由節拍旋律到娛樂商品：台灣流行音樂產業產銷結構轉變研究

Abstract

流行音樂是依循產製╱發行╱消費的經濟邏輯，不論生產、製作、行銷都是依照市場經濟的考量，透過這些過程流行音樂的商業利益將充分發揮，因此，「市場」因素的考量，成為影響流行音樂製作和配銷的重要關鍵。國內市場消費型態的改變以及銷售數據的滑落，讓唱片公司成立合法音樂下載機制、執行專輯改版、藝人投資策略改變、以及授權數位音樂等，加上海外市場的重要性提升，尤其是大陸市場方面的影響力越來越明顯，上述產銷機制的調整證明台灣的流行音樂產業正處於一個轉折點。

本文欲從流行音樂產業的產銷機制出發，檢視九０年代產業國際化下所建構的，並且讓台灣成為華文音樂中心的產業樣貌，在面臨1998年後的產值滑落，以及整體產業環境的改變，不論是科技的衝擊，或是大陸市場的吸納，流行音樂產業為因應生存之要求及相關條件下，在產銷結構運作上所有的轉變與調整。在建構出音樂產業產銷結構主要由產製、流通與配售三大活動支配構成後，本文以年代（1990-1997與1998以降）為分割章節的經線，產銷結構為行文架構的緯線，並將市場形構納入討論，縱橫構論兩年代的產銷結構內涵，以結論出現今產業所行的的產銷策略，瞭解產業產銷結構的調整主要有哪些，對於整體產業的影響和定位又為何。

The economy logic of popular music industry is production, distribution and consumption. “Market” is always the central concern in this capital procedure, and also the key factors of production and marketing. With the changes of consumption habits and market recession, recording companies found the legal music downloading mechanism, re-version albums, change talents strategies and authorize the digitalization of music. Besides, the overseas market, especially mainland China, is getting more and more important. The transformation of popular music production and marketing shows that the industry is in a turning point.

This research starts from the mechanism of production and marketing of popular music, found in the internationalization process of 1990s. It examines how the industry adjusts its capital structure to overcome the market slump since 1998 and the competition of mainland China market. Production, circulation and retail are the three main economy activities of popular music. Framed by the tree activities, this research divide the development of popular music industry into two ages:1990~1997 and after 1998. Also, the discussion of market format will be included. In this way, this research aims to conclude the strategy o of contemporary production and marketing, and its overall effect to popular music industry.