Mobile music applications are becoming commonplace around the world, and mobile devices are used as digital instruments everywhere. Controlling, performing, or composing music in real time with these devices encourages collaboration and interaction, as telecommunication improvements allow many people to cooperate through local networks or the Internet. In this context, the aim of this thesis is to evaluate mobile technologies that might be suitable for mobile musicians and their audiences while performing or composing. Specifically, the main goal is to explore technologies for collaborative mobile music and to obtain quantitative and qualitative data regarding these technologies and their settings, so that composers might take full advantage of the available options for mobile applications. This evaluation focuses on message exchange using Multicast, Unicast, and Cloud Services, using academic networks as the main pathway. With these services, messages are organized as packet streams, characterized by different sizes and time intervals. Evaluation also includes the development of several applications that make use of these technologies running on Android devices and web browsers. These applications were used in actual performances, serving as both evaluation tools and experimental music instruments. The results were analyzed in terms of round trip time and data loss under very different configuration scenarios, demonstrating that although some obvious impediments are unavoidable (e.g. significant delays in international settings), it is possible to choose the specific technology and achieve interesting results under most music application scenarios. I argue that although in theory Multicast appears to be the best technology to use by far, it is the most difficult to implement due to the burden of configuring every step of the network pathway. On the other hand, Cloud Services are certainly slower than direct connections, but are the most compatible and easiest technology to set up, and are definitely suitable for many collaborative music experiences. To conclude, there is a discussion of how mobile music practitioners can take advantage of these results for composition and performance by considering specific technological advantages or drawbacks that are inherent to each technology and setting. / Aplicações de Música Móvel estão se tornando populares ao redor do mundo e dispositivos móveis estão sendo utilizados como instrumentos musicais em diversos lugares. Controlar, apresentar ou compor música em tempo real com estes dispositivos estimula a colaboração e a interação, e os avanços nas telecomunicações permitem a um grande número de pessoas cooperar musicalmente através de redes locais ou da Internet. Neste contexto, o objetivo desta tese é avaliar as tecnologias móveis que podem ser úteis para músicos e público na performance ou na composição. De maneira mais específica, o objetivo principal é explorar as tecnologias para Música Móvel colaborativa e obter resultados quantitativos e qualitativos referentes a estas tecnologias e suas configurações, de modo que compositores possam usufruir de todas as vantagens das opções para aplicações móveis. Esta avaliação enfoca a troca de mensagens através de Multicast, Unicast e Serviços em Nuvem utilizando redes de computadores acadêmicas como principal caminho. Através destes serviços as mensagens foram organizadas como fluxos de pacotes caracterizados por diversos tamanhos e intervalos entre envios. A avaliação também inclui o desenvolvimento de diversas aplicações fazendo uso destas tecnologias para dispositivos Android e navegadores Web, que foram utilizados em performa música móvel, computação musical, redes de computadores, serviços de nuvens

Mobile music applications are becoming commonplace around the world, and mobile devices are used as digital instruments everywhere. Controlling, performing, or composing music in real time with these devices encourages collaboration and interaction, as telecommunication improvements allow many people to cooperate through local networks or the Internet. In this context, the aim of this thesis is to evaluate mobile technologies that might be suitable for mobile musicians and their audiences while performing or composing. Specifically, the main goal is to explore technologies for collaborative mobile music and to obtain quantitative and qualitative data regarding these technologies and their settings, so that composers might take full advantage of the available options for mobile applications. This evaluation focuses on message exchange using Multicast, Unicast, and Cloud Services, using academic networks as the main pathway. With these services, messages are organized as packet streams, characterized by different sizes and time intervals. Evaluation also includes the development of several applications that make use of these technologies running on Android devices and web browsers. These applications were used in actual performances, serving as both evaluation tools and experimental music instruments. The results were analyzed in terms of round trip time and data loss under very different configuration scenarios, demonstrating that although some obvious impediments are unavoidable (e.g. significant delays in international