures in distinctive contexts. European Business Review, 25. https://doi.org/10.1108/09555341311287727
Saarijärvi, H., Kannan, P., & Kuusela, H. (2013). Value co‐creation: theoretical approaches and practical implications. European Business Review, 25(1), 6-19.
Saha, V., Goyal, P., & Jebarajakirthy, C. (2022). Value co-creation: a review of literature and future research agenda. Journal of Business & Industrial Marketing, 37(3), 612-628. https://doi.org/10.1108/JBIM-01-2020-0017
Santos Jhunior, R., Johnston, N., Boaventura, J., & Barbero, E. (2021). Value co-creation within the stakeholder theory: Taking stock and moving forward. 19, 26-50.
Saragih, H. (2019). Co-creation experiences in the music business: a systematic literature review. Journal of Management Development, 38(6), 464-483.
Sathish, S., & Rajamohan, A. (2012). Consumer behaviour and lifestyle marketing. International Journal of Marketing, Financial Services & Management Research, 1(10), 152-166.
Sheth, J. N., Newman, B. I., & Gross, B. L. (1991). Why we buy what we buy: A theory of consumption values. Journal of Business Research, 22(2), 159-170. https://doi.org/https://doi.org/10.1016/0148-2963(91)90050-8
Sisson, A. D., & Alcorn, M. R. (2022). How Was Your Music Festival Experience? Impacts on Loyalty, Word-of-mouth, and Sustainability Behaviors. Event Management, 26(3), 565-585. https://doi.org/https://doi.org/10.3727/152599521X16288665119495
Stafford, S. A. (2010). Music in the digital age: The emergence of digital music and its repercussions on the music industry. The Elon Journal of Undergraduate Research in Communications, 1(2), 112-120.
Statista Search Department. (2023). Music Events - Taiwan. Statista. https://www.statista.com/outlook/dmo/eservices/event-tickets/music-events/taiwan
Sweeney, J. C., & Soutar, G. N. (2001). Consumer perceived value: The development of a multiple item scale. Journal of Retailing, 77(2), 203-220. https://doi.org/https://doi.org/10.1016/S0022-4359(01)00041-0
Tang, D., & Lyons, R. (2016). An ecosystem lens: Putting China’s digital music industry into focus. Global Media and China, 1(4), 350-371. https://doi.org/10.1177/2059436416685101
Tangit, T., Kibat, S., & Adanan, A. (2016). Lessons in Managing Visitors Experience: The Case of Future Music Festival Asia (FMFA) 2014 in Malaysia. Procedia Economics and Finance, 37, 52-57. https://doi.org/10.1016/S2212-5671(16)30092-2
Todd, L., Leask, A., & Ensor, J. (2017). Understanding primary stakeholders' multiple roles in hallmark event tourism management. Tourism Management, 59, 494-509. https://doi.org/https://doi.org/10.1016/j.tourman.2016.09.010
van Limburg, B. (2008). Innovation in pop festivals by cocreation. Event Management, 12(2), 105-117.
Van Niekerk, M., & Getz, D. (2016). The Identification and Differentiation of Festival Stakeholders. Event Management, 20(3), 419-431. https://doi.org/https://doi.org/10.3727/152599516X14682560744910
Van Winkle, C. M., & Bueddefeld, J. N. H. (2016). Service-dominant logic and the festival experience. International Journal of Event and Festival Management, 7(3), 237-254. https://doi.org/10.1108/IJEFM-12-2015-0046
Vargo, S., & Lusch, R. (2015). Institutions and axioms: an extension and update of service-dominant logic. Journal of the Academy of Marketing Science, 44, 5-23. https://doi.org/10.1007/s11747-015-0456-3
Vargo, S. L., & Lusch, R. F. (2004). Evolving to a New Dominant Logic for Marketing. Journal of Marketing, 68(1), 1-17. https://doi.org/10.1509/jmkg.68.1.1.24036
Vargo, S. L., & Lusch, R. F. (2008). Service-dominant logic: continuing the evolution. Journal of the Academy of Marketing Science, 36, 1-10.
Venkatesh, A. (2006). Arts and aesthetics: Marketing and cultural production. Marketing Theory, 6, 11-39. https://doi.org/10.1177/1470593106061261
Wilson, J., Arshed, N., Shaw, E., & Pret, T. (2017). Expanding the Domain of Festival Research: A Review and Research Agenda. International Journal of Management Reviews, 19(2), 195-213. https://doi.org/https://doi.org/10.1111/ijmr.12093
Yin, R. K. (2009). Case study research: Design and methods (Vol. 5). Sage.
Yin, R. K. (2018). Case study research and applications (Vol. 6). Thousand Oaks, CA: Sage. |
| Description: | 碩士
國立政治大學
科技管理與智慧財產研究所
111364105 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0111364105 |
| Data Type: | thesis |
| Appears in Collections: | [科技管理與智慧財產研究所] 學位論文
|
Files in This Item:
| File |
Description |
Size | Format | |
|---|
| 410501.pdf | | 3918Kb | Adobe PDF | 0 | View/Open |
|
All items in 政大典藏 are protected by copyright, with all rights reserved.
|
