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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

21世紀的音樂與社會運動:從樂生到太陽花 / Music and Social Movement in the 21st Century Taiwan: from Preserving Losheng Sanatorium to the Sunflower Movement

鄭閔文 Unknown Date (has links)
本研究的分析共有三大部分,首先以政黨論替作為分水嶺,分為 2000 年至 2008 年、2008 年至 2012 年以後兩大塊,整理出 21 世紀臺灣政治、經濟的社會 概況。並且也將本研究的兩塊主體——社會運動以及音樂場景,將這兩塊的概況 再獨立出來做整理,描繪出音樂政治化的機會結構。第二部分則是 12 個運動現 場的以及其中的音樂活動整理,第三部分是音樂文本分析。 研究結果發現,21 世紀在全球化、中國崛起、以及臺灣政府經濟政策失靈等 因素影響下,新一代年輕人所面對的是國家債務、勞動條件惡化、青年貧困、少 子女化、以及供養父母的壓力變大等困境。於是在民怨不斷地積累下,公民社會 網絡崛起,有效地扮演監督政府的角色。大大小小的社會運動興起,參與的年輕 人也越來越多。另外,數位音樂的流通與興起,除了給予獨立音樂發展養分以 外,加上社群網絡,這也讓社運歌曲的流通更為容易。轉載歌曲連結成為一種比 文章更方便的表態方式。相較於過去音樂流通管道的侷限,現在創作、上網、分 享都能在短時間內完成,這或許也提供了音樂人想要藉由創作來聲援運動的動 力,也成為一種音樂與社運接合的機會結構。 本研究也用 John Street 分析議題性音樂會時的三個切入點:正當性、組織以 及現場展演,來做音樂文本以外的討論。結果發現,音樂與政治的接合過程確實 並非自然而然,而是有許多因素折衝其中,不管是音樂人所擁有的社會資本,或 是音樂產業提供的參與政治的機會結構,以及現場的展演形式,都會有所影響。 最後檢視社會運動中的音樂文本,大致歸納出三種文本類型:一、既有的歌 曲被改編與挪用 二、受運動感召的創作 三、替運動創作的歌曲且為運動所用。 藉由整理出 2005 年後臺灣社運場景中的音樂文本,不只有數量眾多,也發現音 樂種類的多樣化,或許可視為音樂文化與社運文化近十年間相互深化後的結果。 然而音樂文本大多時候還是受到社運的限制,如訴求、路線的影響,喪失了一定 的自主性,僅有少數能抽離社運脈絡,作為一個抗議主體。期望能藉由本研究進 一步思考,音樂作為一個美學主體,怎樣的介入形式才會是最合適的。
2

臺灣獨立音樂產業結構困境之探討 / The problems of the industry structure of the independent music in Taiwan

黃建誠 Unknown Date (has links)
早期獨立音樂因非歸屬在主流唱片公司旗下,因為自身資源稀少,缺乏行銷管道和預算,音樂人除了要努力以外,亦需要有運氣,才能抓到機會曝光其作品,至於要成為當代明星更是難上加難。然而,21世紀的數位時代改變整個音樂產業結構,不管是MP3技術或是網路的無遠弗屆,都直接影響到傳統音樂產業營銷模式;尤其是音樂檔案的共享讓消費者開始於線上聆聽和下載音樂,改變了傳統的音樂消費習慣,數位音樂收益也隨之上升。當音樂消費從線下轉為線上,能讓過去資源稀少的音樂人有更多的行銷管道和曝光機會;而網路也讓音樂作品更快速被全世界聽到,像是Adele、One Republic等目前當紅明星都是從過去獨立音樂創作開始,透過線上平台而曝光並崛起。反觀臺灣的音樂市場現況,卻未因應數位時代的轉變創造出更多音樂明星,而臺灣目前音樂市場上有影響力的主流明星多半仍為2000年左右出道的歌手,呈現出明星斷層問題。 為了探究以上問題,本次聚焦探討目前臺灣獨立音樂產業結構,過去臺灣獨立音樂產業相關文獻較多以單向探討為主,例如針對文化政策、大眾媒體、獨立廠牌、Live House等問題作線性研究,較少以整體產業作多向分析。而本次研究希望透過多面的交錯關係分析獨立音樂產業結構,並以Mollard (2002)所提出的文化體系來解釋決策者、創作者、中介者及群眾四大組群做各面向關係,試圖分析四大群組在獨立音樂產業的缺口,以了解臺灣目前獨立音樂與主流音樂的斷層缺口,並建構出臺灣獨立音樂文化體系運作之規則。 本研究發現,數位時代下的網路平台力量不足以帶動整個音樂市場需求,甚至有減緩創造主流的現象,包含缺乏守門機制、網路分眾、樂評需求降低等因素。另外,四大群組中的中介者則在獨立音樂文化體系中扮演最重要的角色,擔任創作者與群眾之間的橋梁,因此,如何去培養群眾對於獨立音樂的包容性和多元的聆聽習慣為必須思考的方向之一。此外,透過培養音樂市場需求刺激創作供給,讓環境能夠利於創作者成長,再加政府落實文化補助、擴增硬體建設及法規制定相關的文化政策才能真正建立穩固及永續的獨立音樂文化體系。然而,目前四大群組仍存在需填補的缺口,透過檢視四大群組的關係才能更順利鏈結人才、創作品質、傳遞文化等產業關鍵能力,進而拉近獨立音樂與主流音樂之距離,以創造下一波音樂流行的可能。
3

