近年來，網路科技發達直接衝擊到許多產業的經營結構，其中又以音樂產業所受到的影響為大。面對消費者在音樂使用和消費習慣的轉變，音樂銷售管道與格式也漸漸從實體轉變成虛擬，於是，線上音樂產業隨之蓬勃。 本研究從美國及台灣線上音樂產業環境的概況與發展分析為背景，並透過對美國成功個案Apple iTunes Music Store和台灣個案明基Qband、願境網訊KKBOX及真實龍馬RealMa的次級資料與深訪研究，最後，比較美國及台灣線上音樂產業的行銷策略及經營模式兩方面的異同，試為台灣線上音樂產業擬定未來可行的方向。

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。

本文主要討論台灣流行音樂的發展，並從核心產銷角度探討流 行音樂價值鏈中唱片公司如何就成本考量與營運模式因應環境轉 變。透過對台灣流行音樂產業的現況分析，指出產業內所面臨的挑戰 與衝擊轉變。研究發現，唱片公司營運模式已從販售音樂，漸漸轉型 為以藝人價值為核心，推展經紀事務與提供跨媒體的音樂娛樂服務為 主要業務。

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

本研究根據Turrow的媒介權力角色架構與Hall的音樂產業現金流系統，將流行音樂產業的研究範疇從傳統唱片產銷活動（recording）擴大為包括數位音樂流通與著作權授權（copyright）及現場演出與演藝經紀活動（live performance & artist management）的音樂娛樂產業，並檢視台灣此項產業的價值活動，以及數位音樂盛行後，產業的變化及所面臨的問題。 本研究發現，大規模行銷策略仍被台灣音樂娛樂產業廣泛使用，但受載體銷售萎縮與數位音樂發展緩慢影響，唱片業者透過異業合作，爭取外部資源投入音樂製作與行銷，歌手則以演唱會、戲劇、廣告代言等演藝活動拓展收入來源。 為因應歌手改變事業重心，音樂製作公司與唱片公司轉型為具音樂製作能力的藝人經紀公司，分享歌手多角化事業的收益，其中又以演唱會與演藝經紀活動最受重視。此一改變雖彌補歌手與唱片公司在實體唱片及數位音樂的短收，卻無法解決詞曲作者、樂手、技師等音樂工作者收入銳減的問題。 著作權流通是音樂產業持續創造收益的重要機制，但現有數位版權管理機制及訂價策略反而阻卻了音樂消費者合法付費下載的意願。現行著作權授權制度未盡完善，仲介團體各自為政形成多頭馬車，其提供的授權方式未符利用人需求，雙方屢生紛爭。海外利用未能確立國際徵收機制，著作權人無法享受到相關收益。 大陸市場看似極具發展潛力，但卻不易進入，一方面當地著作權授權制度未與國際接軌，未能提供台灣詞曲創作者與版權公司充分保障與使用收益，另一方面，中國市場幅員廣大，欲提高藝人能見度與所需的行銷策略，將有別於台灣市場。

本論文旨在探討兩種主要的網路資料傳輸技術：主從式傳輸技術與點對點式交換技術對於音樂產業智慧財產權的影響。選定音樂產業作為研究對象，係因音樂產業自從mp3音樂壓縮格式風行以來，其高品質與高壓縮比例的特性，使音樂出版品不斷遭到非法重製，著作權人的權益也因此不斷遭到侵害。檢視此一事件的來龍去脈，並嘗試從中學習教訓，以求一可行的經營模式，是本論文要進一步探討的。 　　本研究主要研究問題如下： 　　一、美國法律增修條文、新增法案、與最新判例對於音樂出版產業智慧財產權的保護方向為何？ 　　二、依據網路傳輸技術與電腦軟體之特性，政府部門應如何對智慧財產權加以保護與管理，以鼓勵學術與藝術創新，並兼顧相關產業與技術發展？ 　　三、新創事業應如何規劃與執行其商業模式中的智慧財產權策略，以避免可能的訴訟風險？ 　　四、傳統音樂出版產業面臨新科技與新商業模式的挑戰，應如何達成互利雙贏的局面？ 　　本研究主要分析對象為美國與國內線上音樂服務廠商：MP3.com、Napster、飛行網、與ezPeer等四家公司，就其對於傳統音樂產業體系的衝擊與影響加以探討，並提出具體策略建議。選擇這些公司的主要原因有以下幾點： 　　一、營模式包含企業對個人(B to C)與個人對個人(C to C)兩種。 　　二、研究對象都是藉由應用網際網路之科技創新而興起。 　　三、音樂下載服務仰賴上游供應商程度極深。 　　四、音樂下載服務對供應商的經營管理造成重大影響。 　　五、研究對象均可能或已經面臨智慧財產侵權訴訟。 　　本研究之研究方法以文獻與個案分析為主。資料來源有三：第一為網站直接觀察，第二為電子郵件來往與直接訪談方式，第三則為次級資料蒐集。依研究過程與研究發現。本研究結論如下： 　　一、政府部門應加緊著作權法修正案立法腳步，以補足目前對輔助侵害與代理侵害規範不足之處。 　　二、智慧財產權法律知識與法律行動準備方面，國外個案公司較國內個案公司相對充分。 　　三、音樂產業可行的經營模式之一，是整合豐富內容、互動交流、與加值服務的數位音樂平台，而最有能力整合的，是既有資源豐富的傳統音樂出版（唱片）業者。 　　本研究以個案探討方式進行，研究方法屬於內容分析。但因為議題新穎、科技演變迅速，探討身賭與廣度難免有所偏頗或不足之處。展望未來，數位內容產業（按經濟部的定義，數位內容產業包含軟體、電子遊戲、媒體、出版、音樂、動畫、網路服務等領域）已成為政府「兩兆雙星」重點發展產業之一，後續研究可廣泛地就數位內容產業智慧財產權保護與管理進一步研究。 / This research is to discover the impacts of the two major internet data communication protocols, which are client-server and peer-to peer technology, on the intellectual property rights (IPR) of the music publication (recording) industry. The purpose of choosing this theme was that the popular audio file compressing technology, ISO-MPEG audio layer-3, mp3, has changed our daily life dramatically. The features of high audio quality and high compressing capability, accompanying with client-server and peer-to-peer technology, are accelerating illegally duplicating of those songs and all the other audio publications, and such abusing of technology has been infringe on copyrighters’ privilege since the debut day of the technology. To review all the related events, to attempt to gather some lessons learned, and to develop a possible business model, are the efforts to which we want to contribute. 　　There are four major issues of this thesis: 　　1.What has been exposed beyond the latest related IPR laws, acts, and cases in the States about the protection on copyrights of the music publication industry? 　　2.Regarding to the characters of internet and information technology, how congress, government, court, and law enforcement agency could do to encourage innovations of technology, industry and economy growth, and protect IPR? 　　3.How should start-ups plan and execute their business model and IPR associated strategy to avoid the risk of possible IPR related lawsuit? 　　4.Facing the challenge of new technology and business model, what can recording industry do to construct a win-win situation? 　　Four online music service providers in the U.S. and Taiwan have been chosen, which are MP3.com, Napster, Fashionow, and ezPeer. We seek to depict the impacts on current recording industry, and attempts to develop a solid strategy. The reasons of choosing these companies are: 　　1.Their business models consist of two typical categories, which are Business to Customer and Customer to Customer, 　　2.All these start-ups applied internet and information technology, and 　　3.They are no doubt a threat to recording and are or are facing going to face IPR lawsuits 　　The methodology of this research is content analysis, and the materials were gathered form: website evaluating, interview with the users, and secondary data collecting. The conclusions are: 　　1.(Taiwanese) Government should accelerate the progress of modifying copyright law to regulate contributory and vicarious infringement. 　　2.The U.S. subjects are better prepared for IPR laws and affairs than Taiwanese ones. 　　One feasible business model for recording industry is a “Digital Music Platform,” combining with a variety of content, interactive communication, and value-added services. Companies in current recording industry, with profuse resources, are certainly the best candidates.

