本文由現象面，即目前獨立搖滾樂的商業化景況出發，期討論在當前的獨立音樂場域中，「獨立樂團」做為其中的參與者，對於原真性的看法，以及做為獨立音樂場域中的創作者，如何在「商業化」與「原真性」，進行衝突與妥協，如此的獨立音樂場域，對獨立樂團來說，呈現如何的樣貌？又獨立音樂場域對於獨立樂團而言，所提供的可能性及限制為何？ 欲回答如此的問題，我選擇直接參與一獨立樂團「白目樂隊」的運作過程， 希望由觀察他們每週ㄧ至兩次的練團、各種大大小小的表演、參加比賽如海洋音樂祭、密集的錄音過程、與唱片廠牌開會、日常的閒聊，以及和其他獨立樂團的互動中，進行觀察。 理論脈絡方面，以Bourdieu的觀點出發，從「場域」與「行動者」，來對照「獨立音樂場景」與「獨立樂團」間的互動關係。「原真性」，一方面是由聽覺方面喜愛的樂風，和實作的慣習中培養而成的「復古搖滾＋暴女氣勢」，形成「與眾不同」的資本，並憑藉此一資本，在獨立音樂場域中進行其他種類資本，總量及結構上的累積，例如參與比賽，以及各種不同形式的表演等等。 另一方面，Bourdieu的概念應用在本文中，雖然對於白目樂隊在行為上做出說明，但是在原真性做為一種「唯心」的概念下，對於樂團內部的互動過程，以及對於白目樂隊「想紅，又不想被改變」的「抗拒商業化」心態，本文認為由Grossberg的看法，能提供一更為有力的解釋框架：則白目樂隊對於其原真性的堅持，以及為了維持其原真性所做的努力，來自於其所屬的搖滾機器，所提供的激勵作用：表演時，就算台下只有為數不多的觀眾，仍然要賣力演出；練團室裡，為了要讓創作成果更像「白目」的歌，沈浸在焦慮的氣氛中；日常生活中，將樂團生活擺在學業、工作中的第一位。 / This research was based on the phenomena of the commercialized situation of Taiwan’s indie rock scenes, raised two aspects of my problematic: first, as part of Taiwan’s indie rock scenes, how indie rock bands think of “authenticity”? As creators, how they conflict and compromise between “commercialization” and “authenticity”? Second, what does Taiwan’s indie rock scenes mean to those indie rock bands in it? Is there any possibility and restrict inside it? To answer those questions above, I joined an indie rock band “the White Eyes”, tried to observe from the rehearsal once or twice a week, their live performances, join the band competitions such as “the Hohaiyan Festival”, their recording process, meeting with the record label owner, daily chat, and how they interactive with other indie rock bands. On the theoretical approach, Bourdieu’s view of “field” and “agent” was applied as “indie rock scenes” and “indie rock bands”. “authenticity” in this case was the capital White Eyes accumulated from their sense of hearing and the habitus from their practice. They also accumulated other kinds of capitals, both on the quantitative and structural aspects inside the indie rock scenes, through those activities such as join the competitions and many different kinds of performances. However, “authenticity” in this case, indicates an “idealism” concept. Bourdieu’s theories here, interpreted only the behavior part, but not sufficient for the attitude part: the attitudes that White Eyes face the commercialized indie rock scenes. Grossberg’s “rock apparatus” and “affective empowerment” were applied in this situation, which explained their insistence and effort for maintaining “authenticity”, were from the affective empowerment of the rock apparatus that they belong: they made excellent performances even there are only few audiences; they suffered from the anxious sphere in the rehearsal room just try to make their songs more like themselves; they put band affair at the first place, far beyond school life and even carriers. Keyword: indie rock band, indie rock scene, authenticity, rock apparatus, affective empowerment