獨立音樂在溫羅汀的發展與限制 / Development and Restrictions of Independent Music in Wen-luo-ting

陳詩珊 Unknown Date (has links)
「溫羅汀」指的是台北市大安區的溫州街、羅斯福路以及汀洲路的區域,在七、八零年代開始,隨著台灣大學為核心的運動氣息和自由氛圍,聚集著人文氣息濃厚的主題書店、獨立音樂及咖啡館所構成的文化地景,擁有著獨立、非主流、自由的精神。「溫羅汀」的獨立音樂場景也由著這樣的文化與歷史脈絡而於此落葉生根。 透過論文的整理與分析溫羅汀在地的獨立音樂的歷史、環境與文化,再以這個為背景,來討論台灣獨立音樂在台北的群聚與社會網絡,並觀察與分析溫羅汀做為台北獨立音樂場景的重要基地其主要的因素。最後,再從外部的政策環境以及內部的獨立音樂發展方向的矛盾,來討論台灣獨立音樂發展的限制。 研究認為,溫羅汀會成為台北獨立音樂的重要音樂場景主因是因為,溫羅汀的音樂人力聚集形成一種「創意型群聚」,而這樣密集的社會網絡提供了經濟機會,而且,這樣的群聚是集合了包含生活圈、社會網絡以及產業鏈的「生態圈」。因此政府在做相關產業政策時,絕對不能忽視獨立音樂場景之中,生活圈以及社會網絡對於獨立音樂發展的重要性。並且,政府在做獨立音樂產業政策時,各部會層級的溝通也都該有「文化」的思維,並且,部會間的橫向與縱向的溝通與協調機制也必須要能夠發揮。
4

台灣獨立唱片廠牌實作:以小白兔橘子唱片為例 / The Practice of the Independent Record Label in Taiwan - A Case Study of White Wabbit Records

