臺灣第一個帶狀音樂祭～以《淡水漁人舞台原創音樂基地》為例

什麼是帶狀音樂祭（stripe programming music festival）？世界各地都有舉辦為期一個月以上、甚至半年的室內古典音樂節，然而，針對以原創搖滾為音樂類別的音樂祭辦理，並以戶外場地為舉辦場所者，其大多會在週末假日或連續假期舉辦，且活動時間通常為三至五天。《淡水漁人舞台～原創音樂基地》從創始之初，即將其目標設定為長時間週期性的音樂展演活動，每週末都會舉辦。該活動自2016年首次舉辦起，長達五個月，共計42場86組樂團演出，後來考量到天氣及環境因素，逐年進行調整，但仍維持每月至少八場以上的演出。此種「常態性」展演活動的策略，在新聞傳播學上，稱為帶狀策略(stripe programming)，常見的例子包括針對電視節目的帶狀節目。而應用在本活動上，則稱之為「帶狀音樂祭」。此種長期週期性展演活動可提供獨立創作樂團一個發聲的平台，並有助於突顯地方文化特色，同時也能帶動周邊觀光效益與產能。《淡水漁人舞台~原創音樂基地》自開始落實以來已六年，從一個致力於打造“台灣最大戶外Live House”的構想，以及一個逐漸式微的自然景區出發，逐步演變成為一個原創音樂展演的地標，一個盛夏旺季吸引民眾遠道而來的觀光勝地。本研究從產業、政府、學術、技術、行銷以及困境等面向，進行深度探討與訪談，以《淡水漁人舞台～原創音樂基地》的籌辦和執行為例，研究分析音樂活動如何與地方產業結合，吸引民間企業的投入，並最終提出整體環境、產業環境和企業關注等三面向的結論，以說明活動成功的關鍵因素，實現市場口碑和產值效益兼具的模式，及未來可能面臨的問題和解決建議。本文旨在探討音樂產業活動策展的整體規劃與實務執行歷程，提供相關專案研究者及音樂產業活動策展人參考建議。透過策展人的規劃與執行，音樂產業活動不僅提供獨立創作樂團發聲的平台，同時幫助地方文化特色定位的展現，並帶動整體周邊觀光效益與產能的發展。

關鍵字

音樂節；原創音樂；產業價值；觀光休閒；淡水漁人舞台

並列摘要

What is a stripe programming music festival? Most of the original rock festivals around the world take place on weekends or long holidays for three to five days. Fisherman Stage: Music-Sunset-Beer-Fish has been a long-standing music festival on each weekend and holiday since it was founded. Taking place for the first time in 2016, Fisherman Stage has presented 42 performances across five months in total. The scheduling has been adjusted in the past due to weather conditions and the environment, but it still continues to present more than eight performances across two months. Such a regular performance event is called “stripe programming” in journalism and communication studies. It is common to have TV programs as “stripe programs”, and events such as Fisherman Stage are referred to as “stripe programming music festivals.” Fisherman Stage: Music-Sunset-Beer-Fish has been held for six years. Growing from the idea of creating the largest Live House in Taiwan at a natural but declining scenic area, it has now turned into a landmark of original music festivals and a popular tourist attraction in the summer. This study conducts in-depth reviews into the industry, official bodies, university, technology and marketing and examines the organization and execution of Fisherman Stage: Music-Sunset-Beer-Fish as an example to explore how music events are combined with local industries and attract investments from private enterprises. This study proposes a three-tier conclusions: the overall environment, the environment of the industry, and business concerns, demonstrating the key successful factors of such events, word-of-mouth marketing and great output value, and potential problems and solutions in the future. It is hoped that these strategies and suggestions may serve as references for planning music festivals in Taiwan and researchers in the future. As a result, music festivals can not only be a platform for independent bands, but also mobilize tourism in surrounding areas.