數位時代台灣流行音樂產業之競爭動態與商業模式

A Study on the Competitive Dynamics and Business Model of the Taiwan Pop Music Industry in the Digital Epoch

黃舒駿(Shu-Chun Huang)

指導教授 ： 李吉仁

國立臺灣大學/管理學院/國際企業學研究所/碩士(2006年)

https://doi.org/10.6342/NTU.2006.01241

摘要

過去20多年來，台灣的流行音樂產業不僅主導著華人流行音樂發展，更是華人流行音樂中心。然而，數位時代下數位內容產業（Digital Content Industry）、電子商務（e-commerce）及行動商務（M-commerce）蓬勃發展，跨媒體整合的潮流更是銳不可當，台灣流行音樂產業面臨種種嚴峻的環境變遷與挑戰，整體產業市值更因而大幅萎縮。本研究以價值鏈分析（Value Chain Analysis）、五力分析（Five-Force Analysis）、競合關係（Co-optition）、關鍵成功因素分析（Key Success Factors，KSF）及商業模式（Business Model）等理論，配合筆者對台灣流行音樂產業長久的觀察與瞭解，輔以與產業內資深工作者之意見交流，對台灣流行音樂產業進行分析討論。
本研究認為，數十年來台灣流行音樂產業的關鍵成功因素在未來依然關鍵，不同之處在於銷售主體的改變，銷售主體將由過去的音樂CD轉變為「明星藝人」。本文更推論，未來唱片公司將逐步轉型為「擁有明星經紀權、版權及鑑價能力的跨媒體娛樂服務公司」，而「藝人鑑價指數」的建立將有助於進行明星鑑價。最後，儘管全方位數位內容平台成為主要通路，中國大陸取代台灣成為亞洲流行音樂的主要戰場，只要台灣唱片公司能成功轉型，未來定能繼續領導華人流行音樂，發揮寶貴的創造力與產業實力。

關鍵字

流行音樂 ； 數位時代 ； 競爭動態 ； 競合理論 ； 商業模式

並列摘要

During the past twenty years, Taiwan’s pop music industry has not only played a dominated role but also served as the hub of the Chinese pop music. With the burgeoning development of the digital content industry, e-commerce and M-commerce and the inevitable trend of media integration, pop music industry in Taiwan has encountered enormous changes and brutal challenges from outer or inner environment. Thus the market value of the pop music industry has plunged dramatically.
This thesis canvassed the Taiwan pop music industry both theoretically, including the value chain analysis, five-force analysis, co-optition theory, key success factors analysis and the business model analysis, and empirically, inclusive of the author’s longtime observation and understanding, together with experiences from senior industry practitioners. We find that key success factors in the past will still be prominent and the major difference hinges upon the object of the selling behavior, which will transform from the selling of CDs into the promotion of the Stars or Artists.
We also expect that record companies will transform their business model into the so-called cross-media entertainment service companies possessed of brokerage rights, copyrights and capabilities of pricing stars and artists. In addition, the establishment of the Star Value Index will help determine the invisible value of an artist. Although the multifaceted digital content platform has become a substantial channel and Mainland China has taken Taiwan’s place as the main battlefield for Asian pop music industries, as long as the conversion of the record companies in Taiwan is successfully achieved, they will definitely continue to take the lead and their creativities and capabilities will surly blossom in the nearby digital era.

並列關鍵字

Pop Music ； Digital Epoch ； Competitive Dynamics ； Co-optition ； Business Model

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