著作權集體管理團體制度，係集結多數具有著作權之權利人，透過集中管理著作的方式，節省著作權人與利用人為利用著作所需耗費之授權成本，便使利用人合法利用著作，達到鼓勵著作利用之效果。我國由於著作權集體管理制度之設計容許多元團體進行著作管理，目前合法設立的著作權集體管理團體共有五間，所管理之權利均是與音樂產業相關的著作類型及最常受利用之智慧財產權，雖利於著作權人自由選擇代管其權利之單位，卻也同時造成民眾辨識不易之困擾，又因為對於瞭解著作權規範之權利類型不夠瞭解，導致時有違法利用並拒絕授權之情形，著作權集體管理團體在執行授權業務時，則選擇以發動刑事追訴程序，嚇阻及降低此種情形並提高授權成效。 然音樂著作公開演出之利用行為深入廣大民眾的生活常態，卻在有民事侵權責任之同時以刑事責任相繩，似與刑事處罰之規範目的不符，本文透過維根斯坦之家族相似性連結其與刑法規範間之關聯性，檢討擅自公開演出罪之可罰性，複就大量涉及公開演出權使用之電腦伴唱機業者為例，分析著作權集體管理團體刑事訴訟發動之情形，認其之訴訟發動未違背刑事訴訟之制度設計，然觀其發動之緣由，係因成本考量所選擇之授權策略，遂經由行銷管理分析模組，設計較利於著作權集體管理團體之授權模式，希冀主管機關經濟部智慧財產局在不影響授權市場之公平交易情形下，得酌情開放授權業務予著作權集體管理團體以外之單位，以使著作權體管理團體得有較開啟刑事訴追程序更低之授權成本選項，而減少刑事訴追發動之案件量，進而具體改善現今著作權刑事訴追數量及案件品質。

看電視、聽廣播，是我們日常生活當中經常從事的活動項目，由於電視及廣播節目之內容包含有戲劇、音樂、錄音、舞蹈、語文等多種不同著作，也因此使得著作權與每個人產生密不可分的關聯。 一般在家中看電視、聽廣播並不會構成公開利用著作之行為，但於旅館、醫療院所、餐廳、咖啡店、百貨公司、賣場、便利商店、客運車、遊覽車等提供販售商品或服務之公共場所，提供廣播、電視節目予顧客或大眾欣賞，由於可能涉及公開利用著作之行為，且近十多年來，陸續因著作權集體管理團體向旅館、餐廳、醫療院所、客運等公共場所提供收看電視或收聽廣播之業者，要求向其取得授權、收取授權費用，因此，使得此議題不論於著作權法適用上及授權實務上，爭議不斷。 本論文除就公共場所播放電視、廣播節目涉及我國著作權法之相關規範進行分析，並參酌國際公約、國外相關立法例加以探討，釐清相關法律適用及檢討有無需要修法之處外，同時，由於實務上此類爭議，絕大多數為著作權集體管理團體於市場上執行業務所引發，故本論文特就我國著作權集體管理制度中有關集體管理團體使用報酬等相關問題一併加以探討。進而提出政策面、法制面與執行面之建議。

由於數位化科技、盜版等因素影響，台灣音樂產值逐年驟減，產業步入寒冬。面對中國大陸越來越富裕的十三億人口、對於娛樂文化等資訊需求直線上升的廣大消費市場，全世界的音樂廠商彷彿看見曙光，積極搶進中國，台灣音樂相關從業人員亦紛紛移往彼岸尋求生路。雖然兩岸音樂交流頻繁，然而台灣音樂廠商面對中國大陸陌生的行政、司法體制與繁複的異地法律，產生諸多佈局大陸、保護智慧財產權與解決紛爭的疑難。身為中國大陸流行音樂最主要的輸入源頭，我們自無法置身事外，而有必要對於中國大陸音樂產業法制環境做一深入的探討，從產業角度檢視現有智慧財產問題並提出對策。本研究首先從中國大陸與音樂產業相關之內國法制做一整體性之探討，釐清中國大陸對於外資進入音樂產業所設下市場進入障礙及審批制度之雙重限制，並介紹大陸音樂集體管理組織之運作情形與兩岸合作之問題所在，最後針對大陸近年來關於音樂著作權重要之法令與司法實務、在大陸解決智慧財產爭端之策略、台灣音樂產業在大陸面臨的智慧財產保護問題深入研究，並試圖提出可行之解決方案。由於中國大陸已成為台灣音樂產業的主要市場，本研究除整理前揭發展趨勢外，並提出給音樂業者與政府部門的建議，希望在極力發展文化創意產業、兩岸邁向經濟區域整合之今日，音樂業者得以妥善保護自身智慧財產，維持台灣為全球華語音樂中心之地位，使音樂產業能夠真正成為台灣文化創意產業重要的一環。 / The industry value of Taiwan music industry declines due to the rapid growth of digital technology and internet piracy. On the other hand, music companies around the world invade China Market for its vast population and increasing market demand. Taiwan music talents are no exception. Though the cross-strait communication in music is frequent, Taiwan music companies are not familiar with the complicated legal and administrative system in China and thus usually trapped in intellectual property disputes. Taiwan is the precursor for China’s popular music and it become a necessity for Taiwan music companies to fully understand the law and regulation about music industry in China and frame the strategy for current intellectual property problems from the industry perspective. This thesis begins with a general introduction and analysis on China’s law and regulation concerning music industry, elaborating the dual restrictions of investment examination system for foreign companies which plan to enter the China market. It will also describe the practice of music copyright associations in China and problems in cross-strait collaborations. The thesis will also discuss topics about important issues on music copyright law and legal practice, strategy of intellectual property dispute resolution, and intellectual property protections with which Taiwan music companies are confronted in China. Feasible solution will as well