settings), it is possible to choose the specific technology and achieve interesting results under most music application scenarios. I argue that although in theory Multicast appears to be the best technology to use by far, it is the most difficult to implement due to the burden of configuring every step of the network pathway. On the other hand, Cloud Services are certainly slower than direct connections, but are the most compatible and easiest technology to set up, and are definitely suitable for many collaborative music experiences. To conclude, there is a discussion of how mobile music practitioners can take advantage of these results for composition and performance by considering specific technological advantages or drawbacks that are inherent to each technology and setting. / Aplicações de Música Móvel estão se tornando populares ao redor do mundo e dispositivos móveis estão sendo utilizados como instrumentos musicais em diversos lugares. Controlar, apresentar ou compor música em tempo real com estes dispositivos estimula a colaboração e a interação, e os avanços nas telecomunicações permitem a um grande número de pessoas cooperar musicalmente através de redes locais ou da Internet. Neste contexto, o objetivo desta tese é avaliar as tecnologias móveis que podem ser úteis para músicos e público na performance ou na composição. De maneira mais específica, o objetivo principal é explorar as tecnologias para Música Móvel colaborativa e obter resultados quantitativos e qualitativos referentes a estas tecnologias e suas configurações, de modo que compositores possam usufruir de todas as vantagens das opções para aplicações móveis. Esta avaliação enfoca a troca de mensagens através de Multicast, Unicast e Serviços em Nuvem utilizando redes de computadores acadêmicas como principal caminho. Através destes serviços as mensagens foram organizadas como fluxos de pacotes caracterizados por diversos tamanhos e intervalos entre envios. A avaliação também inclui o desenvolvimento de diversas aplicações fazendo uso destas tecnologias para dispositivos Android e navegadores Web, que foram utilizados em performances reais, servindo tanto como ferramentas de avaliação quanto como instrumentos para música experimental. Os dados são analisados com relação ao tempo de ida-e-volta e perda de pacotes em diferentes configurações de cenário, demonstrando que apesar de alguns impedimentos óbvios serem incontornáveis (como o longo atraso em configurações internacionais, por exemplo), é possível escolher tecnologias adequadamente e alcançar resultados interessantes em muitos cenários de aplicações musicais. Argumento que apesar de em teoria o Multicast se apresentar de longe como a melhor tecnologia para estes cenários, ele é o mais difícil de ser implementado devido à grande complexidade na configuração de cada parte da rede para seu uso. Por outro lado, Serviços em Nuvem são certamente mais lentos, porém se apresentam como os mais compatíveis e fáceis de configurar, sendo definitivamente os mais adequados para muitas experiências de música colaborativa. Em conclusão, discuto como profissionais de Música Móvel podem se aproveitar dos resultados apresentados, considerando as vantagens e desvantagens tecnológicas específicas que são inerentes a cada tecnologia ou configuração quando utilizada em performances e composições musicais.

Esta tese de doutorado tem como base uma pesquisa exploratória que investigou as possibilidades e os elementos envolvidos na utilização de dispositivos móveis de consumo (consumer mobile devices) como ferramentas para atividades musicais. Dispositivos móveis comuns de informação e comunicação – telefones celulares, smartphones e computadores de mão – têm incorporado cada vez mais funcionalidades através do fenômeno da convergência, e tendem a se tornar plataformas de computação móvel genérica. Neste sentido, seu uso na música já vem sendo investigado por outros pesquisadores, tendo sido inclusive proposta uma área própria de pesquisa denominada Mobile Music (música em dispositivos móveis). Entretanto o tema ainda é emergente, justificando a abordagem exploratória adotada aqui. Os trabalhos existentes apresentam soluções específicas, havendo a necessidade de uma proposta de organização de conceitos gerais e de fundamentação para o design de interação nesta área. Do ponto de vista da área de Interação Humano-Computador, um problema central neste contexto é como realizar o design de interação de um sistema para atividades musicais que envolve dispositivos móveis não-específicos, ou seja, que não foram projetados originalmente para tarefas musicais. É o que identificamos neste trabalho como o problema do “reaproveitamento de dispositivos” (device repurposing). A solução envolve não modificar os dispositivos, e sim encontrar maneiras próprias e variadas (alternativas) de manipular dados e informações musicais utilizando os recursos já existentes nos aparelhos. Além disso, o design da interação musical não deve considerar apenas o paradigma instrumental – baseado na interação com instrumentos musicais tradicionais – mas sim incluir no espaço de design outros paradigmas de interação, muitos deles originados e já adotados na área de Computação Musical. Neste trabalho, esses diversos paradigmas ou formas