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.

匯流時代來臨，内容的流傳速度愈來愈快，資訊以即時的方式傳達到世界各地。流行音樂單曲長度大於為5分鐘，相較於其它娛樂商品，音樂本身沒有語言的隔閡，因此音樂在文化產業當中，最適合數位環境，也最容易進行全球化。從音樂產業角度來看，韓國偶像團體「Super Junior」與「少女時代（Girls’Generation）」跨越亞洲，席捲歐洲市場，可説是匯流時代的成功案例。 本研究試圖借鏡韓國音樂產業的案例，找出因應匯流時代的全球化策略與關鍵因素，提供給音樂產業者，也希望本研究能夠幫助台灣音樂產業更發揚光大。 本研究以匯流、全球化及價值鏈為基礎，藉由目前在亞洲市場令人矚目的「Super Junior」與「少女時代」的經紀公司「S. M. Entertainment」(以下簡稱S. M. )案例，去分析匯流時代所帶來的全球化策略與成功因素。主要的研究方法是藉由分析韓國學者與資深記者發表的各種相關研究論文、學術季刊、書籍、新聞、雜誌、網路、影片等，來回答本研究問題，同時也進行S. M.、韓國政府及記者的深度訪談，來彌補文獻資料所帶來的侷限。 從S. M. 的案例研究，發現S. M. 首先建立獨特的培訓系統及全球化策略Culture Technology，再長期投資内容研發與跨國合作，來提高内容的品質，也具備在全球市場上的競爭力；隨著新媒體的出現，S. M. 也積極應用各種手段，加速全球化的發展。另外，S. M. 採用OSMU（One source multi-use）方式進行事業多元化及跨產業合作，不斷發掘新的收入來源。本研究也發現台灣與韓國相似，有市場規模的限制以及有全球品牌智慧型手機的大環境；音樂產業以產製為中心，發掘能吸引全中華市場的歌手；以中國作爲目標市場等共同點。因此可考慮結合兩國的優勢為合作共識，攜手成爲亞洲最合適的合作夥伴。 / Digital convergence leads to a global transformation in entertainment industry. Comparing with films or other entertainment products, music takes the advantage of short performance time for international coverage. Also, music can overcome the language barriers and become popular in global cultural industry. In South Korea, the Super Junior and Girls' Generation are successful cases in the music industry. This study tries to analyze the reasons why these two pop idol groups can become a fashion. By reflecting the global strategies for music industry in the age of convergence, this research also tries to contribute to music industry in Taiwan. This research investigates a famous music company in South Korea, called “S. M. Entertainment”, the management company of Super Junior and Girls' Generation, examines its global strategies in the age of convergence. By interviewing S. M. Entertainment managers, the South Korea government agency and an entertainment journalist, this study gets deep interpretation for the globalization strategy of Korean music industry. Also, researcher collects secondary data by journal papers, books, newspapers, magazines, and films to triangulate the authenticity. This study comes up with a global sourcing framework for culture technology. By sourcing local talents and building a unique incubation system, S. M. Entertainment can keep a qualified talent pool. By cooperating with global music experts and investing in music content innovation, the company can reach outstanding music intelligence globally. By innovating business model, such as “One source multi-use” (OSMU), the company can discover new opportunities by cross boundary cooperation. Taiwan’s music industry is also constrained by the market scale as South Korea. However, Taiwan has competitive technology in smart phone and in other digital technology. By leveraging the advantages of S. M. Entertainment, Taiwan’s music industry may have great breakthrough in Mainland China. Also, it may be an important stage for Taiwan and South Korea to become strategic partners in Asia’s culture industry.