臺灣獨立音樂因應數位串流影響之研究

西元2000年起，國內掀起一次次唱片業與數位音樂檔案的抗爭，並且隨著來自國內外數位串流平台的興起而正式將音樂產業帶入嶄新的模式。數位科技引領人們聆聽音樂的習慣改變彷彿持續疾駛的單向列車，頭也不回地促使業者、創作者以及閱聽眾不斷在適應與改變之間擺盪著。根據國際唱片業協會的統計，全球音樂串流收益於2019年正式佔據該年全世界唱片市場總收入之半數以上。對於本就不大幅投注在實體販售上的獨立音樂而言，所受之衝擊並未如傳統唱片產業一般的大。此外，數位串流的興起甚至增加獨立音樂創作者曝光的機會以及行銷自我的管道，獨立樂團或獨立唱作人因單一首創作—即便僅是DEMO的規格便一夕爆紅等情形早已屢見不鮮。做為生存於數位串流時代的獨立音樂創作者，發行單曲的動機與意願普遍呈現增長的情形。本研究為質性研究，研究者以「獨立音樂」、「音樂串流平台」與「國內流行音樂補助政策」三者做為文獻分析之方向並且邀請產業工作者與音樂創作者（獨立樂團成員與獨立音樂唱作人）進行深度訪談，最後將資料進行綜合分析並且整理出結論。本研究的結果顯示：所謂「獨立」與「主流」音樂之界線將持續更加模糊；數位串流增加獨立音樂創作者曝光之機會，然而透過平台所獲得的分潤低，「現場演出」為創作者主要收入來源；數位串流加強獨立音樂創作者發行單曲的動機，然而EP或專輯的發行策略並未因此受創作者所放棄；獨立音樂的實體作品逐漸轉為一種創作者的周邊商品，而「聆聽」的功能將由數位串流所接收。本研究以獨立音樂創作者的角度出發，深度檢視其在數位串流時代的生存之道，期望做為當代獨立音樂創作者之參考與借鏡。

關鍵字

獨立音樂；數位串流；音樂串流平台；數位發行

並列摘要

Since the year 2000, there have been fights between traditional records and digital music time after time; also, with the rise of music streaming services both domestically and internationally, the music industry has indeed entered a new era. Digital technology leads people to change their habits of listening to music; it’s like a one-way train that consistently speeds along with no looking back, prompting service providers, music artists and the audience to constantly swing between adaptation and changes. According to the statistics from the International Federation of the Phonographic Industry, the revenue of music streaming services around the world accounted for more than half of the total revenue the record industry made globally in 2019. As far as independent music is concerned, it doesn’t invest heavily in tangible products, thus the impact it receives isn’t as large as that of the traditional record industry. Aside from this, the rise of digital streaming has even enhanced the opportunities for independent music artists to increase exposure and market themselves. It’s common for independent bands or singer-songwriters to go viral with a single piece of music, even if it’s just a DEMO. As an independent music artist living in the era of digital streaming, the motivation and willingness for releasing singles have generally increased. This research is a qualitative study. The researcher takes “independent music”, “music streaming platforms”, and “the domestic policies for subsidizing popular music” as the direction for conducting document analysis. In addition, practitioners of the music industry and music artists (members of independent bands/independent singer-songwriters) are invited for in-depth interview. Finally, the researcher analyzes the data through statistical and comprehensive analysis, then draws the conclusion. The results of this study show that the boundary between the so-called “independent” and “mainstream” music continues to blur. Digital streaming has enhanced the opportunities for independent music artists to increase exposure; however, since the revenue share from the streaming platforms is low, “live performance” is the main source for the artists to make a living. Digital streaming has boosted independent music artists’ motivation to release singles, yet the strategy of releasing EPs and albums hasn’t been abandoned. The tangible products of independent music have gradually turned into merchandising, and the function of “listening” will be taken over by digital streaming services. From the perspectives of an independent music artist, this study deeply examines its way of survival in the era of digital streaming, in the hope of serving as a reference and a guide for contemporary independent music artists to refer to.