| dc.contributor.advisor | 巫立宇 | zh_TW |
| dc.contributor.advisor | Wu, Lei-Yu | en_US |
| dc.contributor.author (Authors) | 袁芷蓮 | zh_TW |
| dc.contributor.author (Authors) | Yuan, Chih-Lien | en_US |
| dc.creator (作者) | 袁芷蓮 | zh_TW |
| dc.creator (作者) | Yuan, Chih-Lien | en_US |
| dc.date (日期) | 2020 | en_US |
| dc.date.accessioned | 3-Aug-2020 17:44:43 (UTC+8) | - |
| dc.date.available | 3-Aug-2020 17:44:43 (UTC+8) | - |
| dc.date.issued (上傳時間) | 3-Aug-2020 17:44:43 (UTC+8) | - |
| dc.identifier (Other Identifiers) | G0107932109 | en_US |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/131029 | - |
| dc.description (描述) | 碩士 | zh_TW |
| dc.description (描述) | 國立政治大學 | zh_TW |
| dc.description (描述) | 經營管理碩士學程(EMBA) | zh_TW |
| dc.description (描述) | 107932109 | zh_TW |
| dc.description.abstract (摘要) | 隨著科技創新與商業模式快速驟變，各式新興科技因應而生，加上人工智慧技術成熟及越來越有深度的大數據資料，促使數位科技與人類生活上面產生了更多的化學變化。音樂，生活中不可或缺的元素，因串流音樂平台的興起而受到一波又一波的衝擊，全球音樂產業被迫轉型，型態變得跟以往不同，也面臨到了很多新的問題。台灣的流行音樂曾是世界華人流行音樂中心，位居亞洲市場第二，但在2000年後逐漸開始下滑，實體音樂也因串流音樂的衝擊出現雪崩式下跌，數位行銷成為現今音樂公司的重點策略。台灣音樂產業正面臨嚴峻挑戰，加上台灣的景氣不佳，導致銷售下降枯竭，面對如此劇變的環境，華語樂壇新人要如何做行銷，音樂公司要如何運用更客觀的數據、更新的傳播行銷方式，破除不理性的行為去影響現今流行音樂產業的新人或團體的不效率決策，在既有的內、外在環境資源條件下，不同的目標如何透過競爭以達到最有效益的成果。本文將以策略行銷分析之四大成本為基礎架構做分析，以華語樂壇新人的身分探討出因應的行銷策略及發展模式，進而推導出研究結論及提出具體的建議，冀望能檢視音樂產業在簽約新人時所須評估的行銷策略為何?來深入分析是否有哪些需要注意的環節未臻思考完善，除了大數據之流量分析之外，還要加上行銷的創意及想像力，給予台灣音樂產業在簽約新人或團體時，能減少失敗增加成功的機會，產生出最好的策略及發展模式。數位時代下，音樂公司須改掉傳統行銷模式的策略，改以專業的分工來提升新人的知名度，也應扮演整合者的角色，透過垂直整合與水平整合來合宜的制定行銷策略。數位通路具有幾近無限供給的能力，也具有無限的可能，這樣的特性提供了更多創意與實驗的空間。 | zh_TW |
| dc.description.abstract (摘要) | With the rapid changes in technological innovation and business models, various emerging technologies have evolved in response to this. In addition, artificial intelligence technology has matured due to the progress of large databases. This has led to the numerous chemical changes between digital technology and human life.Music, an indispensable element in life, has been impacted after due to the rise of streaming music platforms. The global music industry has been forced to transform, and its style has changed from the past. This has led to many new problems. Taiwan music industry used to be the center of Chinese pop music in the world and ranked second in the Asian market, but it gradually began to decline after 2000. Music, in its physical form, has also experienced sales plummets due to the impact of streaming music. Digital marketing has become a key strategy for music companies today.The Taiwan music industry is facing a severe challenge due to not only the change from physical to streaming, but also the increasingly poor economy, which has led to a decline in sales. In the face of such a rapidly changing environment, how should a new Chinese artist approach marketing? Music companies must now use data objectively and the latest direct communicative marketing methods to eliminate irrational behavior in order to influence the inefficient decision-making of a new artist in the current Chinese pop music scene. Under the existing internal