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  • 學位論文

誰的Live House - 解讀Live House之空間、音樂及參與者文化

Whose Live House - Exploring the Cultural Meaning of Live House Spectacle, Music and Its Participants

指導教授 : 吳怡國

摘要


這是一篇從文化觀察者和參與者的角度出發,探討國內Live House的空間場景、音樂展演與其參與族群文化的研究。由於近年來隨著樂團風潮的盛行,足見「獨立音樂」、「獨立樂團」這兩個名詞,成為大眾普遍耳聞與使用的字彙,更是頻繁地出現於各式報章雜誌之上。然而此現象的背後存在著一個更需受到大家關注的議題,也就是孕育出無數音樂好手的Live House空間,以及默默投身其中的參與者們。 經過研究後發現,Live House族群的參與動機主要分為追星、人際關係的維持與拓展、Live House店家偏好為考量要點。同時,受訪者對於Live House意象的陳述趨於多元且正面,間接地反映出國內對於音樂展演行為的接受,以及個人音樂素養的提升。國內Live House與大型音樂季活動這2種音樂展演場地的增加,雖然一方面提供了非主流音樂表演者們更多的表演舞台,其背後的藝人回流以及商業性排名機制對於音樂展演場地和音樂整體生態仍有著負面影響。 整體而言,綜觀Live House文化有著正面的成長,其他因素卻也彰顯了國內Live House文化尚不成氣候,以及非主流音樂和獨立音樂體系在如今社會尚須深耕的困境。

並列摘要


This is a research discussing the sphere, live music, and its participants of domestic Live House industry, which based on the view of being a cultural observer and its participant. Nowadays, due to the raised wave of bands on News and magazines, we are getting familiar with the terms, “Indie music,”and “Indie band.” However, there is one more issue everyone should have noticed behind the fad, that is, Live House, and its sphere and participants. After the research, we can realize that the motives of Live House participants could be concluded into 3 aspects, which are Singer warship oriented, maintaining and exploring relationship, the favor of sphere of Live House. In the meantime, when it talks to the image of Live House, interviewers’ statements imply the bright side of it. All of these materials somehow regard to the Live Music performing is much more acceptable to people, and the development of music literacy. Furthermore, The increase of domestic live music stage, Live House and music festival, definitely offers Non-mainstream music performers more stages in one hand, but there are some potential negative influences behind the Live House and music festival in the other hand, such as return of the mini-concert of famous singer in Live House and the ranking of music festival. In a nutshell, the development of Live House culture now is admirable, but there are also some oppressed elements honestly inform us the immature of Live House culture, and the difficult situations of Non-mainstream music and Indie music.

參考文獻


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被引用紀錄


吳書維(2013)。音樂展演空間的體驗行銷初探:以台北市之Live House為例〔碩士論文,淡江大學〕。華藝線上圖書館。https://doi.org/10.6846/TKU.2013.00235

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