音樂歌單是由一組多首不同元素、風格的音樂所組成的，它包含了編輯者的個人品味以及因應主題、目的性產生而成。我們可以透過樂曲的律動、節奏、歌曲的主題精神，進而編輯一個相應契合的系列歌曲。當今的音樂收聽市場主要是在網路串流平台上進行隨時、隨地的聆聽，主要的平台有Spotify、Apple Music 以及KKBOX。各家業者不單只是提供使用者歌曲的搜索、單曲的聆聽，更提供訂閱專業歌單編輯者的歌單訂閱服務，甚至是讓一般的使用者參與歌單自訂編輯的過程。然而如何在有限的時間內針對使用者的聆聽習慣去介紹平台上豐富的音樂資源是個很大的挑戰。上述的過程我們稱之為推薦，而當前的音樂推薦研究大多是在對使用者進行相關歌曲的推薦，鮮少能進一步在更抽象層次上的歌單上進行推薦。這邊我們就此一推薦應用提供嵌入式向量表示法學習模型，在有著使用者、歌曲、歌單的異質性社交網路上，對使用者進行歌單的推薦。為了能有效的學習出歌單推薦的模型，我們更將使用者、歌單和歌曲的異質性圖形重組成二分圖（bipartite graph）， 並在此圖形的邊上賦予不等的權重，此一權重是基於使用者隱式反饋獲得的。接著再透過隨機漫步（random walk），根據邊上的權值進行路徑的抽樣選取，最後再將路徑上經過的節點進行嵌入式向量表示法的學習。我們使用歐幾里德距離計算各節點表示法的鄰近關係，再將與使用者較為相關的歌單推薦給使用者。實驗驗證的部分，我們蒐集KKBOX 兩年份的資料進行模型訓練並進行推薦，並將推薦的結果與使用者所喜愛的歌單進行準確度（Precision）評估， 結果證實所得到的推薦效果較一般熱門歌單的推薦來的好，且為更具個人化的歌單推薦。 / Music playlist is crafted with a series of songs, in which the playlist creator has controlled over the vibe, tempo, theme, and all the ebbs and flows that come within the playlist. To provide a personalization service to users and discover suitable playlists among lots of data, we need an effective way to achieve this goal. In this paper, we modify a representation learning method for learning the representation of a playlist of songs, and then use the representation for recommending playlists to users. While there have been some well-known methods that can model the preference between users and songs, little has been done in the literature to recommend music playlists. In light of this, we apply DeepWalk, LINE and HPE to a user-song-playlist network. To better encode the network structure, we separate user, song, and playlist nodes into two different sets, which are grouped by the user and playlist set and song as the other one. In the bipartite graph, the user and playlist node are connected to their joint songs. By adopting random walks on the constructed graph, we can embed users and playlists via the common information between each other. Therefore, users can discover their favorite playlists through the learned representations. After the embedding process, we then use the learned representations to perform playlist recommendation task. Experiments conducted on a real-world dataset showed that these embedding methods have a better performance than the popularity baseline. In addition, the embedding method learns the informative representations and brings out the personal recommendation results.

