華文流行音樂區域與都市形構及其治理

Formation and Governance of the Mandarin Popular Music Region and City

張容瑛(Jung-Ying Chang)

指導教授 ： 周志龍 博士

國立臺北大學/公共事務學院/都市計劃研究所/博士(2008年)

摘要

本研究關注華文流行音樂產業的區域化運作，目的在於探討這樣一個以華人流行文化為表象、背後很大一部份由跨國資本支撐起來、同時存在兩岸經濟整合與政治對立脈絡音樂區域，如何形成與運作。然而，既有音樂產業文獻，大致藉由西方城市發展經驗，歸結音樂產業地理的內涵與軌跡；另一方面，兩岸跨界產業研究，多以製造業為討論焦點，華文流行音樂脈絡，至今仍為學術領域的黑盒子。本研究因此思考新區域論轉向的可能，提出流行音樂產業的區域性分析架構，主要考量兩個重點：（1）消費市場在文化產業中的角色；（2）跨界國家的角色。透過唱片產製、百度MP3下載排行榜、及兩岸跨界演唱會專案的討論，觀察跨國資本、消費市場、兩岸國家、人際網絡在區域中的角色及其互動。
研究發現，華文流行音樂區域的形構，是以台灣流行音樂群聚為基礎，將中國市場轉型中累積的現代化、懷舊、及大中國等文化情感商業化的過程。在這當中，透過中國消費者的詮釋，台灣流行音樂及歌手變成一種品牌。理論上，跨國企業基於雄厚的資金、於西方累積的經驗、及完備的全球行銷管道，最有能力控制這個區域市場。然而，鑑於兩岸資源的流動受到後社會主義中國規則的制約，及西方與中國的生意經及文化差異，以台灣經紀人及掮客為主要成員的潛在組織，就成了這個特定脈絡治理模式中的重要制度安排，以適應兩岸國家的特殊性。
本研究最後指出，台北流行音樂產業群聚基於特有的都市性，而逐漸累積的「台灣牌」及「潛在網絡」這兩個籌碼，雖然受到中國市場磁吸而有人才及資金外流現象，但基於班底文化、人脈資產及創意氛圍而持續發揮黏性，因此是一個持續鑲嵌/去鑲嵌/再鑲嵌的連續緊張過程。對於台灣流行音樂產業政策而言，在全球性音樂經濟的前提下，必須將華文流行音樂產業區域，視為一個新領域性的產生，透過領域、網絡及社會鑲嵌性的因果關連，致力於生產系統及消費市場的區域性接合與整合。

關鍵字

華文流行音樂區域 ； 文化情感商業化 ； 潛在組織 ； 文化產業區域 ； 都市性

並列摘要

The research concerns on the regional operation of mandarin popular music industry and aims to explore how this Mandarin music region, signifying Chinese popular culture while backed up by global capital, is constructed in the unique context of political and economic conflicts across the Strait. However, research into the music industry has for a long time been dominated by a focus on the West. On the other hand, literature on the cross- Strait production activity has paid exclusively attention to experiences of manufacture. This research therefore proposes a regional analytical framework derived from altered neo-regionalism, two critical roles should be considered—consumer market of the culture industry, and cross-strait States. With the framework, roles and interactions of transitional capital, consumer market, cross-strait States, and interpersonal network are examined by discussion of recorded music production, the charts of Bai-Du MP3 download, and cross-strait music concert.
Four findings are made. Firstly, the formation of mandarin popular music region is a process of commercialization of cultural sentiments, such as modernization, nostalgia and Great China, accumulated in the transforming Mainland market. Second, Taiwanese popular music and big names are well-known brand interpreted by Mainland consumer. Thirdly, theoretically transnational conglomerations are the most powerful by virtue of resourced capital, experience and perfect marketing channels. De facto is the latent organization composed of Taiwanese artist agencies and brokers act as the key institutional arrangement in the context specific governance model due to the post-socialist regulation environment and differentiation of business practice and culture between the West and China. Finally, taking the strengths of “Coming from Taiwan” and “latent organization” depend upon the specific urbanity in Taipei, the globalizaing Taiwan pop music industry is a tense process full of continuing embeddedness / disembeddednes / reembeddedness dynamics as a result of the flowing or even fleeing human and capital resources aiming at Mainland Chinese market benefits while the tenacious stickiness of local clusters based on cast culture, social connections assets and creative atmosphere. This research is concluded that policy-making of Taiwan pop music industry must take the emerging Mandarin music industrial region as a new territory with the premise of global music economics and engage in regional articulation and integration of industry system and consumer market by means of causal relation between territoryial, network and social embeddedness.

並列關鍵字

Mandarin popular music region ； commercialization of cultural sentiment ； latent organization ； cultural industrial region ； urbanity.

參考文獻

Adorno, T. (1991) The Culture Industry, London: Routledge.

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楊友仁、夏鑄九，2005，跨界生產網絡之在地鑲嵌與地方性制度之演化：以大東莞地區為例，《都市與計劃》，32 (3): 277-301。

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