「知識經濟」時代裡，知識透過流通而生成更多文化資產帶給人類價值。知識，向來就是共有共享的。但起自智慧財產權出現後，開始出現知識私有、知識買賣的情形出現。難道，是著作權(copyright)戰勝了著作義(Copyleft)？近年來全球掀起一片「告！告！告！」的熱潮，無論是美國的Napster訴訟案，還是台灣的「成大MP3」事件；還是微軟在美國的反托拉斯訴訟，或是在台灣面臨合理議價調查，都顯示「著作權」引發的相關問題蔓延全世界。 本研究將知識/文化商品視為資訊資本主義社會的生產工具，並且探討當「智慧」變成「財產」時，資本主義、國家機器爭權奪利的過程中出現的問題與爭議。研究者先就著作權的政治經濟脈絡耙梳出「著作權」不是「道德問題」，而是「經濟問題」，更是國際關係中藉以制衡弱勢小國的利器。 實證部分以1960-2002年間台灣著作權發展過程中三個衝突事件為例，包括1960年代的《大英百科全書》翻印風波、1980年代的「蘋果電腦侵權事件」，及1990年代跨國公司進入後的台灣流行音樂產業作為個案，具體驗證台灣著作權發展過程中，的確受到資本主義與國家機器及國際依賴關係的影響。最終以近年來網際網路發展蓬勃，連帶引出的著作權爭議作結，本研究除了對台灣著作權的政治經濟發展提出看法外，亦在結論中對知識/文化產業，及著作權規範的未來發展提出意見。 / Under knowledge-based economy, knowledge brings more value to human beings by spreading and then generating cultural properties. Although sharing is the essential characteristic of knowledge, there have been some arguments that knowledge is private and knowledge can be traded after the idea of intellectual property rights emerged. Does it mean Copyrights overtops “Copyleft”? In recent years, there have been more and more lawsuits related to copyrights such as Napster vs. RIAA in 1999 in the US, and IFPI vs. NCKU MP3 lawsuit in 2001 in Taiwan. Moreover, Microsoft, the worldwide leading software company, also faced US federal government’s antitrust violations prosecution, and rational price investigation by Taiwan government. All these cases indicate that copyright has caused problems all over the world. This thesis regards both the knowledge and cultural products as the producing tools of information capitalism society. It also discussed the conflicts between Capitalism and state apparatuses when “knowledge” became “property.” By examining the context of political economy in intellectual property, the author achieved two conclusions. First of all, the copyright is not a moral issue but an economic one. Secondly, in international society, copyrights have been the weapon for powerful nations to control the powerless ones. We cited three copyright conflicts in Taiwan from 1960-2002, including the reprint issue of Encyclopaedia Britannica in the 1960s, copyright violation case of Apple Computer in the 1980s, and the international pop music piracy disputes in the 1990s, the author made an empirical research to conclude that the development of copyright in Taiwan indeed was affected by the capitalism, the state apparatuses, and the international interdependency. This thesis ended with the prospective copyright issues originated from the burgeoning Internet industry. Not only did the research indicate some suggestions regard to the development of political economy in copyright, also made comments about the future development of knowledge/culture industry’s copyright regulation.

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.

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.

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.