隨著手持裝置的普及與社群網路的興起，大眾可以隨時拍攝影片並且上傳至網路上與他人分享。但是一般使用者產生的影片若少了配樂，將失色許多。除了原本影片帶給人們的視覺觀感之外，配樂可以帶給人們聽覺的觀感，進而使得人們可以更容易了解影片的情感，也可以讓人們更能夠融入在影片中。背景音樂推薦的研究主要有兩大種做法，Emotion-mediated Approach與Correlation-based Approach。我們使用Correlational-based Approach的方法，利用Correlation Modeling找出影片特徵值與音樂特徵值之間的關係。但是由於目前Correlation-based Approach的研究只有考慮到全域特徵，因此在此論文中，我們提出了區域特徵。區域特徵利用時間序列表達影片細部的變化，並且將區域特徵與全域特徵結合至Correlation Modeling中，透過 MLSA、CFA、CCA、KCCA、DCCA、PLS、PLSR演算法找出其中的關係並且產生背景音樂推薦的Ranking List，實驗部份比較了各個演算法在背景音樂推薦上的準確率，並且觀察Global Features與Local Features之間的準確率。 / Background music plays an important role in making user-generated video more colorful and attractive. One of current research on automatic background music recommendation is the correlation-based approach in which the correlation model between visual and music features is discovered from training data and is utilized to recommend background music for query video. Because the existing correlation-based approaches consider global features only, in this work we proposed to integrate the temporal sequence of local features along with global features into the correlation modeling process. The local features are derived from segmented audiovisual clips and can represent the local variation of features. Then the temporal sequence of local features is transformed and incorporated into correlation modeling process. Cross-Modal Factor Analysis along with Multiple-type Latent Semantic Analysis, Canonical Correlation Analysis, Kernel Canonical Correlation Analysis, Deep Canonical Correlation Analysis, Partial Least Square and Partial Least Square Regression, are investigated for correlation modeling which recommends background music in ranking order. In the experiments, we first compare the results of only global features, only local Features and incorporating global and local Features among each algorithm. Then second compare the results of different clip numbers and Fourier coefficients.

音樂，不僅是一種藝術，更是各種情感，甚至是思想的反映與表現。它存在於整個大自然中，超越人類甚至是先於人類；但人類發現了它，豐富了它，讓它滋潤了我們的生命，可以透過它來表達，也能被它所感動。而宗教音樂，更可視為人類音樂中的最菁華，它能撫慰、感動與昇華我們的心靈，還提供了沉靜思緒，讚頌上主以及與上主溝通的功能，尤其是內涵豐富深廣的基督宗教音樂，它的誕生，就等於西方音樂的誕生；它的歷史，幾乎就等於整部西方音樂史。 　　本論文共分為六章：第一章為緒論，說明研究動機、研究目的、研究途徑、方法及限制、文獻評論，以及研究架構。第二章介紹基督宗教音樂中，從古猶太音樂、古希臘音樂到羅馬天主教聖樂的發展。內容首先釐清聖樂（sacred music/духновная музыка）的觀念，對相關名詞做清楚的闡釋與分類，然後介紹古猶太音樂中對基督宗教聖樂影響較深的部分、對後世音樂理論影響至深且廣的希臘音樂調式、天主教最重要的葛利果聖歌，以及重要記譜法的演進過程等。第三章集中討論東正教聖樂的歷史，從拜占庭到羅斯 ，包含了拜占庭聖樂中最重要的「拜占庭八調式」（осмогласие или октоих）之理論內容以及實際應用、羅斯的「符號歌唱音樂」（знаменное пение）與「多聲部合唱音樂」（партесное пение）兩大重要聖樂形式的起源發展與結構性質，同時，也會提及「符號歌唱音樂」中的「神聖詩文」（духовные стихи），以及羅斯最早的複音音樂「領唱歌唱音樂」（демественное пение）。第四章從「聲學」以及「曲式學」的角度研究俄羅斯東正教聖樂的內部結構；將畢達格拉斯的「純律」、教會調式、希臘調式、拜占庭的音程單位「莫里亞」、計算音程的單位「音分」等交相使用，分析與證明俄羅斯東正教聖樂的調式，並以曲式學分析其曲式。同時本論文將使用柯爾蒂希《俄國音樂史》（Келдыш, Ю.К., «История русской музыки»）中提供之譜例做為具體分析研究之對象。第五章剖析俄羅斯東正教聖樂形於外部的表現規範，包含作曲者的身分、演唱者的性別是否有限制、純人聲無伴奏演唱法（a cappella）的發展及使用、歌唱與教堂建築間的關係、合唱團在教堂中的位置等層面。第六章為全文之結論部分，除對各章節的研究作一個總結，亦包含本論文所預期之學術貢獻。

