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.

研究目的：睡眠遲惰（sleep inertia）指的是剛由睡眠中醒來的一種現象，在這段轉換期間內，個體的警覺力較低、心智較為遲緩，認知和行為表現都較差。過去針對睡眠遲惰的研究顯示，睡眠遲惰是從一個較低生理激發的狀態到較高生理激發的漸進式轉換過渡階段。若睡眠遲惰是與較低的生理激發狀態有關，則若能提高個體的激發狀態，應能減少睡眠遲惰的負面影響。從過去的文獻中可發現，快節奏的音樂可以提高個體的生理激發。因此，本研究針對音樂的節奏快慢做操弄，探討生理激發狀態在睡眠遲惰所扮演的角色，比較不同快慢節奏的音樂刺激對於睡眠遲惰效果的影響。 方法：12名年齡介於18到31歲之間的受試者參與此研究。受試者在20分鐘小睡被喚醒後，分次接受快節奏音樂、慢節奏音樂、以及無音樂控制情境等三種情境安排。睡醒後的實驗期間為1小時，受試者每10分鐘被要求進行加法作業及填寫卡羅連斯加睡意量表（Karolinska Sleepiness Scale）、視覺類比量表（visual analog scales）、以及情緒評估等主觀量表，總計六次。同時，他們的腦電波（electroencephalogram）、心率變異率（heart rate variability）、膚電反應（skin conductance responses）、指溫等生理反應亦被記錄。 結果：受試者在認知表現或主觀評量上的確顯現出睡眠遲惰的效果，其加法作業的完成題數隨著時間增加，而主觀睡意則隨著時間減少。快節奏音樂情境比慢節奏音樂情境有顯著較高的主觀激發程度，並有較清醒的評量。在生理測量部分，受試者在快節奏音樂情境中有顯著較高的非特定刺激引起之膚電反應（Non-specific skin conductance responses）和腦電波較多beta波的趨勢。然而，儘管受試者的主觀評量會受到音樂刺激的影響而有不同，其認知表現並沒有出現類似的效果。 結論：本研究發現藉由音樂提高激發狀態，可使主觀睡意評量降低，但認知表現並不受到影響。此分離的現象顯示睡眠遲惰的消散不能以單一的生理激發狀態來解釋，而必須考慮多種歷程機制同時運作的可能性。 / Objective：Sleep inertia (SI) is a transitional state occurring immediately after awakening from sleep that are associated with sleepiness, decreased alertness and decrement in cognitive performance. It has been suggested that SI may be due to a decline in arousal level. Therefore, it was hypothesized that factors likely increasing arousal would reduce the effects of SI. Previous studies showed that fast-tempo music may enhance the level of arousal. The present study was conducted to clarify the role of arousal in SI by exposure to music with different tempos. Methods：Twelve healthy young adults, aged 18 to 31 years, participated in the study. All subjects went through three conditions: a fast-tempo music, a slow-tempo music, and a control (no music) conditions. Music stimuli were applied to subjects awaked from a 20-mins nap, and the subjects were given an addition task and asked to rate their level of subjective sleepiness and arousal on the Karolinska Sleepiness Scale (KSS), visual analog scales (VAS) and emotional rating scales 6 times over an hour. During the test period, their physiological arousal state was recorded, including electroencephalogram (EEG), heart rate variability (HRV), skin conductance responses (SCR), finger temperature. Results：The effects of SI on cognitive throughput and subjective ratings were evident. Their performance on the addition task increased and sleepiness decreased over time. Subjective sleepiness was significantly reduced and physiological arousal level measured by non-specific skin conductance responses (NS-SCRs) and EEG beta power were elevated when the participants were exposed to fast-tempo music. However, cognitive performance was not influenced by music exposure. Conclusion：The present findings suggest that increased arousal level during SI by manipulating music stimuli may decrease subjective sleepiness but have no impact on cognitive performance. This dissociative effect suggests that the dissipation of sleep inertia may not be a function of a general arousal level. Rather, there may be multiple processes that are responsible for different aspects of SI.