de interação musical são identificados e formalizados como proto-patterns de interação. A coleta e o refinamento dos patterns foi possível por meio de uma metodologia exploratória baseada na experiência de desenvolvimento de vários protótipos musicais móveis, e que incluiu também uma extensa revisão bibliográfica e a análise de sistemas existentes. O resultado deste processo foi organizado na forma de uma infraestrutura composta por conceitos e princípios, patterns de interação e ferramentas para o apoio ao design de sistemas interativos musicais envolvendo dispositivos móveis de consumo. / The present thesis is an exploratory research on the possibilities and on the elements that may be relevant for making use of consumer mobile devices as tools for musical activities. Ordinary mobile information and communication devices – cell phones, smartphones, and PDAs – have been integrating more and more functionalities as a result of the “convergence” phenomenon. Today, these devices also tend to become generic mobile computing platforms. In this sense, their use in musicmaking is already being studied by other researchers, and even a specific research field has been proposed, called Mobile Music. Nevertheless, this topic is still emergent, which is the reason for adopting an exploratory approach in this thesis. Current papers tend to present particular solutions, and thus there is a need for proposals that deal with organizing general concepts, and also with the foundations for interaction design within this new field. From the perspective of Human-Computer Interaction, a basic problem in such context is how to carry out the interaction design of a system for musical activities which involves non-specific mobile devices. That is, these devices were not originally designed for musical tasks. This is what we identify in this work as the “device repurposing” problem. The answer lies not on adapting the device, but on finding unique and multiple (i.e., alternative) ways to manipulate data and musical information by using the features that the devices already provide. Additionally, musical interaction design should not consider just the instrumental paradigm – based on interaction with traditional musical instruments – but should also include other interaction models in the design space, most of which are well-known in the Computer Music domain. In this thesis, those various models or paradigms of musical interaction are identified and formalized as interaction design proto-patterns. Collecting and refining these patterns was made possible through an exploratory methodology, based on the experience of developing several mobile music prototypes, and which also included an extensive literature review and the analysis of existing systems. The product of this research was combined into an infrastructure, composed of concepts and principles, interaction design patterns, and tools, to support the design of interactive musical systems which involve consumer mobile devices.

Esta tese de doutorado tem como base uma pesquisa exploratória que investigou as possibilidades e os elementos envolvidos na utilização de dispositivos móveis de consumo (consumer mobile devices) como ferramentas para atividades musicais. Dispositivos móveis comuns de informação e comunicação – telefones celulares, smartphones e computadores de mão – têm incorporado cada vez mais funcionalidades através do fenômeno da convergência, e tendem a se tornar plataformas de computação móvel genérica. Neste sentido, seu uso na música já vem sendo investigado por outros pesquisadores, tendo sido inclusive proposta uma área própria de pesquisa denominada Mobile Music (música em dispositivos móveis). Entretanto o tema ainda é emergente, justificando a abordagem exploratória adotada aqui. Os trabalhos existentes apresentam soluções específicas, havendo a necessidade de uma proposta de organização de conceitos gerais e de fundamentação para o design de interação nesta área. Do ponto de vista da área de Interação Humano-Computador, um problema central neste contexto é como realizar o design de interação de um sistema para atividades musicais que envolve dispositivos móveis não-específicos, ou seja, que não foram projetados originalmente para tarefas musicais. É o que identificamos neste trabalho como o problema do “reaproveitamento de dispositivos” (device repurposing). A solução envolve não modificar os dispositivos, e sim encontrar maneiras próprias e variadas (alternativas) de manipular dados e informações musicais utilizando os recursos já existentes nos aparelhos. Além disso, o design da interação musical não deve considerar apenas o paradigma instrumental – baseado na interação com instrumentos musicais tradicionais – mas sim incluir no espaço de design outros paradigmas de interação, muitos deles originados e já adotados na área de Computação Musical. Neste trabalho, esses diversos paradigmas ou formas de interação musical são identificados e formalizados como proto-patterns de interação. A coleta e o refinamento dos patterns foi possível por meio de uma metodologia exploratória baseada na experiência de desenvolvimento de vários protótipos musicais móveis, e que incluiu também uma extensa revisão bibliográfica e a análise de sistemas existentes. O resultado