近年隨著音樂數位化，唱片銷量巨幅降低，現場演出成為表演者能否獲得觀眾喜愛的指標，同時也成為音樂產業營收成長的主要項目。 表演者與觀眾的互動在過去多以拍手、聲音回應為主；而本創作透過行動載具（mobile device）的輔助，嘗試將互動與音樂展演現場的元素，例如影像、聲音、燈光、舞臺等設計相互結合；期能以觀眾的參與、現場系統裝置的即時反應、樂團的回應創造出讓觀眾深刻體驗展演內容之互動音樂會。 本創作從音樂展演面向出發，以使用者經驗為研究方法，進行跨領域實作，從行動載具的特性，思考應用程式之設計、互動元素、創新表演內容，如何促進現場氣氛、以及後續社群效應的設計，是一個嘗試整合科技應用與音樂表演的創作。除國、內外科技應用於現場音樂類表演之案例、相關文獻進行研究，並實地進行場域田野調查、展演相關工作人員、觀眾等訪談，歸納整理適切的現場表演元素，據此發展創作雛形，並實際與臺灣獨立樂團《大象體操》，於2014年12月10日舉行「幾何-大象體操+林維辰互動音樂展演實驗場」，後續以此演出內容作相關使用者行為、現場影像紀錄作回饋與相關資料分析。 本創作期能以數位科技為音樂產業實驗新的表演內容設計與商業模式，以數位為內容加值，尋找音樂產業新的可能性。

本文題目：＜林占梅園林生活之研究＞，題目是針對林占梅之園林生活有所闡發。本文主要分四部份，園林生活之背景、園林景觀、園林生活、園林生活之意義加以探討。 園林生活之背景部份，分別以時代背景、家族裁成、文化浸淫及個性與涵養，來探討林占梅何以能築潛園，何以能悠游於園林生活之原因。 園林景觀部份，則先整理潛園興建之沿革，並分別以人文景觀及自然景觀來探索潛園之建築，企圖重現潛園之景觀。 園林生活，是林占梅之居家生活，而此生活可分兩個層面，一是雅集，是屬於占梅園林生活公領域的部份，由其所雅集之騷客、紳商、政要，可窺視當時的詩壇的文化圈及其活動網絡。其次是潛居，是屬於林占梅園林生活私領域的部份。由其審美之生活方式，有助於了解占梅在園林建築、詩歌、音樂、書畫的成就。 園林生活之意義，先就林占梅個人生活的特質探討，以理出園林生活對其本身的意義﹔次則是文藝呈面作探討，探索其在園林生活中所產生之詩歌、園林、音樂、書畫之成就。再則探討其文化層面之意義，以觀察園林生活對其個人、竹塹地域社會及整個文化傳承之意義。

本文旨在探索被「常識化」、「瑣碎化」的一般人的聆聽感受與詮釋，以十二位大學生對歌曲〈菊花夜行軍〉的聆聽論述為分析對象，希望從他們所敘說的「個人真實」中，探究「聆聽者對自身聆聽經驗賦予意義的歷程」。本文具體的研究問題有二：首先，聆聽者如何與一首歌曲文本進行「互動」，將「非語意」的音樂聲響與聆聽感受賦予意義？這些意義是透過哪些敘說類型表達出來？其次，形塑聆聽意義的關鍵因素為何？這些因素如何發生作用？ 研究結果發現，人們置身音樂聲響的環抱之初，感受到的是「渾沌」的情緒現身：一種「身處陌生的音樂聲響，意識不知該指向何方」的狀態。為了「領會/理解」自己所聽到的音樂文本「是什麼」，聆聽者朝向自身的「先前理解」尋求答案。在獲得「領會/理解」的歷程中，聆聽者以「分段呼應聲響線索」、「綜合聆聽感受為一意境」、「提出主觀評價」、「拼湊語意線索」、「參照已知歌詞做詮釋」等「意義建構模式」與文本進行互動，此時「先行具有」與「先行掌握」就像折射鏡，讓聆聽者看到當下自己所「先前見到」的聲響線索和語意線索，與自身過去的生命經驗有何牽連。同時間，聆聽感受也就在自身「先前理解」的映照下逐漸「語意化」、「邏輯化」，而獲得具體的意義。這些意義透過各種「意義建構類型」具體地轉化為言語，而以「聯想故事/意象/意境」、「共感性格」、「形式樣態」、「主觀評價」等「譬喻校正」的語彙，以及「提出形式術語」、「搜尋語意線索」、「參照歌詞詮釋」等相對明確的敘說方式給出。 簡言之，「音樂聆聽經驗的意義建構」就像是「究竟」與「認識」的歷程，在此之中，聆聽意義在辨證與給出的過程中與原初的「渾沌情緒」逐漸脫鈎。然而，儘管「音樂聆聽經驗的意義建構」不能充分表達聆聽者當下的體會，但這不表示聆聽者所敘說、分享的故事與感覺不夠「原真」而沒有價值；相反地，聆聽者以自身的意識與生命經驗與文本彼此呼應，從而給作品多采多姿的意義，不但豐富了音樂的價值，更讓聆聽者藉此了解到作品與自身的關係，並且從意義的映照當中，看見自己某個當下的處境、價值與慾求。 / The purpose of this thesis is to explore people’s listening experience, and to establish an interpretative grounded theory about the process of personal musical meaning construction, which is usually thought to be trivial. Several research questions are to be answered under the research purpose above: First, how do listeners interact with a piece of music and locate certain personal meanings in minds for