and external resources of this environment, how can different goals achieve the most effective results whilst facing fierce competition?This study will analyze four major costs of strategic marketing as the basic framework. To explore the corresponding marketing strategies and development models as a new artist to the Chinese pop music, and thus to deduce research conclusions and make specific recommendations. Hoping to examine what kind of marketing strategy is appropriate when music companies evaluate a new artist. And to deeply analyze whether there are any links that need to be noticed and have not been considered yet. Specifically, the importance of creativity and imagination in marketing when using data analytics. In addition, to propose marketing strategy for a new artist in Chinese pop music, in order to reduce failures and increase chances of success, resulting in the best blueprint and development model.In this digital age, music companies must change their traditional strategy models and use specialization to increase the popularity and success of a new artist. Moreover, they should implement marketing strategies through vertical and horizontal integration. The digital channel has unlimited potential and unlimited possibilities. This digital angle provides more space for creativity and experimentation. | en_US |
| dc.description.tableofcontents | 摘要 IIIAbstract IV表次 VII圖次 VIII第一章 緒論 1第一節 研究背景 1第二節 研究動機 4第三節 研究目的 7第二章 文獻探討 8第一節 華語樂壇新人之策略行銷與四大成本架構關連 8第二節 為何以四大成本架構來分析 12第三章 台灣流行音樂產業現況及分析 14第一節 華語樂壇現況簡介 14第二節 數位時代發展階段的進展與介紹 20第三節 數位化發展階段下台灣流行音樂產業的機會與展望 21第四章 台灣流行音樂產業華語樂壇新人行銷策略的分析與研究 24第一節 傳統時代新人行銷策略 24第二節 數位時代新人行銷策略 26第三節 新人的數位行銷策略 32第四節 結合數位音樂與網紅的綜效競爭行銷優勢 36第五章 研究發現與結論 38第一節 研究結論 38第二節 後續建議 39參考文獻 40 | zh_TW |
| dc.format.extent | 1229620 bytes | - |
| dc.format.mimetype | application/pdf | - |
| dc.source.uri (資料來源) | http://thesis.lib.nccu.edu.tw/record/#G0107932109 | en_US |
| dc.subject (關鍵詞) | 台灣流行音樂 | zh_TW |
| dc.subject (關鍵詞) | 華語歌壇 | zh_TW |
| dc.subject (關鍵詞) | 新人 | zh_TW |
| dc.subject (關鍵詞) | 數位 | zh_TW |
| dc.subject (關鍵詞) | 策略行銷分析 | zh_TW |
| dc.subject (關鍵詞) | 大數據 | zh_TW |
| dc.subject (關鍵詞) | Taiwan Music Industry | en_US |
| dc.subject (關鍵詞) | Chinese Pop Music | en_US |
| dc.subject (關鍵詞) | New Artist | en_US |
| dc.subject (關鍵詞) | Digital | en_US |
| dc.subject (關鍵詞) | Strategic marketing analysis | en_US |
| dc.subject (關鍵詞) | Database | en_US |
| dc.title (題名) | 數位時代下台灣流行音樂產業之行銷策略及發展模式－以《華語樂壇新人》為例 | zh_TW |
| dc.title (題名) | Marketing Strategy and Development of Taiwan Popular Music Industry in the Digital Age – A Case Study of Chinese New Artist | en_US |
| dc.type (資料類型) | thesis | en_US |
| dc.relation.reference (參考文獻) | 1. 巫立宇、邱志聖（2015），銷售與顧客關係管理，台北市：新陸書局。2. 邱志聖，（2014）。策略行銷分析：架構與實務應用四版。台北市：智聖文化出版。3. Alvin E. Roth 艾文.羅斯，（2018）。創造金錢買不到的機會。台北市：天下雜誌出版。4. Michael D. Smith邁克.史密斯、Rahul Telang拉胡.泰朗，（2018）。3S風潮。台北市：日月文化出版。5. 107年流行音樂產業調查，（2020）。文化部影視及流行音樂產業局。 | zh_TW |
| dc.identifier.doi (DOI) | 10.6814/NCCU202000705 | en_US |