戴昀, Tai, Yun Unknown Date (has links)
本研究以一家台灣獨立唱片廠牌─小白兔橘子唱片為個案,探討其實際運作情況及其音樂產品由生產到消費的過程。透過深入訪談及實物蒐集,我由四類不同身分參與者的實作層次與意識層次觀點切入研究問題,其中受訪對象包括:獨立唱片廠牌經營者、獨立音樂唱作者、獨立音樂產品消費者以及樂評人等。研究結果的討論在實作層次包括三個層面,即產製面、消費面及互動面,而在意識層次則主要討論各類參與者對於獨立音樂產品之「獨立性」的看法與實踐。 研究結果發現,獨立音樂的產製具有低資本與高自主性的特色。首先,獨立音樂廠牌的經營規模較小,而低經濟資本的經營方式反映在實際的產製過程中,在相關合作對象與宣傳管道的選擇上產生一些限制;不過,廠牌經營者所擁有的社會資本常成為廠牌成立與存續的重要助力。再者,相較於主流音樂而言,獨立音樂的唱作人對於產品與宣傳活動的展現方式有相當高的自主性,但相對而言也必須更為自立,無法在所有環節上都依賴廠牌。而獨立音樂的消費者在消費資訊的取得方式上是較為積極主動的,而不是被動地依賴較容易取得的主流媒體資訊。 以全球化的觀點論之,小白兔橘子唱片作為一個本地獨立廠牌,雖然擁有與跨國集團有所區隔的獨特利基,但仍是以英美語系音樂產品的輸入作為最重要的經營項目。對台灣的獨立音樂產業而言,如何活絡「本地音樂產品」的發展,而不只是存在著「本地廠牌」,需要各方參與者及政府機構更多的投入與努力。 / This research is a case study of White Wabbit Records (hereafter WWR), an independent record label in Taiwan. I investigated the mode of WWR’s operation as well as the process from production to consumption of its music merchandise. Through in-depth interviewing and archival strategies, I collected data on the views and experiences of four different actors in the independent music business: the executive of the independent record label, the independent bands and artists, the consumers of independent music, and music critics. There are two primary aspects involved in this research: 1) “performance”, which includes production, consumption, and interactions amongst the actors; and 2) “ideology”, which comprises the views and practice of each actor with respect to the “independent-ness” in independent music products and production. The research found that two distinguishing features – “low cost” and “high autonomy” – are involved in the production of independent music. First, independent record labels are predominantly small companies, and thus the executive’s social capital is crucial to the establishment and ongoing operation of the company. However, in order to cut costs, many procedural restrictions exist, such as in the choice of collaborationists and promotional methods. Second, the autonomy in creativity that independent bands and artists enjoy during the production and promotional processes is much higher than that of their major record label counterparts. Nevertheless, artistic freedom comes at a cost: greater autonomy means the bands and the artists are unable to rely on their record labels to provide the bulk of the necessary resources. Moreover, the consumers of independent music are more proactive in accessing musical information, as they do not depend passively on the information transmitted to them through major broadcasting venues and the mass media. With respect to issues of globalization, even though WWR is a local independent record label with a particular niche different from that of transnational corporations, Anglo-American recordings continue to be WWR’s most important merchandise. Ultimately, while an “independent record label” already exists in Taiwan, the independent music industry here still needs to facilitate its development in the production of home-made music, rather than rely on Western imports. The achievement of this goal needs further participation and efforts of related actors as well as the government of Taiwan.
5

自由文化中的音樂商業模式初探:以獨立音樂為例 / A preliminary research on the music business models in a free culture:the example of independent music