the originally non-semantic acoustic sounds? Second, in which ways are these personal meanings given by oral narrations? Third, what’s the crucial factor affecting listeners’ idea about their feelings? How does the factor influence the process of meaning construction? To answer these questions, the researcher interviewed 12 college students, asking them to talk about their personal views toward one musical text: Labor Exchange Band’s song titled “The Night March of the Chrysanthemums” before and after reading the lyrics. The collective narratives indicate that interviewees felt an ineffable “chaos” state, in which they tried to position their consciousness, once embraced in the sonorous envelop of the musical text. To understand what and why some feelings were aroused in their mind, interviewees searched for the “pre-understanding” themselves, and then the “pre-possession” and the “pre-grasp” in their personal life experience let them make sense of certain “musical attributes” in the musical text, such as melody, harmony, rhythm, timber, language, linguistic meaning. Moreover, the interaction between these musical attributes and listeners’ pre-understanding invented some acoustic or semantic clues, and then produced vivid meanings for the previous chaos listening experience. On the other hand, the personal musical meanings were given in three ways: First, the interviewees expressed their feelings by “metaphorical correction”, which consists of the following four kinds of narrative form: “Associated story, image, or one abstract artistic conception”, “synesthesia character”, “formal condition” and “subjective judgment”. Second, they identified what they had heard by “formal jargons”, which are taken by generally musicological common consensus. Third, they elaborated their musical meanings by “semantic clues” identified by cultural system they aware of, as well as the lyric content they had just caught. In sum, the process of musical meaning construction is like a journey of making sense what the listener has heard within personal psychological history. In the process, the fluid meaning interpreted by the listener might be different from the primitive moved arousal. However, it doesn’t indicate that the reflective discourses are not “authentic” enough or too trivial. On the contrary, the idiosyncratic narratives from private life experience not only bestow diverse values on the musical text, but also represent the relationship between the listener and the music, mirroring the interpreter’s condition, value and desire at a particular moment.

