來自台灣音樂工業所生產的流行音樂是當前華語世界中重要的流行文化象徵與指標之一。在台灣音樂工業的體制中,唱片工業與媒介工業是維繫整個音樂工業運作的兩大重要機制,而從台灣本地音樂工業歷史發展的脈絡中觀察,媒介工業與唱片工業的影響力互有消長,然當前帶引台灣音樂工業的運作主軸,已由最早期的媒介工業轉移到唱片工業。 在現今唱片工業的環境中,主導音樂商品產製流程與商業獲利命脈,則全然掌握在唱片公司手上,特別是寡佔市場的六大本地與外資唱片集團。因此,本文將深層剖析台灣唱片公司進行音樂商品產製的運作步驟,並藉此探討支持唱片公司處於工業權力核心的理由;除此之外,本文亦將架構起今日台灣音樂市場由跨國唱片集團寡佔形態的形成模式,並分析其集團的背景優勢與在市場運作環境中的利基點。 之後,本文以主導今日台灣音樂工業核心的唱片工業角度出發,以在台灣音樂工業中,唱片工業與媒介工業之間的互動狀況為基礎,歸結出時下唱片運作的產銷邏輯圖,並就此產銷邏輯結構,探討其所衍生出影響唱片工業獲利的問題,以及因應之道。 筆者分析現今台灣既有媒介以及線上音樂的發展環境後,認為未來台灣唱片工業將不能單靠著既有的產銷邏輯,以音樂生產來做為最主要的獲利來源,而有必要將之定位為流行文化訊息、內容的主力供應商,扮演提供其他產業行銷策略、廣告、公關需求的角色,在未來的環境中才具有更大的生存優勢。也因此,以唱片工業為運作主軸的音樂工業,在唱片工業如此的角色轉換下,台灣音樂工業成為未來台灣影視產業運作核心的定位將益發明確。
Popular music originated from Taiwan popular music industries plays a crucially significant and symbolic role in popular culture phenomena among Chinese communities. Within structural system of the Taiwan''s music industry, both recording industries and media industries are two important operating mechanism consolidating the entire landscape of music industry. Examined from the historical spectrum of local music industries in Taiwan, recording industries and media industries are both influencing and mutually influenced in terms of prosperity and recession. Nevertheless, the operating axis of leading music industries in Taiwan has shifted from media industries at earlier years to recording industries at the present stage. In current recording industries, production and distribution flow controlled by are mostly dominated by recording companies, mainly six big recording enterprises which not only monopolize the market but are also joint ventures with local companies and foreign investors. This thesis, therefore, will first thoroughly explore the production process of music commodities in Taiwan, and discuss the dominating and centralized position of recording companies within the system of music industries. In addition, the thesis also studies the framework on how transnational music conglomerates achieve oligopoly in music market in Taiwan, draws a vivid picture of how the structural advantages of the entire conglomerates benefit the local competing power, and discovers specific marketing niche in real head-to-head competition. Furthermore, in terms of recording industries centered in Taiwan''s music industries, and based upon the interaction between media industries and recording industries, the study will present a diagram to map out the logic of the production and distribution of music commodities in Taiwan. It will also points out other questions involved in the profit-making industries and brings forth some further issues. According to my analysis on media ecology and on-line music industries in contemporary Taiwan, Taiwan''s recording industries will experience a dim future in case it relies only on existing logic of production and distribution, i.e., to treat music production as mainstream sources for profits. On the other hand, recording industries should be positioned as main content provider for all kinds of information in popular culture, only in order to take more advantages in forthcoming fierce competitions. In other words, with domination of music market by recording industries, and the nature of recording industry has changed, music industries, out of question, will take the central role of Taiwan''s entertainment business.
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