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.