整合行銷傳播（IMC）發展十多年來，雖然其價值倍受肯定，但由於市場環境變遷與理論的限制，使得IMC在實際執行上的成效並不彰顯。因此，IMC正面臨發展的瓶頸。 本研究整理各家學者對IMC的論述，重新審視IMC之架構，將IMC依投入–產出的系統分為「要素投入」、「執行過程」、「績效產出」三大部份，並再細分為八大面向，說明如下： 一、要素投入：分為「組織架構面」、「人員知識面」與「企劃流程面」三大面向，檢視企業投入IMC的要素與投入IMC要素時所遇到的障礙。 二、執行過程：分為「執行層級面」與「執行內容面」二大面向，確認企業執行整合的層級與程度，並檢視企業執行IMC的內容是否符合IMC的四大特性，也就是協調性、一致性、互動性與互補性。 三、績效產出：分為「綜效評估面」與「系統回饋面」二大面向。綜效評估面又可分為「知覺導向」、「關係導向」與「行為導向」，企業應視其行銷需求設立評估績效的標準。在系統回饋面上，則表示企業應回頭檢視IMC在投入與執行的過程中是否符合IMC的要求。 綜合各家IMC之論述後，本研究建立出IMC之概念性架構，做為學界與業界在研究與實施IMC的基礎。 唱片產業近年來面臨不景氣與盜版的雙重打擊，加上數位科技的進步與消費習慣的改變，過去銷售唱片的價值模式已無法支持唱片產業。因此大部份唱片公司亟力尋求異業資源與多角化經營，將有限度的資源整合在一起做最大效益的發揮，非常符合IMC的精神，因此極具IMC的研究價值。 本研究以「個案比較研究法」，選取本土與外資各一家唱片公司為個案研究對象，研究其實施IMC的情形。其中本土唱片公司以「華研國際音樂」為代表，外資唱片公司以「環球國際唱片」為代表，結果發現： 一、IMC的投入部份 1．兩唱片公司在組織架構面上適合發展IMC。 2．兩唱片公司在企劃流程面上滿足IMC的規劃。 3．兩唱片公司在人員知識面上對IMC的了解較為不足。 4．兩唱片公司在人員知識面上並未使用資料庫行銷。 二、IMC的執行部份 1．本研究個案唱片執行整合內容符合IMC四大特性。 2．本研究個案唱片執行整合達「部份利害關係人整合」之整合層級。 三、IMC的產出部份 1．唱片公司需建立公平客觀的IMC績效評估系統。 2．唱片公司應重視IMC的回饋，提昇組織效率與效能。 四、本土唱片與外資唱片的比較部份 1．華研較環球在IMC投入要素高，阻礙較小。 2．環球台灣子公司以區域為市場，個別市場整合程度較不足。 3．環球台灣子公司在資源整合的權限較具限制。

本研究以Csikszentmihalyi「創造力系統模式」個人、守門及領域三角模式觀點為指引，針對2000年至2008年產製最多Top 5 K歌作詞者、作曲者與唱片製作人進行深度訪談，歸納出台灣K歌產製框架。研究目的包括：第一、以框架理論觀點作質性分析，歸納K歌產製流程的框架作用與框架化產製元素；第二、藉由本研究解構K歌產製模式，提供台灣流行音樂產業未來產製省思。 本研究發現K歌產製者之核心能力，初期是透過「臨摹」領域成功作品習得，日後個人會將「臨摹」加以變形或延伸。「臨摹」建構個人對領域的認知，「臨摹變形」則是基於個人創作習癖，兩者結合形成個人創作風格。 領域框架個人創作有以下兩種形式：第一、K歌為高度約定俗成的文本格式，個人同意於「結構框架」之下進行產製；第二、K歌產製者選擇創作主題時，受到閱聽人「感情經驗」召喚，以悲傷情歌為主要類型。個人並非純然的創作者，K歌為個人與閱聽人進行之「集體創作」。K歌作曲者為了達到領域要求，從事創作時採用「慣例」造成冗贅性，增進文本的溝通效果。本研究對象最常用之「慣例」，有以下幾種：1、hook(反覆樂句)手法；2、古典音樂理論作曲法；3、慣用和弦。 由於本研究對象為領域中最具代表性的K歌產製者，守門與個人互動方式並非傳統篩選作品模式，而是雙方採取合作方式，共同為表演者「量身訂作」文本。本研究亦發現，領域中較高地位之「大牌K歌產製者」，具有統合個人與守門角色的權限，少了守門干預的個人作為，可以破除既有格式，自由地使用創意元素於新專輯之中。此外，網路科技降低了出版門檻，衝撞傳統K歌產製系統模式。過去被排除於領域之外的獨立音樂產製者，跳脫出「K歌產製創造力系統模式」，尋求另類出路。個人風格導向之產製，加速了流行音樂領域的變遷。 / In this study, the Csikszentmihalyi "creativity system” model, a triangular relationship between individuals, field influences, and domain impacts, is used to understand qualitatively the Taiwanese Karaoke song production popularity and success in the years between 2000 to 2008. The composers, lyricists and producers interviewed produced the most top five karaoke songs during this time. The purpose of this study is first; to use the frame analysis qualitative research method to understand the framework and production elements of Taiwanese Karaoke and Music. Secondly; to provide a model or framework for future production and to offer information that could advise future productions. This