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題名 社群媒體時代的台灣獨立音樂：台灣獨立歌手如何平衡創作、創業及行銷的調查研究
Taiwan Indie Music in the Social Media Era: an Empirical Investigation of How Taiwan Indie Singers Balance Creating, Entrepreneurship and Self-Promotion
作者 黃執虔
Huang, Andrew
貢獻者 林怡潔
Lin, Yi-Chieh
黃執虔
Huang, Andrew
關鍵詞 台灣獨立音樂
社群媒體時代
台灣獨立歌手
創作
創業
行銷
Taiwan indie music
Social media era
Taiwan indie singers
Creating
Entrepreneurship
Self-promotion
日期 2018
上傳時間 2-Mar-2018 11:52:08 (UTC+8)
摘要 本文探討台灣獨立音樂界的結構機制以及台灣獨立音樂人如何在社交媒體時代操控事業。出於對獨立音樂本質的興趣，及藝術家，觀眾與市場之間的互動，我邀請業界20位音樂專業人士（包括歌手及幕後人員）進行深度訪談，來架構關於台灣獨立音樂生產鏈的各個階段的多角度觀察。我對資訊進行詳細的分析及討論，包括藝術家的分眾和定位，音樂出版和發行，臉書音樂推廣，現場表演，敘事能力，創作與自我推銷的矛盾，最後，受訪者認為什麼是“獨立音樂精神，”及獨立音樂生涯的典型發展模式。
本研究結論是，在獨立音樂出版領域，真才實力的才華是建立事業的前提。雖然數位音樂製作及社群媒體讓音樂製作成本得以民主化，令所有人皆有宣傳管道，但是經營社群媒體所須的時間和專業依舊牽絆著獨立歌手，致使只有極少數獨立歌手運過社群媒體的宣傳成功打入主流市場。然而，許多獨立歌手認為他們從事生涯的目標，並非用音樂為工具來獲得名利，而是通過音樂來分享他們的故事。
This thesis investigates the mechanism of Taiwan`s independent music sector and how Taiwanese independent musicians operate in the era of social media. Departing from an interest in the nature of independent music and the interactions between artist, audience and the market, I conduct in-depth interviews with 20 music professionals from the industry (including singers and behind-the-scene personnel) to derive multi-perspective observation about the various stages of production chain of Taiwan’s independent music. The data is analyzed and discussed in details with the following themes: artist segmentation and positioning, music release and distribution, Facebook music promotion, live performance, storytelling, creating versus self-promotion, what they perceive as the “indie music spirit,” and finally what is the typical indie music career pattern.
This research concludes that, in the realm of independent music publishing, veritable talent is the prerequisite to establishing a career. While digital music production and social media democratized the cost of music making and provides publicity access to everyone, the amount of time and expertise required for managing social media constraint indie singers so that only very few reach mainstream recognition through self-promotion in social media. However, many indie singers perceive their career goals as sharing stories through music rather than using music as means to reach fame and fortune.
參考文獻 Bourdieu, P. (1996). The State Nobility: Elite Schools in the Field of Power. Stanford University Press.
Hamilton, S.L. (2011). Extreme Dance: Rock. ABDO Publishing Company.
Hansen, D., Shneiderman, B., & Smith, M. A. (2011). Analyzing social media networks with NodeXL: Insights from a connected world. Boston: Elsevier.
Hesmondhalgh, D & Meier, L. M. (2015). Popular Music, Independence and the Concept of the Alternative in Contemporary Capitalism. Media Independence: Working with Freedom Or Working for Free? Routledge.
King, G. (2005). American Independent Cinema. I.B. Tauris Publishing.
Li M. T. (2015). Echo of the Time (時代迴音). Locus Publishing. November 31.
Mason, M. (2009). Pirate’s Dilemma. Simon & Schuster. May.
Mjos, O. J. (2012). Music, Social Media and Global Mobility: MySpace, Facebook, YouTube. Routledge, U.K.
Tuten, T. L. & Solomon, M. R. (2015.) Social Media Marketing. Sage Publishing, UK.
Tracy, L. Tuten, M. & Solomon, R. (2017). Social Media Marketing. Sage Publishing.
Treadaway, C. & Smith, M. (2010). Facebook marketing an hour a day. Wiley Publishing, Indianapolis.

Acar, A. S. & Polonsky, M. (2007). Online Social Networks and Insights into Marketing Communications. Journal of Internet Commerce. P 55-72.
Berthona, P. R., Pittb, L. F., Planggerb, K., & Shapiro, D. (2012). Marketing Meets Web 2.0, Social Media, and Creative Consumers: Implications for International Marketing Strategy. Business Horizons. Volume 55, Issue 3, May–June, P 261–271.