deste processo foi organizado na forma de uma infraestrutura composta por conceitos e princípios, patterns de interação e ferramentas para o apoio ao design de sistemas interativos musicais envolvendo dispositivos móveis de consumo. / The present thesis is an exploratory research on the possibilities and on the elements that may be relevant for making use of consumer mobile devices as tools for musical activities. Ordinary mobile information and communication devices – cell phones, smartphones, and PDAs – have been integrating more and more functionalities as a result of the “convergence” phenomenon. Today, these devices also tend to become generic mobile computing platforms. In this sense, their use in musicmaking is already being studied by other researchers, and even a specific research field has been proposed, called Mobile Music. Nevertheless, this topic is still emergent, which is the reason for adopting an exploratory approach in this thesis. Current papers tend to present particular solutions, and thus there is a need for proposals that deal with organizing general concepts, and also with the foundations for interaction design within this new field. From the perspective of Human-Computer Interaction, a basic problem in such context is how to carry out the interaction design of a system for musical activities which involves non-specific mobile devices. That is, these devices were not originally designed for musical tasks. This is what we identify in this work as the “device repurposing” problem. The answer lies not on adapting the device, but on finding unique and multiple (i.e., alternative) ways to manipulate data and musical information by using the features that the devices already provide. Additionally, musical interaction design should not consider just the instrumental paradigm – based on interaction with traditional musical instruments – but should also include other interaction models in the design space, most of which are well-known in the Computer Music domain. In this thesis, those various models or paradigms of musical interaction are identified and formalized as interaction design proto-patterns. Collecting and refining these patterns was made possible through an exploratory methodology, based on the experience of developing several mobile music prototypes, and which also included an extensive literature review and the analysis of existing systems. The product of this research was combined into an infrastructure, composed of concepts and principles, interaction design patterns, and tools, to support the design of interactive musical systems which involve consumer mobile devices.

Esta tese de doutorado tem como base uma pesquisa exploratória que investigou as possibilidades e os elementos envolvidos na utilização de dispositivos móveis de consumo (consumer mobile devices) como ferramentas para atividades musicais. Dispositivos móveis comuns de informação e comunicação – telefones celulares, smartphones e computadores de mão – têm incorporado cada vez mais funcionalidades através do fenômeno da convergência, e tendem a se tornar plataformas de computação móvel genérica. Neste sentido, seu uso na música já vem sendo investigado por outros pesquisadores, tendo sido inclusive proposta uma área própria de pesquisa denominada Mobile Music (música em dispositivos móveis). Entretanto o tema ainda é emergente, justificando a abordagem exploratória adotada aqui. Os trabalhos existentes apresentam soluções específicas, havendo a necessidade de uma proposta de organização de conceitos gerais e de fundamentação para o design de interação nesta área. Do ponto de vista da área de Interação Humano-Computador, um problema central neste contexto é como realizar o design de interação de um sistema para atividades musicais que envolve dispositivos móveis não-específicos, ou seja, que não foram projetados originalmente para tarefas musicais. É o que identificamos neste trabalho como o problema do “reaproveitamento de dispositivos” (device repurposing). A solução envolve não modificar os dispositivos, e sim encontrar maneiras próprias e variadas (alternativas) de manipular dados e informações musicais utilizando os recursos já existentes nos aparelhos. Além disso, o design da interação musical não deve considerar apenas o paradigma instrumental – baseado na interação com instrumentos musicais tradicionais – mas sim incluir no espaço de design outros paradigmas de interação, muitos deles originados e já adotados na área de Computação Musical. Neste trabalho, esses diversos paradigmas ou formas de interação musical são identificados e formalizados como proto-patterns de interação. A coleta e o refinamento dos patterns foi possível por meio de uma metodologia exploratória baseada na experiência de desenvolvimento de vários protótipos musicais móveis, e que incluiu também uma extensa revisão bibliográfica e a análise de sistemas existentes. O resultado deste processo foi organizado na forma de uma infraestrutura composta por conceitos e princípios, patterns de interação e ferramentas para o apoio ao design de sistemas interativos musicais envolvendo dispositivos móveis de consumo. / The present thesis is an exploratory research on the possibilities and on the elements that may be relevant for making use