study concluded that lyricists and composer’s core abilities were highly dependant upon what previously successful models were imitated. At first, it was often a matter of imitating successful models that preceded them. Later, as they developed they would transform or elaborate upon this imitation. Individual personalities building upon these imitation inspired works defined the domain. Transformation of the imitation into something new was based upon the habitus of each individual. The frame of the model and personal thought combine to become a personal style The frame affects the personal content in two ways. First, Karaoke is an already widely accepted format that is familiar to composers. Therefore this structure or frame is already an accepted format to create songs within. Secondly, lyricists choose content based upon the audiences experiences. The most commonly shared experience is often expressed in sad love songs. The lyricist and composer are not purist creators, as audience expectation and interaction forms a collective and collaborative relationship. In order to reach the domain requirements, composers will use rules to form redundancy in the music to improve the contents communicative efficiency to the audience. The three most popular rules used by the composers interviewed were: 1) The hook. 2) Classical music techniques. 3) The top seven most commonly used chords. Due to the nature of the group represented, the traditional gate keeper method of selecting individuals for work was most often set aside in favor of cooperative collaboration between the individuals, and the producers in selecting new content for the talent. This study also found that if the domain status is high the most popular composers and lyricists have the power to combine the rights of the gate keeper and the individual. Without the field or gatekeeper the individual can break-out of format models and freely use creative elements in their new productions. Moreover, internet technology opened the door for increased production and lowered the material requirements necessary to produce music. The caused a collision with traditional karaoke music production. Those independent music producers previously excluded from the domain now jump out of the Karaoke Production Creation System. They find alternate means to produce music and expose the audience to their work. Whoever’s personality or strong style stands out clearly will change the domain rapidly.