Castronovo, C., & Huang, L. (2012). Social Media in an Alternative Marketing Communication Model. Journal of Marketing Development. (February), P 117-134.
David, G. (2010). Camera Phone Images, Videos and Live Streaming: a Contemporary Visual Trend. New Media Review. March 22, P 89-98.
De Vries, L., Gensler, S., & Leeflang, P. S. H. (2012). Popularity of Brand Posts on Brand Fan Pages: an Investigation of the Effects of Social Media Marketing. Journal of Interactive Marketing. P 83-91.
Entman, R. M. (2007). Framing Bias: Media in the Distribution of Power. Journal of Communication. Volume 57, Issue 1, March,P 163–173.
Galuszka, P. (2014). New Economy of Fandom. Popular Music and Society. October 30, P 25-43.
Hinz, O., Skiera, B., Barrot, C., & Becker, J. U. (2011). Seeding Strategies for Viral Marketing: An Empirical Comparison. Journal of Marketing. Vol. 75, No. 6, November, P 55-71.
Huang, A. (2010). The Reluctant Celebrity. The Taipei Times. January 14.
Jien, M. R. (2013). The Production Politics of Taiwan Independent Music (台灣獨立音樂的生產政治). Retrieved from academia.edu.
José I. P. A. (2012). The Semiotics of Performance and Success in Madonna. The Journal of Popular Culture. Volume 45, Issue 1, February, P 173-196.
Jung, S., & Shim, D. (2014). Social Distribution: K-Pop Fan Practices in Indonesia and the ‘Gangnam Style’ Phenomenon. International Journal of Cultural Studies. Vol 17, Issue 5.
Kaikati, A. M., & Kaikati, J. G. (2004). Stealth Marketing: How to Reach Consumers Surreptitiously. California Management Review. 46 (4), P 6-22.
Kaplan, A., & Haenlein, M. (2012). The Britney Spears Universe: Social Media and Viral Marketing at Its Best. Business Horizons. (February), P 27-31.
Kaplan, A., & Haenlein, M. (2011). Two Hearts in Three-Quarter Time: How to Waltz the Social Media/Viral Marketing Dance. Business Horizons. Volume 54, Issue 3, May–June, P 253–263.
Kaplan, A. M., & Haenlein, M. (2010). Users of the World, Unite! The Challenges and Opportunities of Social Media. Business Horizons. 53 (1), P 59-68.
Kozinets, R. V., de Valck, K., Wojnicki, A. C., & Wilner, S.J.S. (2010). Networked Narratives: Understanding Word-of-Mouth Marketing in Online Communities. Journal of Marketing. 74(2), P 71-89.
Lin, Y. R. (2016). "Is This a Fake Review? Analytics on Types of Opinion Posting and Social Network of Spammers" (這是業配文嗎？網軍的貼文型態與網絡分析). Taipei University Information Management graduate school degree thesis. Retrieved from: airitilibrary.com. P 1-69.
Liu, Y. F. (2015). "Hou Hsiao-hsien New Cinema`s Individual Concern and Artistic Spirit" (侯孝賢“新電影”的個體關懷與藝術精神). Criticism and Creation. Volume 18. P. 92-98.
McQuarrie, E. F., Miller, J., & Phillips, B. J. (2013). The Megaphone Effect: Taste and Audience in Fashion Blogging. Journal of Consumer Research. Vol. 40, No. 1. June, P 136-158.
Newman, N. (2009). The Rise of Social Media and Its Impact on Mainstream Journalism. Reuters Institute for the Study of Journalism: Working Papers.
Retrieved from: https://ora.ox.ac.uk/objects/uuid:a980df14-1b49-401b-a136-78d47ab76cdc
Oh, I., & Park, G. S. (2012). From B2C to B2B: Selling Korean Pop Music in the Age of New Social Media. Korea Observer. Autumn, P 365-397.
Salo, J., Lankinen, M., & Mantymaki, M. (2013). The Use of Social Media for Artist Marketing: Music Industry Perspectives and Consumer Motivations. International Journal on Media Management. February 8, P23-41.
Tai, Y. (2005). The Practice of the Independent Record Label in Taiwan - A Case Study of White Wabbit Records (台灣獨立唱片廠牌實作：以小白兔橘子唱片為例). Retrieved from: nccur.lib.nccu.edu.tw.
Thomas, G. M. (2004). Building the Buzz in the Hive Mind. Journal of Consumer Behaviour. 4 (1), P 64-72.