文化創意產業是人類知識的薈萃，屬於無價的無形資產，透過時代與空間交織出千變萬化的形貌，展現人類的智慧與創意的極致。表演藝術肩負「文化」承傳的使命，發揮「創意」的極限，是文化創意產業的核心，讓人們從庸碌的生活中，找到另一片新的可能。 全球第一個喊出「文化創意」的英國，創造了2001年所選定的十三個創意產業中，創造132萬的就業人口，總產值更高達1,125億英磅的佳績。令各國開始注意起文化創意產業帶來的附加價值，文化創意產業逐步成為全球矚目的新興產業。國內政府目前積極投入文化創意產業，透過強化網路外部性，除了創造更大的獲利空間，同時也為國內的文化環境，提昇更大的產業競爭優勢。 國內的音樂表演藝術活動擁有最多人數參與，也是最蓬勃發展的文化創意產業之一。例如前年流行日本的「交響情人夢」風潮，一路吹回國內，除了成功將趨勢與古典音樂相結合，創造國內的藝文話題外，也成功帶動國內的音樂水準，令參與人數直線攀升。 本研究以組織發展成熟為區隔，分析目前位處組織成熟期的音樂表演藝術團體之行銷策略與經營模式，透過其經驗分享與個案分析方式，與位於組織萌芽期的團體作對比，進一步分析其內外部優劣勢與與整體環境之評估，希望能夠提供未來文化創意產業發展的具體建議。以國內最知名的朱宗慶打擊樂團為例與新創團體-心享交響管樂團為例，本研究分析研究音樂表演團體之成功因素與行銷策略，透過國內外文獻與研究，進一步驗證藝文教育對文化創意產業發展之重要性，提供台灣的文創產業更寬廣的未來。 / Cultural and Creative Industry is an invisible asset which belongs to the whole human beings. It presents in various forms during ages, and it also transformed into the ultimate attainment in the history. Performance Art is the core of the Cultural and Creative Industry, and it develops the appearance of the “Culture” and also elaborates the limits of the “Creativitity”. It provides people to have wide imagination in their day-to-day lives. Even the music performance is the most popular activities in Taiwan, but it is still a huge chanllege to attract more people getting into the concerts hall. More and more groups attepmt to find out a better solution to make their customer loyally and increase the frequency of customer presence to the programs. According to the research, it will be better to understand the customer behavior well or teach them when they were in childhood. The researcher interviews two music performance groups, one is a well-known band, Ju Percissopm Groups; and the other one is a new beginner, Shin-Sharn Wind Symphony Orchestra. After the research, it shows the importance of the education. Meanwhile, it is more essential to link up with the trend and maintain the relationship with the other different groups. For example,” Madame Cantabile”, the famous Japanese Drama which broadcasted couple years ago, it had already promotes the classical music, and it also fascinates lots of new consumers which has never listen to classic music. It made a huge hit to classical music, and it also set an excellent example for the Cultural and Creative Industry.

張武宜. / "2013年9月". / "2013 nian 9 yue". / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 229-239). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Zhang Wuyi.

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.

後殖民主義一般是指在第二次世界大戰後所產生的殖民主義研究，在前被殖民國家紛紛獨立的背景下，後殖民主義作為一種獨特的文化批評理論，崛起於全球化時代的人文學科領域。在諸多後殖民文化類型之中，雷鬼音樂源自加勒比海地區，被定位為世界音樂的一支，其發展的歷史及地理因素，與前被殖民國及宗主國之間的文化現象交互影響。本研究以歐洲雷鬼樂發展最為盛行的英法兩國為例，用後殖民主義闡述前英屬與法屬國家中特有的雷鬼文化現象，試圖探究該文化背後的關注議題並據此歸納結論。

過去許多哲人都曾讚揚過音樂之於人的意義，Mozart亦曾言：「音樂應是不刺耳，使人如沐春風」，然而近年來的研究卻指出：幼兒園中的音樂活動經常是所有人唱一樣的內容，並僅以是否有精神、聲音大小做為評斷標準，在這樣的環境下，幼兒究竟聆聽了什麼？從中習得了什麼？是否曾考慮幼兒在音樂發展及表現上的個別差異？ 本研究基於上述的背景，試圖以Gordon幼兒音樂學習理論為基礎，參考相關教材－Music Play一書設計活動後，再到幼兒園進行教學，欲從中了解幼兒在課程參與、音樂性向及歌唱能力等三方面的樣貌，進一步建構研究者自身的教師專業圖像。本研究採行動研究取向，主要分為初探研究及正式研究兩部分：初探研究包含6次各30分鐘的活動，課程進行後重新了解理論並修正內容，再次進行兩個循環的正式行動，第一循環共計10次課程，第二循環為6次課程。課程完全結束後，以課堂錄影、教師省思日誌、幼兒觀察記錄表等工具為基礎，書寫初探及兩個循環研究之改變與收穫。 本研究的發現如下： 1、幼兒課堂參與的情形從嘻笑轉而認真投入，並開始發展個人不同的音樂表現方式；音樂性向隨著音樂環境的多寡有所轉變，經過課程後大多數的幼兒音樂性向略提升；歌唱能力則依個別差異在音高及節奏方面各有所轉變。 2、研究者在研究進行的過程中，發現進行Gordon相關的教學方式，首先要能熟悉理論及教材內容，進一步適應曲調、節奏、音高型與節奏型的唱法後，搭配相關的律動、樂器、遊戲等，除能使教學更符合幼兒的個別差異，教師亦能建構屬於自己的教學內容，以及自身的教師專業發展圖像。 根據本研究的歷程與收穫，研究者提出幾點建議，以供未來研究者與教師做為參考。 / This study attempts to understand the picture that 4-5 years old children learn on through Gordon’s music learning theory for newborn and young children; meanwhile, focus on the changes of teacher’s professional development. This study adopts action research, designs a series of lessons that building on Music Play and accompanied with teaching logs, music aptitude tests, singing performance tests, and observation records. The lessons contain three cycles. The first one is pilot study, within six times and thirty minutes for each lesson. Cycle 2 and cycle 3 are formal research, the former includes ten times and the latter includes 6 times, both 30 minutes for each lesson. The conclusions of this study are : 1)The curriculum of this study can improve children’s musical aptitude, singing performance and participation. 2) Teachers and Researchers should understand and internalize meter, tempo, rhythm, and continuous movement activities within Gordon’s music learning theory for early childhood. With a variety of teaching activities, the teachers will improvise in the classroom, and then construct professional picture of teacher of himself.