本研究根據Turrow的媒介權力角色架構與Hall的音樂產業現金流系統，將流行音樂產業的研究範疇從傳統唱片產銷活動（recording）擴大為包括數位音樂流通與著作權授權（copyright）及現場演出與演藝經紀活動（live performance & artist management）的音樂娛樂產業，並檢視台灣此項產業的價值活動，以及數位音樂盛行後，產業的變化及所面臨的問題。 本研究發現，大規模行銷策略仍被台灣音樂娛樂產業廣泛使用，但受載體銷售萎縮與數位音樂發展緩慢影響，唱片業者透過異業合作，爭取外部資源投入音樂製作與行銷，歌手則以演唱會、戲劇、廣告代言等演藝活動拓展收入來源。 為因應歌手改變事業重心，音樂製作公司與唱片公司轉型為具音樂製作能力的藝人經紀公司，分享歌手多角化事業的收益，其中又以演唱會與演藝經紀活動最受重視。此一改變雖彌補歌手與唱片公司在實體唱片及數位音樂的短收，卻無法解決詞曲作者、樂手、技師等音樂工作者收入銳減的問題。 著作權流通是音樂產業持續創造收益的重要機制，但現有數位版權管理機制及訂價策略反而阻卻了音樂消費者合法付費下載的意願。現行著作權授權制度未盡完善，仲介團體各自為政形成多頭馬車，其提供的授權方式未符利用人需求，雙方屢生紛爭。海外利用未能確立國際徵收機制，著作權人無法享受到相關收益。 大陸市場看似極具發展潛力，但卻不易進入，一方面當地著作權授權制度未與國際接軌，未能提供台灣詞曲創作者與版權公司充分保障與使用收益，另一方面，中國市場幅員廣大，欲提高藝人能見度與所需的行銷策略，將有別於台灣市場。

流行音樂是當代流行文化中的重要環節，因為它不只提供了娛樂，更提供了青少年對世界的看法。更重要的是，流行音樂可說是二十世紀中最主要關心性慾和性別問題的文化類型，也因此，它對人們性別意識的型塑有重大影響。所以，對流行音樂進行性別意涵的檢視實是當前必要的課題。眾所皆知，流行音樂是以營利為目的。為了吸引最多的聽眾，流行音樂就必需以社會中最廣被接受的意識型態來構築它的音樂語言，而在父權社會中，性別關係的支配實為最普遍的意識型態，其透過種種意識型態機器的運作，以企圖達到將男性利益接合成為代表全人類普遍利益之目的，而維持父權社會的繼續運作。不過，父權意識型態並非能全然掌控社會中的各種文化實踐，流行音樂的性別意涵其實是多義的，如果我們能介入當前對流行音樂性別意涵的詮釋，指出它接合或解合何種性別迷思，以開啟流行音樂性別意涵的抗爭空間，則將會對流行音樂未來所表徵的性別意涵產生影響，那營造更公平性別關係的流行音樂未來將不是夢。因此，本研究希望透過對當前台灣流行音樂的性別意涵分析，能介入台灣流行音樂的性別意涵抗爭，以鬆動、拉大流行音樂的性別意涵變調程度。本研究以符號學進行流行音樂的文本分析，以彌補實證主義典範下的歌詞內容分析之缺失。研究發現，台灣當前的流行音樂，多接合父權意識型態下的性別迷思，但這不代表流行音樂即是被圈限於父權意識型態之下而無法逃逸，在接合父權迷思的同時，流行音樂也提供了解合父權迷思的可能性，而對男性霸權提出質疑，不過，這些質疑仍有其限制，我們唯有持續的對流行音樂提出解析，並加強對流行音樂的生態與聽眾的了解，才能更進一步的奏出流行音樂的性別意涵變奏曲。

2000年，一個世紀的終結與新世紀的開端，全球化的腳步方興未艾，時尚圈刮起「中國熱」，電影《臥虎藏龍》延燒至西方世界，流行音樂產業的工業化生產模式應和著全球化的文化傳遞，MTV頻道在1980年代的出現使音樂自聽覺延伸至視覺。在台灣，流行音樂走過數十載，解嚴後的百花齊放和文化水平提升觸發了旺盛的創作生命力，台灣成為華語流行音樂的重要集散地；在中國大陸，1978年改革開放後的經濟蓬勃發展，帶動了人民的生活水平和消費力，廣大的市場受到全世界關注。 　　2000年至今，華語流行音樂出現了一種名為「中國風」的音樂類型，上述看似低度關聯的敘述可由「中國風」歌曲串起。流行音樂的本質在於爭取最大多數人的認同和消費，中國大陸無疑是各方積極爭取的市場，在「中國熱」的興頭上，與「中國」相關的主題便融入西洋流行音樂曲風當道的華語流行樂壇，而流行音樂的畫面時代隨著MV作為行銷宣傳的利器大行其道，當視覺與聽覺同等重要，與「中國」相關的歌曲主題自然少不了能辨識出「中國性（Chineseness）」的元素。職是之故，這些音樂中創造了一種「中國」的氛圍，透過歌曲的歌詞、旋律、編曲、唱腔，一磚一瓦建構了音樂裡的「中國」。 　　然而，「中國」作為一敏感辭彙，兩岸三地見解不一，但在文化上，根源均來自「中華文化」，在這「最大公約數」的交集中找尋創作主題和元素，成了音樂裡的「中國」所操作的手法，可辨視為「中國」的元素來自「中華文化資料庫」的取樣和拼湊，而此「中國」絕非可明確指認的對象，乃是帶有可明顯辨識出「中國性」符碼的「虛擬中國」，透過去脈絡化的元素採擷和再脈絡化的拼貼建構，築成了一幅聽覺和視覺中的「中國韻味」，是擬仿的、拼貼的文化商品，帶著若有似無的熟悉感和似曾相識的懷舊（nostalgia）。 　　這種音樂裡的「中國」，採用「中國風」（Chinoiserie）的稱呼，可視為由華人主張的反向挪用，在一來一往的觀看間，華人將融合了「中國味」的西洋曲風流行音樂稱作「中國風」，辭彙本身從西方的角度轉為東方的視角，在全球化的流行脈絡下，「中國風」亦成為東方力求在全球化浪潮中站穩腳步，避免自我迷失的宣稱。 　　本研究廣蒐2000年至2010年6月與「中國風」歌曲相關的資料，歷時近兩年，蒐集、分析、聆聽、觀察華語流行音樂的過去和現在，訪談方文山、鍾興民、林隆璇等18位來自各界的要角，盡己所能描繪過去十年「中國風」歌曲的發展面貌。 　　過去十年的「中國風」歌曲，在華語流行音樂雖不至稱作過去十載的標竿類型，但至少引起「一陣風潮」，歌頌者有之、看衰者有之、仿效者有之、鄙夷者有之。無論如何，「中國風」替流行音樂的視覺化聽覺時代做了註腳，「中國風」仍會繼續吹拂，拂過這個世代的每對耳朵。 / In 2000, the intersection of two centuries, the globalization has been pacing merrily; “China Fever” was burning in the fashion circle; the film “Crouching Tiger, Hidden Dragon” surprised the Western world; the industrial productive methods of pop music responded to the globalized cultural transmission, and the appearance of MTV Channel in the 1980s has extended the music from auditory to vision. In Taiwan, pop music has been played for decades; the freedom in inventiveness and the aroused cultural standards after the martial law being lifted in 1987 enhanced strong vitality in creations, and Taiwan has become the major distribution center of Chinese pop music. In PRC, the booming economic development after the Chinese economic reform in 1978 has brought up populations’ living standards and consumption, and the enormous market has drawn the worldwide attention. 　As a new type in Chinese pop music, “Chinoiserie” has emerged since 2000, and the Chinoiserie songs could string together the above narrations that seemed to be weakly related. The essence of pop music is to strive after conformity and consumption from maximum people, and undoubtedly PRC has the market that everyone eagerly fights for. Whereas “China Fever” dominates, the themes related to “China” integrate into Chinese pop music in which Western pop music takes the lead. Moreover, seeing that vision is equally important as auditory, and the image era of pop music becomes popular with music video as the perfect tool for marketing, the song themes related to “China” would absolutely contain elements that can be identified as “Chinoiserie.” Therefore, these songs have created a “Chinese” atmosphere, a “China” in music that is constructed brick by brick through lyrics, melody, arrangement, and aria. 　However, “China” is a sensitive term that is considered quite differently in PRC, Hong Kong and Taiwan though the civilizing roots are all from “Chinese culture.” Seeking themes and elements for creativity in the intersections of this “Greatest Common Divisor” becomes the operating practice of “China” in music, in which the identical elements of “China” are the samplings and put-together from the “database of ancient Chinese culture.” Thus “China” here is absolutely not a clearly distinguishable object, but a “virtual China” with codes of “Chineseness” that can be obviously recognized; a “China Charm” built in auditory and vision through de-contextualized elements picking and re-contextualized collage constructing; yet a cultural merchandise of mimicry and bricolage with slightly familiar nostalgia. 　This “China” in music, named as “Chinoiserie,” can be considered as a reverse embezzlement claimed by Chinese. While exchanging ideas and cultures, Chinese entitle the Western style pop music merged with “Chinese taste” to be “Chinoiserie,” and thus turn the term from the Western point of view to the Eastern one. In the context of globalization, “Chinoiserie” has also become the statement that the Eastern seeks to stand firmly in the tide of globalization and to avoid losing oneself at the same time. 　