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。

製作紀錄片是一件非常有趣的事，不論是題材、環境、人事物都令人好奇的想要去接近，更重要的是透過觀察與紀錄，還可以培養觀點的養成與建立。進入拍攝現場讓人有探索的趣味、知識的整合、與被攝者產生互動、重複觀看後的創想，這都關係到紀錄片未來可能呈現的內容，紀錄片的拍攝是一點一滴累積而成，紀錄片的品質跟紀錄片工作者以什麼樣的態度有絕對的關係，如何在互動的過程中讓對方感覺舒服，又能以什麼樣的尊重方式讓對方接受，進而在交融的氣氛中，被攝者無視於鏡頭的存在，讓整個拍攝的過程是在愉悅的氣氛與默契下進行。回首想想不只歷經美感創作的歷程，當中的對話才是久久揮之不去的心情故事，無形中也累積不少心靈上的資產。源於此，創作在未來之路又多了一項選擇，來到政大不僅學習到紀錄片的研究理論與方法，還順利完成第一部紀錄片創作，實感慶幸。 期間有人會問為什麼會想要拍攝森巴文化與原住民音樂這個議題？ 目的又為何？ 對於異文化的題材向來就很有興趣，剛好又跟興趣音樂有關，所以就定下了這個題目。由於異文化在全球化的推波助瀾下，在我們日常周遭經常可見，特別像台灣這個族群多元的地方，異文化的探討就顯得非常重要，所謂「文化不是沒有用，而是因為它太有用而難以使其物盡其用」(林志忠譯，2002；Terry Eagleton,2000)。文化看似簡單，其實它的內容是多元複雜的，試問為什麼還會有那麼多的人相繼地投入文化工作，種種現象無非說明文化的問題絕非三言兩語道盡，基於上述方知文化是無止境的，文化的工作永不嫌晚，就怕不做。 身為一位紀錄片的工作者應有的反思及其深刻的體認為何？ 由於透過紀錄片的拍攝，可以經由多方的對話，更深層的理解人文的重要，無非也證成了文化的多樣與獨特性，尊重是化解差異最好的良方，唯有持續的親近文化才有可能在這塊領域著力，也才能在文化的工作上略盡綿薄之力，進而使得上力。 / The Rhythm of Samba Drums in Taiwanese Aboriginal Music Documentaries, regardless of the theme or setting, can awaken their audience’s curiosity, but more importantly, this form of observation and documentation can question and investigate established viewpoints. Within the documentary filming process, the attitude of its director directly affects the films quality. How the subject’s respect is gained, how they are made to feel at ease in front of the camera, their chemistry with the director all are factors in the film’s outcome. As a result, the documentary is not only an aesthetic creation but can be considered as a dialogue between the director and the subject. The topic of Samba culture and Taiwanese aboriginal music was chosen to explore the theme of “foreign culture” within Taiwan’s multi-ethnic society. Due to the globalization, exposure to global cultures has created a new appreciation of the role culture in daily life, which can be best stated as “Culture is not useless. Its being far too useful causes it not to be used to its best practice”. Culture is not simplistic, but multi-faceted influencing all aspects of life. Thus, culture has no definable boundaries. This study considers foreign elements within the specific context of traditional music. Documentaries not only observe but also depict a multi-party dialogue taking place resulting in a greater understanding of different cultural traditions. Adopting the topic of Samba culture and Taiwanese aboriginal music, this documentary aims to demonstrate positive means to create the intimate relationship needed for a documentary’s filming process.