of consumer mobile devices as tools for musical activities. Ordinary mobile information and communication devices – cell phones, smartphones, and PDAs – have been integrating more and more functionalities as a result of the “convergence” phenomenon. Today, these devices also tend to become generic mobile computing platforms. In this sense, their use in musicmaking is already being studied by other researchers, and even a specific research field has been proposed, called Mobile Music. Nevertheless, this topic is still emergent, which is the reason for adopting an exploratory approach in this thesis. Current papers tend to present particular solutions, and thus there is a need for proposals that deal with organizing general concepts, and also with the foundations for interaction design within this new field. From the perspective of Human-Computer Interaction, a basic problem in such context is how to carry out the interaction design of a system for musical activities which involves non-specific mobile devices. That is, these devices were not originally designed for musical tasks. This is what we identify in this work as the “device repurposing” problem. The answer lies not on adapting the device, but on finding unique and multiple (i.e., alternative) ways to manipulate data and musical information by using the features that the devices already provide. Additionally, musical interaction design should not consider just the instrumental paradigm – based on interaction with traditional musical instruments – but should also include other interaction models in the design space, most of which are well-known in the Computer Music domain. In this thesis, those various models or paradigms of musical interaction are identified and formalized as interaction design proto-patterns. Collecting and refining these patterns was made possible through an exploratory methodology, based on the experience of developing several mobile music prototypes, and which also included an extensive literature review and the analysis of existing systems. The product of this research was combined into an infrastructure, composed of concepts and principles, interaction design patterns, and tools, to support the design of interactive musical systems which involve consumer mobile devices.

In recent years, there has been extended research on the Big Five and social media, especially Facebook. Snapchat, a fast-growing photo-sharing app, has however not been thoroughly researched yet. This paper aimed at closing this research gap and at investigating the relationship between the Big Five personality traits and Snapchat users and nonusers. Additionally, it researched the potential of the app to advertise new music published by music labels. The sample consisted of 124 self-selected Snapchat users and non-users (94 Snapchat users and 30 Snapchat non-users), between the ages of 18 and 55. Approximately 53% of the participants were from Sweden, 24% from Germany and the rest from other countries. Participants were asked to complete an online questionnaire comprising the Big Five Inventory and demographic questions. Snapchat users also completed a Snapchat usage questionnaire. Additionally, a short interview about Snapchat was held with a representative of a music label. The results showed that there are only minor differences between Snapchat users and non-users regarding the Big Five personality traits. However, male Snapchat users tend to be more open to new experiences. The usage of specific Snapchat features could be connected to more extraverted, neurotic and conscientious individuals. The overall interest for musicrelated content on Snapchat was rather low. Therefore, Snapchat can be used as a complementary marketing action to raise awareness, but cannot stand alone. / Under de senaste åren har det gjorts utökad forskning om Big Five och sociala medier, särskilt Facebook. Snapchat, en snabb växande bilddelning app, har dock inte undersökts noggrant. Detta examensarbete syftade till att undersöka det outforskade området kring förhållandet mellan Big Five personlighetsdrag och Snapchat-användare och icke- användare. Dessutom undersökte den möjligheten för skivbolag att annonsera ny musik i appen. Urvalet bestod av 124 självvalda Snapchat-användare och icke-användare (94 Snapchat-användare och 30 Snapchat-icke-användare), mellan 18 och 55 år. Ungefär 53% av deltagarna var från Sverige, 24% från Tyskland och resten från andra länder. Deltagarna blev ombedda att fylla i ett online frågeformulär som omfattade Big Five Inventory och demografiska frågor. Snapchat-användare slutförde också ett Snapchat-användningsformulär. Dessutom hölls en kort intervju om Snapchat med en representant från ett skivbolag. Resultaten visade att det endast finns mindre skillnader mellan Snapchatanvändare och icke-användare angående Big Five-personlighetsdragen. Manliga Snapchat-användare tenderar att vara mer öppna för nya upplevelser. Användningen av specifika Snapchat-funktioner kan kopplas till mer extravert, neurotiska och samvetsgranna individer. Det övergripande intresset för musikrelaterat innehåll på Snapchat var ganska lågt. Därför kan Snapchat användas som en kompletterande marknadsföringsåtgärd för att öka medvetenheten, men inte som enda marknadsföringsåtgärd.