In this study, the author broadly collected information related to “Chinoiserie” songs from 2000 to June 2010 in order to describe their developments in the past decade. In addition, the researcher has not only spent two years to collect, analysis, listen to, and observe the past and present of Chinese pop music, but also interviewed 18 key roles in different professions, including Vincent Fang, Hsing-Ming Chung, and Kevin Lin. 　Even though the “Chinoiserie” songs in the past decade can’t be viewed as the benchmark of the decade in Chinese pop music, at least they have caused “a vogue,” which some people praise, some are not optimistic, some imitate, and some disdain. In any case, “Chinoiserie” has made a statement for the visualized auditory era of pop music, and it would continue playing to deeply impress everyone of the time.

韓國流行音樂（K-Pop）逐漸在世界各地展露頭角，在台灣更使得哈日風潮逐漸被取代，成為最暢銷的外語專輯。本研究欲探討韓國流行音樂如何進軍以台灣為首的大中華市場，希望藉由Super Junior的例子，找出K-Pop成功行銷的秘訣。 經研究發現，不論是S.M.或是avex taiwan的規劃，種種努力皆是以「華語歌手、藝人」的角度來生產「在地偶像」，希望減少觀眾對Super Junior所代表「韓國」的印象，進而在華語流行音樂市場中創立新偶像。 / Korean Pop Music (K-Pop) gradually gained popularity around the world and became the most popular foreign pop music genre in Taiwan in 2009, replacing the long dominating Japanese Pop Music. The purpose of this study is to investigate how K-Pop entered the Greater China market by looking at the marketing strategy of Super Junior in Taiwan. The major finding of this dissertation is that all of S.M. and avex taiwan’s efforts were directed to making Super Junior a “local idol” in Taiwan. In other words, they wanted Super Junior to be a Chinese pop music star. These two companies tried to reduce the Korean impressions on Super Junior, and tried to create a new idol group in the Chinese pop music market.

「音樂」或「歌」在台灣原住民的生活中有著特殊的文化位置，在「原住民文學」發展之際也屢屢成為難以分割的元素，而在書面文字以外龐大的原住民口傳文學中，音樂或歌曲更是有著舉足輕重的地位。在歌手巴布狄倫（Bob Dylan）獲頒諾貝爾文學獎的今日，不但代表了歌曲文本在俗文學與典範文學中的壁壘再度被挑戰，「流行音樂」所牽扯到的全球架構之流行文化、娛樂產業與庶民生活價值等面向也開始被一併地以「文學」觀點討論。本論文從「口傳文學」與「流行音樂」兩個領域出發，並以唱片公司跨國整併以及在地意識、多元文化價值蓬勃的九零年代台灣為關鍵的時間點，探討「原住民流行音樂」如何成其面貌，以及當中具代表性的可能因素與類型特質。本研究的思考軸線，從「他者」的書寫、「認同」的建構到「差異」類型的成形，在這個演進過程中，當代西方理論的發展已經顯示了一條清楚的路線，它不但可以是個體生命歷程的縮影，與台灣原住民族的近百年來的族群經驗也密切地吻合。本論文首先以認同經驗的層次來檢視原住民「傳唱歌謠」所反映的時代社會性質，以及當中屬於口傳文化「集體性」的展現，並探討傳唱歌謠進入流行音樂框架中的銜接處所產生的關鍵性質差異。其次，討論九零年代的台灣音樂環境，分別從產業、創作製作和文化三個面向進行考察，嘗試描繪出原住民流行音樂成形的狀態。最後，以「流行音樂」的研究觀點來對原住民流行音樂的實際案例進行分析，包含其核心價值與邊界形式的討論，也與全球脈絡中的其他「口傳」族群音樂成其音樂類型並影響主流流行音樂的案例進行對比參照。在這些大主題與「歷史敘事學」（Historical Narratology）式的分析考察中，本文企圖勾勒出原住民流行音樂作為一種音樂類型，在其差異脈絡中的「差異自主性」，相對應於口傳文學「集體性」與某種他者印象中「原住民性」之觀看軸線，作為未來對原住民音樂或其他流行音樂類型可嘗試的一種研究思路與音樂經驗的印證方式。 / The “Music” or “Singing” has a special position in Taiwan’s aboriginal culture. It is not only an indispensable element in the development of “Aboriginal literature” but also very important in the vast indigenous oral literature beyond written languages. Nowadays, Bob Dylan won the Nobel Prize for Literature as a singer songwriter. It indicates that the steady state of the “songs” between popular literature and classic literature once again been challenged or eliminated, while it also points out that the points of view that popular culture, entertainment industrial, and common people’s life as well as Pop-music are feasible to be part of “literature”. To discuss the reason why “Taiwanese Aboriginal Pop-Music” became a type and how it worked, the thesis starts from the idea of two field, which is “oral literature” and "popular music”. In the year of 90s in Taiwan when the record companies were consolidated across different countries and the booming of the local awareness of the music and the multi-culturalism were as the key successful factors at that time. The axis of this study is the development that from the description of “Others”, the construction of “Identity” to the formation of “difference categories”. It demonstrated clearly in the development of western contemporary theories. It is not only a microcosm of the life course of an individual, but also closely corresponds to the ethnic experience of the indigenous people in Taiwan over the past centuries. First,this dissertation research the social in natures of the periods reflected by aboriginal "oral folk songs” and the “Collectivity” of oral culture among them with the difference levels of identity experience. Then, I explored the key properties that arose when the oral folk songs entering the interface of pop-music. Second, to depict the formation of aboriginal pop-music, I discussed the music environment in Taiwan’s 90s according to three aspects of views, which are industry, creative production and cultural. At last, I analyzed the actual cases of the aboriginal pop-music by the theoretical perspective of “Pop-Music” research, which contains the discussions of its core values and boundary. It also been compared with the cases of other "oral" ethnic music globally, that formed the genre of music and influences mainstream pop music. In these wide range of topics and the research in the light of “Historical Narratology”, I tried to contoured a possible way to research the indigenous music or other music types and to express personal music experience. It depends on the aboriginal pop music, as a music type, has its own “Differential Autonomy” in its context, corresponding to the “Collectivity” of oral literature and the “Aboriginality” from “Others”.