本研究以內容分析法比較共200首台灣與美國音樂錄影帶中的性內容以及愛情關係表現。研究結果顯示美國音樂錄影帶中的性內容普遍高於台灣的音樂錄影帶，不論是在歌詞表達或影像呈現中。但值得一提的是，臺灣2010年音樂錄影帶中相較於2000年音樂錄影帶中性內容增加的幅度大於美國2010年音樂錄影帶中相較於美國2000年因樂錄影帶中性內容的增加。而且愛情表現方面，台灣的歌曲不論是在2000年還是2010年都有超過80%以上的歌曲為愛情歌曲；美國歌曲則較為多元，從2000年到2010年，少了20%的愛情歌曲。 總體來說，此研究結果與先前研究的結果類似：台灣歌曲中的愛情表達多為無性的表達，而美國歌曲中則較易將愛情等同或化約成肉體慾望，且不論歌曲主題，性內容也較常表達在歌曲中。雖然台灣音樂錄影帶及歌曲中的性內容還尚未達到足以造成威脅的程度，由2010年的增加多於同時期美國的音樂錄影帶顯示未來研究更應重視這一塊因為大眾流行音樂錄影帶在年輕族群的生活中扮演了重要的角色。若其不當性內容持續增加，勢必會對年輕族群的性觀念及行為造成影響。 / This study examines 200 music videos from Taiwan the USA for their sexual content lyrical and visual presentation. The second focus is the illustration of themes in songs. Results of a content analysis shows that in terms of sexual content in music videos, the USA is still more sexual than Taiwan as a whole; however, the increase of sexual imagery in music videos is greater in Taiwan in 2010 compared to in 2000 than that from USA in 2010 compared to 2000. Within-country comparisons show that the increase in images is greater than that in lyrics from 2000 to 2010 in both countries. For themes in songs, in both years, over 80% of the songs analyzed from Taiwan are love theme songs. Songs from the USA are more varied, and from 2000 to 2010, there are 20% less love theme songs. On the whole, this study agrees with previous studies, which found that love manifested in lyrics is often an asexual kind of love in Taiwan, while in the USA physical desires are often outright portrayed, regardless of the song themes. Although the sexual level in music videos images have not yet reached an alarming level, researchers should, however, keep track of the sexual content because music videos do take up a part in forming a socializing environment, especially for the young people.

本研究發展一套融合音樂及情感體驗之互動裝置作品,目的是將手感帶入數 位音樂體驗以及讓音樂創作者和音樂聆聽者的互動更密切。 此作品包含一個雙向互動的實體音樂公仔及一個安裝於觸控式平板上的應 用程式(App),應用程式能顯示歌手的社群訊息與最新創作,播放音樂時將音樂 公仔放置在觸控式平板指定方框,即進入互動音樂體驗模式,此時粉絲如同導演 一般參與創作,可隨著音樂播放而移動音樂公仔,使互動音樂 MV 產生不同的畫 面,音樂公仔和互動音樂 MV 彷彿演出一場迷你舞台劇,並藉由音樂公仔與 APP 的運作,使音樂創作者和音樂聆聽者親密地連結與互動。 本研究之貢獻在於音樂行銷層面,讓作品成為音樂創作者和音樂聆聽者間互 動的橋樑,對音樂創作者(歌手、音樂提供者、樂團)而言這是一種創新的音樂 行銷工具;對音樂聆聽者(粉絲、聽眾、消費者)而言這是一種整合性的數位音 樂互動體驗方式。最後,本研究並訪談音樂創作者、聽眾和行銷人員,將音樂公 仔原型(prototype)提供給受訪者使用,透過訪談內容歸納與分析,提出對音樂 公仔未來應用的方向與模式,作為音樂產業業者設計產品與行銷的參考依據。