be advised in this thesis. China has become the main market for Taiwan music industry. This thesis will elaborate the developments of the industry and provide some advices for music companies and government. Culture industry is now the focus of government policy in Taiwan and in China while cross-strait economic integration becomes the trend. Hopefully, Taiwan music companies can, through a well-structured intellectual property protection, stay as the heart of global Chinese music and make music industry an important part for Taiwan culture industry.

著作權集體管理機制（Copyright Collective Management Mechanism），誕生已有數百年的歷史，國際間已經發展出相當成熟的運作機制，相較於我國自民國八十年起才開始有類似收費機制運作，發展經驗可說是相當地懸殊。而我國該機制之正式法制化—著作權仲介團體條例於民國八十六年十一月五日公布施行以來，十年間實務上爭議不斷，機制運作陷於巨大的危機。加以近年來我國推動數位內容產業，著作權授權議題更是攸關數位影音應用產業未來的發展，在在顯示我國著作權集體管理機制確有重新審視之必要。 於是自民國九十五年起在經濟部智慧財產局的主導下，開始召集各方進行對話，並藉此機會蒐集意見以推動著作權仲介團體條例的修法工程。除了國內的改革，國際間在過去十年來也開始對著作權集體管理機制的運作進行檢討，此乃由於數位時代的到來，著作權集體管理機制受到各種新興數位科技，諸如：網際網路、數位權利管理、點對點檔案分享等之巨大衝擊，此種態勢影響機制的保護、行使和管理的環境，使得國際著作權社群開始思考著作權集體管理機制應該如何因應數位環境所帶來的挑戰。 有鑑於此，本研究希望能夠立基於我國著作權集體管理機制的現況，以過去實務上及近日修法歷程中所遭遇的爭議問題為著眼點出發，回顧過去國際間著作權集體管理機制運作經驗，並探討近年國際間發展趨勢，以勾勒出我國機制未來藍圖。探討的重點包括：著作權集體管理機制的歷史與法律背景、意涵、功能與操作原則，以為我國機制擘畫運作之參考；著作權集體管理機制運作場域—我國著作權產業的發展現況；採納「利害關係人」觀點，釐清我國機制中的各方利害關係人為何、所追求的目標何在及互相的利益衝突，進而界定出各方利害關係人未來參與機制的適當形式；評析我國著作權集體管理相關法制的沿革、內容與修法；並針對國際間近年兩大發展趨勢：數位化及跨越疆界的著作權集體管理趨勢，先行探討有哪些新興的數位科技對著作權集體管理機制帶來衝擊，評估其影響與機制的新角色定位，其次討論跨越疆界趨勢：單一窗口、跨國界集體管理及其衍生的公平交易法課題。 最後回應本研究的研究問題，論述對我國實務現況之觀察、著作權集體管理法制總評、國際運作經驗及發展趨勢對我國的啟示，並且提出三大項建議：我國著作權集體管理團體現階段要務、政府的角色、對我國未來機制的幾點省思，是為本研究之結論與建議。 / Copyright Collective Management Mechanism has been established for centuries and developed maturely worldwide. However, it was not until 1991 that some similar collecting organizations started to operate in Taiwan. Compared with some countries around the world, the development experience is quite different. After the formal legalization—the enactment of the Copyright Intermediary Organizations Act on November 5 1997, there were lots of argues emerged in the aspect of law enforcement. Besides, Taiwan’s government has promoted the development of digital content industry in recent years. The issues concerning copyright licensing will have a big impact on the development of audio-visual application industry in the future. It is therefore, necessary to raise concerns and re-scrutinize Taiwan’s copyright collective management mechanism. Since 2006, Taiwan Intellectual Property Office (TIPO) has started to gather public opinion for revising the act. Except the revolution in Taiwan, people started to examine the exercise situation of copyright collective management internationally in last ten years. This is because the advent of digital technologies, such as: the Internet, digital rights management, peer-to-peer file sharing, has changed the environment surrounding the copyrighted works. International copyright societies started to think about how to deal with the challenges brought in digital era. This thesis aims to discuss some of these issues by exploring the current situation of Taiwan’s copyright collective management mechanism, the obstacles encountered in the past