華語流行歌詞一直是語言、文學、音樂或是文化研究等相關科系赤手可熱的研究題目，內容包含作詞者、修辭分析、風格、用韻及語言表達等，然由於歌詞數量龐大，難以全部以人工分析。 近年來，資訊科技日新月異不斷地進步，隨著Big Data議題受到注目，Data Mining在近年來相當熱門，然而針對華語流行歌詞的巨量資料探勘與分析研究並不多。因此，本論文研究以程式來自動化分析歌詞的樣式與特性，包括詞彙頻率、詞彙相鄰關係分析、歌名分析、使用語系分析、舊曲新唱、歌詞風格自動分類、用韻及修辭等，而研究資料係透過網路擷取知名網站內容，包含魔鏡歌詞網 (Mojim.com)、臺北之音HitFM聯播網 (www.hitoradio.com) 及教育部重編國語辭典，透過分析規則及以Non-Trivial Repeating Pattern等方法，來完成分析及系統實作。 透過華語流行歌詞的大量分析，探勘及了解各種歌詞的風格與特性，將可了解各種歌詞、作詞者的風格與特色，進而應用在歌詞資料的管理與查詢。 此外，本研究將八萬多首歌詞的各種分析資料設置成網站，提供予學術研究使用，希冀此研究資料能使華語流行歌詞相關研究研究，進行更深入地探討。 / Chinese popular music lyrics has been a popular topic for researchers who major in languages and literature, music or culture. Related studies include of lyricists, rhetoric methods, styles, rhyme and language expression. However, all these studies were performed by manual analysis. It is difficult to analyze large amount of lyrics manually. With advances in computer technology, big data and data mining techniques have been widely used in different kinds of data. However, to the best of our knowledge, none have been done on pattern mining from big data of lyrics of Chinese popular music. Therefore, the objective of this thesis is to discover patterns from tremendous lyrics data based on data mining techniques. We use data downloaded from www.mojim.com, http://dict.revised.moe.edu.tw/cbdic/ and http://www.hitoradio.com (Hit FM). Data mining methods are employed to find lyrics’ patterns and features, including frequent words, word adjacency, analysis of hit songs' names, lyrics’ language studies, cover song research, automatic style prediction, rhyme and rhetoric patterns. With the analysis of tremendous lyrics and data, the developed approaches of this thesis will be helpful for discovering distinguishing styles of lyrics and lyricists.

目前大部分的聽眾主要是透過歌詞與樂曲的搭配來了解音樂所要表達的內容，因此歌詞創作在目前的音樂工業是很重要的一環。一般流行音樂創作是由作曲人與作詞人共同完成，然而有另一種方式是將既有的詩詞做為歌詞，接著重新譜曲的方式產生新的流行音樂。這種創作方式是讓舊有的詞或曲注入新的生命力，得以流傳到現在。因此本研究希望可以為一首旋律推薦適合配唱的歌詞，以對數位音樂達到舊曲新詞的加值應用。本論文包括兩個部分，分別為：(1)自動分析歌詞的詞式，找出每個段落的位置與其段落的標籤；(2)詞曲結構搭配，找出相符合結構的詞與曲，並且同步每個漢字與音符。 本論文的第一部分為詞式分析，首先將歌詞擷取四個面向的特徵值，分別為(1)句字數結構；(2)拼音結構；(3)詞性；(4)聲調音高。第二步驟，利用這四種特徵值分別建立詞行的自相似度矩陣(Self Similarity Matrix)，並且利用這四個特徵的自相似度矩陣產生一個線性組合自相似度矩陣。第三步驟，建立在自相似度矩陣上我們做段落分群以及家族(Family)組合找出最佳的分段方式，最後將找出的分段方式利用我們整理出來的規則讓電腦自動標記段落標籤。第二部分為詞曲結構搭配，首先我們將主旋律的樂句以及歌詞的詞句做第一層粗略的對應，第二步驟，將對應好的樂句與詞句做第二層漢字與音符細部的對應，最後整合兩層對應的成本當做詞曲搭配的分數。 我們以KKBOX音樂網站當做歌詞來源，並且請專家標記華語流行歌詞資料庫的詞式。實驗顯示詞式分析的Pairwise f-score準確率達到0.83，標籤回復準確率達到0.78。詞曲結構搭配中，查詢的歌曲其原本搭配的歌詞，推薦排名皆為第一名。 / Nowadays, lots of pop music audiences understand the content of music via lyrics and melody collocation. In general, a Chinese pop music is produced by composer and lyricist cooperatively. However, another producing manner is composing new melody with ancient poetry. Therefore, we want to recommend present lyrics for a melody and then achieving value-added application for digital music. This thesis includes two subjects. The first subject is lyrics form analysis. This subject is finding the block of verse, chorus, etc., in lyrics. The second subject is structure alignment between lyrics and melody. We utilize the result of lyrics form analysis and then employ a 2-tier alignment to recommend present lyrics which is suitable for singing. In lyrics form analysis, the first step, we investigate four types of feature from lyrics: (1) Word Count Structure; (2) Pinyin Structure; (3) Part of Speech Structure; (4) Word Tone Pitch. For the second step, we utilize these four types of feature to construct a SSM(Self Similarity Matrix), and blend these four types of SSM to produce a linear combination SSM. The third step is clustering blocks and finding the best Family combination based on SSM. Finally, a rule-based technique is employed to label blocks of lyrics. For the second subject, the first step is aligning music phrases and lyrics sentences roughly. The second step is aligning a word and a note for corresponding phrase and sentence. Finally, we integrated the cost of two-level alignment regarded as the lyrics and melody collocation score. We collect lyrics from KKBOX, a music web site, and invite experts label ground truth of lyrics form. The experimental result of lyrics form analysis shows that the proposed method achieves the Pairwise f-score of 0.83, and the Label Recovering Ratio of 0.78. The experiment of structure alignment between lyrics and melody shows that the original lyrics of query melodies are ranked number one.