This research aims at a music piece for audience participation using mobile phones as musical instruments in a music concert setting. Inspired by the ubiquity of smart phones, I attempted to accomplish audience engagement in a music performance by crafting an accessible musical instrument with which audience can be a part of the performance. The research begins by reviewing the related works in two areas, mobile music and audience participation at music performances, builds a charted map of the areas and its intersection to seek an innovation, and defines requisites for a successful audience participation where audience can participate in music making as musicians with their mobile phones. To make accessible audience participation, the concept of a networked multi-user instrument is applied for the system. With the lessons learnt, I developed echobo, a mobile musical instrument application for iOS devices (iPhone, iPad and iPod Touch). With this system, audience can download the app at the concert, play the instrument instantly, interact with other audience members, and contribute to the music by sound generated from their mobile phones. A music piece for echobo and a clarinet was presented in a series of performances and the application was found to work reliably and accomplish audience engagement. The post-survey results indicate that the system was accessible, and helped the audience to connect to the music and other musicians.

Mobile media OTT service such as mobile music and mobile video is believed to be the next big revenue driver for mobile operator’s mobile broadband business. The media industry is willing to take mobile distribution channel to increase the content value. In Europe, there are already several successful cooperation cases between online media service provider and mobile operator, such as Spotify and Telia. However, with more complicated market and business environment in China, the mobile media services are still under development with immature business models.This thesis report aims to identify the business models of mobile media services in Europe and China, and to give business solution and strategic recommendation after analysis on actors, business roles, resources and activities using several business model theories. Six interviews have been done with industrial people from mobile network operator, online media service provider and TV channel in Sweden and China. With Spotify and Telia cooperation as the major part of case study in Europe market, data was gathered through business intelligent reports and interviews in Sweden. Six elements of business model theory from Chesbrough & Rosenbloom are used to conduct business model analysis onTelia-Spotify case. The result shows that Spotify play a joint connection role between tons of content from music insustry and mobile connection provider Telia, delivering value of good user experience and brand. Telia put the value of network, billing capability and user resource in the partnership with Spotify and benefit from the differentiated mobile broadband service, in terms of incearsing customer experience and reducing churn rate. TV4 case is investigated to analyze thebusiness development of mobile video in Europe. The result shows that there are two obstacles when delivering TV content to mobile device from TV channel’s perspective. One is that there is no way to measure the advertisement rate on mobile device, the other is that it is difficult to do localized advertisement program on mobile network. In the business model analysis in China, actors from mobile operator, state-owned media group and Internet company are identified as well as their activities in mobile media service. ARA model theory is used to analyze the value network and give the clear map of different actors’relations. The result shows that mobile media service in China has different situation in platform development, partnership with labels, service provider organization property and revenue model. Chinese mobile operators as state-owned companies develop mobile media service platform ontheir own instead of cooperation with service provider to avoid political and finance risk. They have direct partnership with content provider and give 50% of media OTT service revenue to content provider. The pirate rate of music in China is high, which result in very little willingness to pay for the music streaming service. Internet companies can build freemium service model with both licensed music content and content from illegal aggregators on advertising revenue model. However in online video area, Chinese government have implement strict regulatory to protect the copyright of video content. The major part of online video service providers’ revenueis also advertising, but with only licensed video content. The main factor that makes the different business environment between Europe and China is that the state-owned economy force in China plays important role in mobile media area. State owned mobile operators take the most business roles in mobile media service, which makes the possibility to cooperate with Spotify-like Internet companies is low. The first patch 3G mobile licenses are only granted to eight state-owned media groups, which are the only possible content providers of mobile operators’ mobile video service. To address the problem of cooperation inbetween mobile operators and Internet companies, to setup joint venture is the recommended solution. High customer satisfied service platform should be developed to enlarge the value of service. The recognized service value will lower the piracy rate and make the subscription revenue model possible.