practice, the process of law revising, and the latest development trends worldwide. First of all, Chapter One is an Introduction to this thesis. Then Chapter Two discusses the historical and legal background, definition, functions, and operating guidelines of the mechanism for future reference when Taiwan intends to modify current mechanism. Chapter Three describes the developing situation of Taiwan’s copyright industries. Chapter Four adopts “Stakeholder Analysis” to clarify who are the stakeholders in Taiwan’s mechanism, their pursuing goals, and conflicts of interest between them. Chapter Five traces the developing process, content and revision in relation to Taiwan’s copyright collective management legislation. Chapter Six outlines the two latest development trends: digital and cross-border copyright collective management. At first, it analyzes the impact of new digital technologies and the new role of copyright collective management mechanism. Integration trends: one-stop-shop, cross-border collective management and antitrust concerns, are explored as well. At the end of this thesis, Chapter Seven, I propose three recommendations for Taiwan’s mechanism in the future: the urgent missions of Taiwan’s collective management organizations, the role of government, and the self-examination. It is my hope the recommendations contribute to the better resolution of existing and future challenges.

我國著作權集體管理團體發展至今，僅存五家集管團體，無論是會員數或業務總額皆與國外規模相距甚遠，難以有效達成降低授權成本、使著作充分流通利用與保障著作權的功用。追根究柢原因在於：無法從使用報酬費率的制訂過程中，取得利用人與集管團體間的共識。 隨著數位技術的演進，著作權利用方式與型態日趨多元，立法者的觀點卻趕不上時代的變化，倘若爭議處理方式仍僅限於規範的抽象內容探討與適用，往往難以得到當事人欲求的結果。Teubner認為現今複雜分歧的社會需要一個去中心化的社會整合機制，將傳統法律的管制負擔轉移至其他社會體系；法律只有在為其他社會次級體系的反思過程提供結構性前提時，才能實現其自身的反思取向，發揮反思法的社會整合功能。因此，若能開展調解、仲裁等訴訟外爭議解決機制，除了即時有效解決紛爭，避免法院訟累，並能於協調過程中充分揭露資訊，使當事人間贏得互信，不失為一種發展反思性程序的可能。 本文從Teubner反思法的角度觀察，輔以中國、日本、美國、德國的著作權集體管理制度之立法例與實踐概況，作整體歸納分析，從中擷取出具有反思理性特徵做比較評析。最後，透過反思法理論所提出當今法律演化的特徵，對於我國將來建構良善的集體管理團體制度，提供一些不同的思考觀點。 / In the diversity of social economics activities, recent developments in the evolution of neighboring rightsand reflects the change of publication displaying methods due to technology.Such development may create inner conflict and endanger the law system. If people explore the reason of conflict and disposal process just at the point of normative abstract content and applicable, it will always be unable to gain the ideal result. Collective management organizations(CMOs) is an important indicator of copyright protection. CMOs’ operation reduces the licensing costs, promotes the legal exploitation of works, achieves broad public access of copyrighted works, and protects the benefits of copyright owners. Indeed, a reasonable royalty rate is the core for the successful operation of CMOs. Thisstudy isfrom the view ofTeubner's Theory of Reflexive Law, to observe the substantial social effectiveness of copyright collective management under the control of law and providing the structural premises for reflexive processes in other social subsystems.According to the characteristic of reflexive law,this thesis aimed to introducea new tendency to settle collective management of copyright.