楊佳蓉, Yang, Chia Jung Unknown Date (has links)
Lawrence Lessig在Free Culture一書中探討了法律、新興科技以及媒體產業如何形成許可文化的制度,來控制我們的創作自由和取用公共財的權利,他指向一個核心問題:私益(private interest)與公益(public interest)之爭——在網路科技與智慧財產權交互作用之下的自由文化中,私益與公益如何達到平衡狀態? 「音樂」具有可被數位化的特性,是傳播自由文化的理想範例,而筆者意欲探求的是:以臺灣的音樂產業為例,是否有可能在自由文化中形成一個讓「獲利」與「分享」並行不悖,甚至相輔相成的運作模式?最重要的是,這個模式要能發揚自由文化帶給大眾的公益,也要保障音樂工作者的私益。而在音樂產業中,「獨立音樂」次領域向來重視創作自主性,而自由文化鼓勵發想創意,兩者或許有媒合的空間,故本研究聚焦於獨立音樂。 本研究視臺灣的獨立音樂產業為資訊內容的生產與消費過程,運用Bourdieu的場域理論、資本理論、再製理論等學說,找出有哪些因素影響自由文化和獨立音樂的發展,並且探討贊成∕質疑自由文化這二種立場之間的辯證過程,以及各種利益如何折衝、妥協,從何達成平衡點。故本研究的目的包括:擬將探討結果回饋至對自由文化的省思,此為研究目的之一;嘗試建立一個自由文化中的音樂商業模式,此為研究目的之二。 本研究以深度訪談法訪談四種不同類型的獨立音樂創唱人(包括完全獨立的個體戶、社運歌曲創作者、大型唱片工業體系以外的獨立廠牌、大型唱片公司釋放出來的音樂人才,共訪談五組個人與團體),以及五家數位授權音樂網站(KKBOX、ezPeer、Omusic、StreetVoice、iNDIEVOX),並輔以參與觀察法和分析次級資料,來說明主要研究發現。 在「場域內行動者對於自由文化的認知」方面,本研究發現,「自由文化」這個名詞還不夠普及,這種現象反映出兩個事實:(一)受訪者對於自由文化的認知是分歧的:Lessig所言之自由文化是「在相當程度上開放他人據以再創造的文化」(Lessig, 2004/劉靜怡譯,2008,頁57);然而,獨立音樂創唱人的認知則是創作行為上的自由、自由文化要能保障授用雙方的自由、自由文化等同CC授權制度、自由文化是一種行銷廣宣工具、自由文化等同網路賦予大眾使用的自由;授權音樂網站經營者們則認為「自由文化的核心概念是『服務』」。(二)Lessig的自由文化理念與實務有差距:研究結果發現,受訪之獨立音樂創唱人的開放心態和行為,要比Lessig「保守」許多,大多是停留在提供免費聆聽,少數開放下載,而其目的多半是為了廣告與宣傳效益。 在「獨立音樂創唱人的線上/線下活動與資本應用策略」方面,可以看出獨立音樂創唱人經營創唱事業的幾個重點:(一)線上∕線下資本會互相流動和兌換;(二)獨立音樂創唱人專注創作,唱片公司致力發行,二者保持地位對等的平衡關係;(三)獨立音樂創唱人有成為專職的趨勢。 在「想像一個自由文化中的音樂經營模式」方面,本研究根據各家授權音樂網站的經營特色,以及配合獨立音樂創唱人的需求、大眾的公益考量,擘畫了一個自由文化中的獨立音樂商業模式,其規劃重點在於:(一)免費與付費並存;(二)虛擬與實體並行;(三)著作權安定運作秩序;(四)經紀事務拓展人脈。整體而言,此模式試圖建構一個整合網路發表平台、付費授權網站、經紀公司的場域,各行動者之間要維繫的是一種夥伴關係,而非從屬關係。 / In his book Free Culture, Lawrence Lessig investigates how the legal system, modern technology, and media industry shape a permission culture to define our rights of consuming public goods and our freedom of creation. He orientates his core research question towards the dispute over the relative importance of private interests and public interests. In other words, how do we balance private interests against public interests under the dual impacts of the Internet technology and intellectual property rights in a free culture? “Music” can be digitalized, and it is a prime example of free culture propagation. This thesis examines the music industry in Taiwan and thereby explores the possibility of shaping an operational model that makes “profiting” and “sharing” compatible with or even complementary to each other in a free culture. More importantly, such a model should be able to promote the public interests generated from a free culture and, at the same time, secure the private interests of musicians. “Independent music,” as a subfield in the music industry, always emphasizes autonomy in creation, and a free culture encourages creation and innovation. Accordingly, we may couple independent music with free culture, and this thesis primarily deals with their relationship. This thesis treats Taiwanese independent music as a process of information production and consumption. It adopts Bourdieu’s theories about field, capital, and reproduction to identify the effective factors in the development of free culture and independent music. In addition, this thesis investigates the dialectical process between defending and challenging free culture, and how a variety of interests negotiate, compromise, and finally strike a balance among themselves. Therefore, this thesis aims to, on the one hand, use the research findings to reflect on free culture and, on the other hand, establish a music business model in a free culture. This thesis employs in-depth interviews, participant observation, and secondary data analysis to answer my research question. I interviewed four types of independent music composers/singers (a total of five cases of individuals and bands who are wholly-independent individuals, composers of social movement songs, independent brands outside the system of the large-scale record industry, or musical talents released from major record companies) and five licensed digital music websites (KKBOX, ezPeer, Omusic, StreetVoice, and iNDIEVOX). Regarding “the inside-field actors’ understanding about a free culture,” this thesis finds that the term “free culture” is not as popular as it is expected to be. This phenomenon implies two critical points. Firstly, the interviewees perceive the term free culture in different ways. According to Lessig (2004: 30),”Free Cultures are cultures that leave a great deal open for others to build upon.” However, for composers/singers of independent music, a free culture implies the freedom of creation. A free culture should be able to guarantee the freedom and rights of both original creators and users. It is equivalent to the Creative Commons licensing scheme. It is a tool of marketing and advertising. The freedom embedded in a free culture is similar to that offered by the Internet. In contrast, for managers of licensed music websites, “service” is the core concept of a free culture.” Secondly, there exists a gap between Lessig’s idea of free culture and practice. The research findings indicate that the composers/singers of independent music interviewed by the author are more “conservative” than Lessig. With the primary goals of advertising and propagating independent music, most of their works remain free for listening, while some of them are free for downloading. Concerning “the independent music composers/singers’ on-line/off-line activities and their strategies of using capital,” this thesis points out three critical points in their career management. Firstly, the on-line capital and the off-line capital flow to and exchange with each other. Secondly, these composers/singers devote themselves to creation, and record companies concentrate on issuing their works. Composers/singers and record companies maintain a peer status and a balanced relationship. Thirdly, the “composer/singer of independent music” seems to become a potential profession. With regard to “envisioning a music business model in a free culture,” this thesis designs a business model based on the managerial features of licensed music websites, the needs of composers/singers of independent music, and public interests. The model contains the following characteristics. Firstly, non-payment coexists with payment. Secondly, virtuality runs parallel with reality. Thirdly, copyrights stabilize the order of operation. Fourthly, agency transactions help establish connections among independent music composers/singers and people who are able to provide better performance opportunities. In general, this model seeks to open up a field that integrates platforms of Internet publication, paid licensing websites, and agencies. The relationship among the actors is equal rather than hierarchical.
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台灣唱片產業之研究:主流與非主流之比較分析