從2007年發生的「金石堂、凌域事件」到2008年初誠品書店重新制訂和上游廠商的交易方式，都很明顯地顯示出國內出版業大型連鎖書店獨大的情形。另外，數位化隨著科技的進步對於產業的衝擊與影響越來越大，許多公司皆陸續推出數位化的相關服務，以滿足在這波趨勢下消費者逐漸改變的需求。像是圖書出版產業最近面臨電子書所帶來的數位閱讀風潮，正慢慢的在改變消費者的閱讀習慣。反觀音樂產業內，數位音樂的出現逐漸顯示多數消費者從以往購買實體唱片CD，轉變成直接從網路或手機下載歌曲、聆聽音樂；整體而言，兩產業內的廠商可說在先後面對產品數位化所帶來的衝擊，需要擬定轉型策略和未來發展方向。 本研究藉由蒐集圖書出版產業和音樂產業的次級資料瞭解現況，再經由相關文獻理論的探討後擬出訪談大綱，深度訪談兩產業價值鏈中的主要關鍵角色，希望融合第一手的訪談資料與理論文獻，找出存在於兩產業中的問題並加以分析解決，最後提出兩產業的未來發展模式與經營之道。 經由瞭解兩產業於產品流通時歷經的物流、金流與資訊流情況後進行比較分析，並在最後以價值鏈為基礎結合產品流通情況後發現，目前圖書出版產業內最大的問題為逆物流作業成本過高與資訊流不暢通，導致握有資訊流程度高與物流成本低的廠商，得以主導產業走向並擁有高議價力；而實體音樂產業內業者目前遭受最大的困境則為數位化下造成實體產品消費減少，以致廠商利潤降低。此外，現今在兩產業實體部份最具議價力的角色皆為下游大型連鎖零售商，而圖書出版產業中議價力最低的角色為中間商，音樂廠商則是唱片公司。 在兩產業共同面臨實體產業衰退與數位化衝擊下，由於產品本質上的差異，讓音樂產業數位化的腳步較早，因此所採取的因應措施與發展對於具有相同產業結構的圖書出版產業有很大的參考價值，經過整合歸納後，未來圖書出版產業除了物流整合與資訊流順暢的當務之急外，應掌握實體書籍本身產品本質的優勢並藉由口碑傳播效應創造更多商機，同時透過減少廠商家數或縮減價值鏈長度，讓產業內廠商的獲利空間得以提升。 關鍵字：價值鏈、交易成本、物流、金流、資訊流、圖書出版業、音樂產業 / The dispute between the Kingstone Bookstore and its distributor in 2007 and the revision of transaction with upstream firm made by the Eslite Bookstore in the value chain of the industry revised at beginning in 2008 represented the situation that huge chain bookstores obviously had great bargaining power in the book publisher industry. Furthermore, with progressing technology, digitization brought about a big impact and influence on industries. One after another, many companies continually provide services related to digitalization to satisfy the consumers’ changing needs. For instance, the book publisher industry faces the challenge of gradually changing reading habits resulting from the digitalized reading trend brought about by electronic books. Similarly, the music industry is experiencing a comparable situation in which the flourish of digitalized music resulted in consumers directly downloading and listening to music through the Internet or cell phones. These consumers originally bought material music products, e.g. CDs. Overall, firms in the two industries are sequentially confronted with the impact of digitalized products, and they need to make reform strategies and think about the future development. This research collected secondary data to understand the current situation of the book publisher industry and music industry and through relevant literature reviews, interview outlines were drafted so as to capture information on the key roles of the value chain of these two industries. In addition to combining the primary data and literatures to discover and solve the problems in the two industries, this research also suggests the ways of development and business models of the two industries in the future. After understanding and comparing the logistic, cash, and information flow related to product flow in the two industries, this research, based on the value chain theory, discovered that the present most serious problem in the book publisher industry is that the high cost of adverse-logistic and block of information flow result in the situation in which firms who control information flow and firms that have low logistic costs hold high bargaining power and guide industry trends. On the other hand, the most difficult situation faced by the music industry faces now is the declining consumptions of material products under the digitalizing trend leading to the firms’ decreasing profits. In addition, big wholesaler chains hold the highest bargaining power in the brick-and-mortar sections of the two industries, while distributors and record companies hold the lowest bargaining powers in the book publisher industry and in the music industry. Both industries confront the decline in the material industry and the impact of digitalization. Resulting from the intrinsic product differences, the music industry digitalized early. Consequently, the developments and the measures firms took in the music industry have high reference value for the book publisher industry which shares the same industry structure as its predecessor. The conclusion is that the book publisher industry must promptly conduct logistic integration and smoothen information flow, as well as capture the advantages of the nature of material books so as to create more sales resulting from the word of mouth effect. Simultaneously, firms in the book publisher industry must raise profit by reducing the numbers of firms or by shortening the length of value chain. Keyword: value chain, transaction cost, logistic, cash flow, information flow, book publishing industry, music industry