Since the introduction of the Walkman in the 1980s, an increasing amount of people are using mobile music devices in our urban environments. The research on the sociological aspects of this phenomenon has become known as the ‘iPod culture’. It describes people aestheticising these noisy urban environments by replacing them with mobile music listening, which presents obvious benefits regarding personal entertainment and wellbeing. However, some studies have revealed several cases of users experiencing social isolation as a consequence of using mobile music devices. Therefore, this study explores the problem of designing a user experience that can provide the appealing qualities of mobile music listening while simultaneously enabling spatial and social awareness of the urban environment. The study explores this problem by applying a methodology inspired by research through design, involving an iterative design process centred around the design of a mobile reactive music prototype application, which was eventually named Reactiscape. To validate and evaluate the success of the prototype design, different stakeholders have been involved throughout the entire design process. The results show that the users experienced a stronger connection to the urban soundscape when using Reactiscape, while still maintaining a musically appealing user experience. In a broader sense, these results indicate that novel mobile technology design has every opportunity to increase real world social interaction, rather than being a source of social isolation.

從1G、2G到3G，行動通訊技術快速發展，以往單純的語音通訊服務，逐漸演變至資料傳輸、多媒體應用，行動服務日趨多元，「內容」在行動通訊服務中所扮演的角色愈加重要。是故，電信業者無不積極發展內容相關商品。然而，這類產品的開發往往牽涉到不同領域的專業（如美工、音樂、文化創意、科技、社會、政治等），因此，吾人可以預期這些廠商勢必需要藉用大量的外部資源才能適時地推出內容商品。 在目前的行動內容服務當中，由於手機鈴聲能彰顯與眾不同的個人特色，且越來越多手機支援播放數位音樂的功能，因此，行動音樂一直以來都是最受消費者歡迎的行動加值服務，也是各家電信業者除了語音通訊之外最大的營收來源之一。然而，過去的研究重點往往著重在電信產業相關業者發展策略、關鍵成功因素等策略層面的探討，對於行動加值服務新產品開發實務歷程的研究則較少著墨。故本研究針對我國電信業者行動加值服務的「新產品發展」進行研究，以行動音樂商品為例，試圖以較為整體性的架構，探討其新產品發展之相關議題，期能對於「外部導向的產品創新管理」方面，提供一些實務上與學理上的貢獻。 本研究之研究問題有四：1.我國電信業者發展行動加值服務的策略性資源為何？2.我國電信業者在行動加值服務發展過程當中的價值網絡為何？3.我國電信業者開發行動加值服務過程中，運用內外部資源的機制為何？4.我國電信業者行動加值服務的新產品策略與開發流程為何？ 透過深度訪談電信業者，並配合相關次級資料蒐集與整理，進行彙整及分析之後，本研究獲得以下之主要結論：1.就策略性資源而言，電信業者掌握行動音樂服務之通路。2.電信業者建構之策略性資源與原有資源具有相關性。3.就新產品發展策略而言，行動音樂發展重點仍在於「強化現有行動用戶忠誠度」。4.電信業者委外動機與型態會影響其新產品發展。 / From 1G, 2G to 3G, the technology of telecommunication developed rapidly. The voice communication service gradually evolved towards the data transmission and the multimedia application and the mobile content services become much more important and diversified than before. Accordingly, tele-operators develop content products actively. However, the development of these products involves with many kinds of knowledge, such as fine art, music, programming, etc. Thus, we would expect that the enterprises have to utilize external resources to develop products timely. Because many cell phones provide functions of digital music and ring tones can show forth users’ characteristics, therefore, the mobile music becomes one of the most popular service product. However, most of the past studies focused on strategy rather than new product development. Thus, we focus on the new product development of mobile value-added services in the research. The study aims to investigate the questions: 1. What are the strategic resources for developing mobile value-added services? 2. What is the value network to develop mobile value-added services? 3. What is the mechanism of utilizing external resources in the process of new product development? 4. What are the new product strategy and process of developing mobile value-added services? The study takes mobile music as an example to explore how tele-operators can accumulate enterprise resources and better utilize external resources for developing value-added services. This study applies the deep interview method of qualitative research and secondary data analysis to study tele-operators in Taiwan. The preliminary research findings include: 1.The major marketing purpose of tele-operators’ developing mobile music is to reinforce the loyalty of existing customers. 2. What tele-operators dominate in the mobile music business is the channel. 3. The new strategic resources which the tele-operators build in the mobile music business is highly related to those existed before. 4. What motivates tele-operators to outsource will affect their ways of new product development.