「知識經濟」時代裡，知識透過流通而生成更多文化資產帶給人類價值。知識，向來就是共有共享的。但起自智慧財產權出現後，開始出現知識私有、知識買賣的情形出現。難道，是著作權(copyright)戰勝了著作義(Copyleft)？近年來全球掀起一片「告！告！告！」的熱潮，無論是美國的Napster訴訟案，還是台灣的「成大MP3」事件；還是微軟在美國的反托拉斯訴訟，或是在台灣面臨合理議價調查，都顯示「著作權」引發的相關問題蔓延全世界。 本研究將知識/文化商品視為資訊資本主義社會的生產工具，並且探討當「智慧」變成「財產」時，資本主義、國家機器爭權奪利的過程中出現的問題與爭議。研究者先就著作權的政治經濟脈絡耙梳出「著作權」不是「道德問題」，而是「經濟問題」，更是國際關係中藉以制衡弱勢小國的利器。 實證部分以1960-2002年間台灣著作權發展過程中三個衝突事件為例，包括1960年代的《大英百科全書》翻印風波、1980年代的「蘋果電腦侵權事件」，及1990年代跨國公司進入後的台灣流行音樂產業作為個案，具體驗證台灣著作權發展過程中，的確受到資本主義與國家機器及國際依賴關係的影響。最終以近年來網際網路發展蓬勃，連帶引出的著作權爭議作結，本研究除了對台灣著作權的政治經濟發展提出看法外，亦在結論中對知識/文化產業，及著作權規範的未來發展提出意見。 / Under knowledge-based economy, knowledge brings more value to human beings by spreading and then generating cultural properties. Although sharing is the essential characteristic of knowledge, there have been some arguments that knowledge is private and knowledge can be traded after the idea of intellectual property rights emerged. Does it mean Copyrights overtops “Copyleft”? In recent years, there have been more and more lawsuits related to copyrights such as Napster vs. RIAA in 1999 in the US, and IFPI vs. NCKU MP3 lawsuit in 2001 in Taiwan. Moreover, Microsoft, the worldwide leading software company, also faced US federal government’s antitrust violations prosecution, and rational price investigation by Taiwan government. All these cases indicate that copyright has caused problems all over the world. This thesis regards both the knowledge and cultural products as the producing tools of information capitalism society. It also discussed the conflicts between Capitalism and state apparatuses when “knowledge” became “property.” By examining the context of political economy in intellectual property, the author achieved two conclusions. First of all, the copyright is not a moral issue but an economic one. Secondly, in international society, copyrights have been the weapon for powerful nations to control the powerless ones. We cited three copyright conflicts in Taiwan from 1960-2002, including the reprint issue of Encyclopaedia Britannica in the 1960s, copyright violation case of Apple Computer in the 1980s, and the international pop music piracy disputes in the 1990s, the author made an empirical research to conclude that the development of copyright in Taiwan indeed was affected by the capitalism, the state apparatuses, and the international interdependency. This thesis ended with the prospective copyright issues originated from the burgeoning Internet industry. Not only did the research indicate some suggestions regard to the development of political economy in copyright, also made comments about the future development of knowledge/culture industry’s copyright regulation.