曾裕恒 Unknown Date (has links)
台灣唱片工業在1997年達到前所未有的高峰,唱片總銷售金額達新台幣123億元。可是從1998年開始,台灣唱片工業景氣急轉直下,每年的成長率至少都在-10%以上,到了2007年,整體唱片銷售總額已掉到新台幣19億元,幾乎已是十年前的六分之一。很多唱片業界的人士都怪罪數位音樂的流通,導致盜版橫行,沒有消費者願意花錢支持正版專輯,使得主流唱片市場一落千丈,可是反觀國內以獨立音樂為號召的三大音樂祭,每年參與人數皆逐年上升,尤其是野台開唱去年一舉將票價提升近一倍,但人數不減反增,三天的活動累計突破十二萬人次,雖無直接的證據證實以往聆聽主流音樂的消費者漸漸轉向獨立音樂的陣營,可是強調「真誠」與「創新」的獨立音樂,逐漸擄獲消費者的心卻是不爭的事實。 Simon Frith認為:「音樂已經變成一種商品,想要賺錢得不斷適應新的科技,這兩樣事情形塑了通俗音樂產業的面貌。」,此話明確指出,唱片工業除了得面對科技的進步,音樂的本質也相當重要。但台灣主流唱片公司一昧卸責怪罪mp3所造成的衝擊,卻忽略除了科技以外的問題。因此唯有透過完整性的產業分析,將國內主流與獨立音樂分別比較探討,才能真正的釐清國內唱片工業問題之所在。 時至今日,跨國唱片公司以裁員、縮編因應市場的轉變,許多本土中小型的主流唱片公司應運而生紛紛轉向大陸市場,獨立音樂透過網路社群的集結,蓄積龐大的力量,正逐漸解構跨國唱片公司所建構的市場規則。台灣唱片工業將會再起,網路霈然莫之能禦的力量,將使台灣富有生命力的「新音樂」推向市場。 / The Taiwan popular music industry reached the high peak in 1997 without precedent history that the total output value was NT dollar twelve billion. But from 1998, the Taiwan popular music industry had a quick and decisive turn of events for the worse. Until 2007 the total output value was about NT dollar two billion that is almost the one sixth of ten years ago. Many people in this industry have blamed the digital music for the sluggish market. But, by contrast, there are more and more people joining the three most famous indie-music festivals, especially Formoz Festival 2007. Although It raised the ticket price to two times, the total entrance people reached one hundred-twenty thousand. Even though there is no direct evidence that the most of customers listening pop music turn to indie music, in fact, the indie music that highlights “honest” and “innovative” gradually attract many customers. Simon Frith said: “pop music as we know it now has been shaped by the problems of making music a commodity and the challenges of adapting money-making practices to changing technologies.” This paragraph indicates that technology is very important to music industry. Besides, the innate character of music is also more important. Therefore, I think that if we want to understand what the problems with, we must take the macroscopic method to analysis this industry. However, the international recording companies have been in droves to lay off employees in order to the sluggish market coming. There are many small or medium major recording companies being formed and turning to China market. And then, many indie music companies use internet to cluster together for store up strength to deconstruct the rule that the international recording companies formulated. The application of internet will improve the “new music” to the market, and the Taiwan popular music industries will revival.

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