- 學位論文
台灣流行音樂演唱會之藝人經紀及行銷策略研究-以歐陽菲菲在台演唱會為例
A Study on Taiwanese Pop Music Concert Performers’ Management and Marketing Strategies –the Example of OuYang Fei-Fei’s Concert in Taiwan
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摘要
由於台灣流行音樂產業發展受到網際網路興起等諸多原因影響，致使實體唱片銷售業績嚴重下滑，因此歌手的簽唱會、演唱會逐漸成為唱片公司銷售重要的宣傳手法。90年代起，台灣的經濟起飛，台灣成為世界知名歌手亞洲巡迴演唱會的必經之地，帶動了台灣流行音樂演唱會發展的契機，因此演唱會逐漸形成流行音樂歌手展現歌藝與魅力的一個新的平台，也形成了台灣娛樂產業歌手表演舞台的一個主流趨勢。 回顧台灣流行音樂演唱會的發展沿革，發現歐陽菲菲是開啟台灣流行音樂演唱會的先驅。在她離台多年後，從2003年到2010年間，歐陽菲菲又回台舉辦了三次的個人演唱會，一樣開出亮麗的成績。一位歌手靠自己的堅持與努力，形成一個獨特的形象品牌，而展現出多元的表演方式，成為組織與觀眾心目中的明星，有其研究的價值。這三次的演唱會透過兩個不同組織的操作，呈現出不同的過程與結果，本研究藉由個案歐陽菲菲，探討藝人品牌建構的過程及流行音樂演唱會與主辦單位之組織型態，對流行音樂演唱會行銷策略的影響。 首先，就歐陽菲菲的品牌形象的建構與品牌知名度的形成逐一論述；第二，就形塑藝人的經紀公司的發展與現況作一整理描述，同時標示歐陽菲菲與經紀公司的合作關係與演藝事業發展的變化；第三，就歐陽菲菲演唱會的產製模式與特色作研究整理；第四，就演唱會主辦單位組織目標與活動目的的差異，以行銷組合4P理論作為探討之架構，藉由主辦單位的核心人物、參與演唱會相關的工作人員及觀眾之深度訪問，進行資料分析，從訪談內容中探詢本論文的主要研究問題。 最後針對研究發現，對歐陽菲菲本人、演唱會的行銷策略運用及歌手的生態提出建議，以作為後續相關研究之參考。
並列摘要
As the development of Taiwan’s pop music industry saw the tangible record sale in a severe decline as marred by a host of reasons, chiefly of the emergence of the World Wide Web Internet, performing artists’ signature events and concerts have gradually become a critical means of sales promotion by record companies. Since Taiwan’s economy taking flight in the 90s, as Taiwan becomes a hub that world renowned singers pass through in their Asian tours, which in turn triggers a niche opportunity in the development of pop music concerts in Taiwan, concerts have thus gradually evolved into a new platform by which pop music singers showcase their singing talents and charisma, and created a major trend of a performing stage for singers in Taiwan’s entertainment industry. By reflecting the timeline of Taiwan’s pop music concert development, Ouyang Fei-fei emerges as one of the pioneers who have unleashed Taiwan’s pop music concerts. After leaving Taiwan for good many years, Ouyang Fei-fei has returned to Taiwan and staged three individual concerts between 2003 and 2010, where every concert has been a sell-out event. A singer who relies on her perseverance and hard work to shape a unique brand image and demonstrate her diverse performing modes in becoming a diva to the organizers and the hearts of her loyal audiences does warrant value for further studying. As her three concerts have been staged by two different organizers to highlight the varied processes and results, the study aims to examine, through the case study on Ouyang Fei-fei, how an artist’s brand instilling process, the pop music concerts and the organizer’s organizational mode affect the marketing strategies for pop music concerts. First segment of the study is devoted to discussing Ouyang Fei-fei’s brand image instilment and brand popularity formation; segment two focuses on describing the development and the current status of the artist’s agency company, and on highlighting Ouyang Fei-fei’s relationship with her agency company and changes that occurred in her performing career development; segment three is devoted to studying and sorting the production mode and characteristics of Ouyang Fei-fei’s concerts; segment four focuses on the concert organizer’s organizational objectives and the disparity in the event objectives by utilizing the 4P’s marketing mix theory as the examination framework, together with in-depth interviews with core executives of the organizer, relevant concert participating crews and audiences, to conduct data analysis, and to derive the thesis’s primary study questionnaire through the content of the interviews. Lastly, the study focuses on the artist of Ouyang Fei-fei, the adaptation of the concert marketing strategies, and the singer’s career to present a few recommendations as references to relevant subsequent studies.
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