Thorburn, E. D. (2013). Social Media, Subjectivity, and Surveillance: Moving on from Occupy, the Rise of Live Streaming Video. Communication and Critical/Cultural Studies Journal. 23 September, P 52-63.
Trusov, M., Bucklin, R. E., & Pauwels, K. (2009) Effects of Word-of-Mouth Versus Traditional Marketing: Findings from an Internet Social Networking Site. Journal of Marketing. Vol. 73, No. 5, September, P 90-102.

Chang, H. Y. (2016). Chen Wei-ru: the Root Searching Journey of Music Creating (陳瑋儒 音樂創作的尋根之旅). New Hakka People Profile (新客家人群像). Retrieved from: http://hkp.nctu.edu.tw/HakkaPeople/article/9732?issueID=619
Bleu & Book. (2017). Artists are Adventurous, but Opening a Record Company Might not Be. Retrieved from: www.Readmoo.com. January 9.
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Chen H., H., & Lin C., W. (2016). Golden Melody Nomination: Zhang Hui-mei Vies for Best Female Singer the 13th Times. Tanya Chua Fights for Her Fourth Crown. Apple Daily. May 13.
Fang, H. Z. (2017). Lin Sheng-Xiang’s 20 Years Career—the Near Dark Moment even 7 Golden Melody Awards Couldn’t Shine on (林生祥出道20年—7座金曲獎也擦不亮的臨暗時刻). The Reporter. May 17. https://www.twreporter.org/a/lin-sheng-xiang-20-years
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Ko, A.. (2016). Niche Music Becomes Mainstream! Deserts Xuan, Cheer Chen and Sodagreen’s Indie Emotions. March 31.
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描述 碩士
國立政治大學
國際傳播英語碩士學位學程(IMICS)
104461002
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0104461002
資料類型 thesis
dc.contributor.advisor 林怡潔zh_TW
dc.contributor.advisor Lin, Yi-Chiehen_US
dc.contributor.author (Authors) 黃執虔zh_TW
dc.contributor.author (Authors) Huang, Andrewen_US
dc.creator (作者) 黃執虔zh_TW
dc.creator (作者) Huang, Andrewen_US
dc.date (日期) 2018en_US
dc.date.accessioned 2-Mar-2018 11:52:08 (UTC+8)-
dc.date.available 2-Mar-2018 11:52:08 (UTC+8)-
dc.date.issued (上傳時間) 2-Mar-2018 11:52:08 (UTC+8)-
dc.identifier (Other Identifiers) G0104461002en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/116096-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 國際傳播英語碩士學位學程(IMICS)zh_TW
dc.description (描述) 104461002zh_TW
dc.description.abstract (摘要) 本文探討台灣獨立音樂界的結構機制以及台灣獨立音樂人如何在社交媒體時代操控事業。出於對獨立音樂本質的興趣，及藝術家，觀眾與市場之間的互動，我邀請業界20位音樂專業人士（包括歌手及幕後人員）進行深度訪談，來架構關於台灣獨立音樂生產鏈的各個階段的多角度觀察。我對資訊進行詳細的分析及討論，包括藝術家的分眾和定位，音樂出版和發行，臉書音樂推廣，現場表演，敘事能力，創作與自我推銷的矛盾，最後，受訪者認為什麼是“獨立音樂精神，”及獨立音樂生涯的典型發展模式。
本研究結論是，在獨立音樂出版領域，真才實力的才華是建立事業的前提。雖然數位音樂製作及社群媒體讓音樂製作成本得以民主化，令所有人皆有宣傳管道，但是經營社群媒體所須的時間和專業依舊牽絆著獨立歌手，致使只有極少數獨立歌手運過社群媒體的宣傳成功打入主流市場。然而，許多獨立歌手認為他們從事生涯的目標，並非用音樂為工具來獲得名利，而是通過音樂來分享他們的故事。		zh_TW
dc.description.abstract (摘要) This thesis investigates the mechanism of Taiwan`s independent music sector and how Taiwanese independent musicians operate in the era of social media. Departing from an interest in the nature of independent music and the interactions between artist, audience and the market, I conduct in-depth interviews with 20 music professionals from the industry (including singers and behind-the-scene personnel) to derive multi-perspective observation about the various stages of production chain of Taiwan’s independent music. The data is analyzed and discussed in details with the following themes: artist segmentation and positioning, music release and distribution, Facebook music promotion, live performance, storytelling, creating versus self-promotion, what they perceive as the “indie music spirit,” and finally what is the typical indie music career pattern.
This research concludes that, in the realm of independent music publishing, veritable talent is the prerequisite to establishing a career. While digital music production and social media democratized the cost of music making and provides publicity access to everyone, the amount of time and expertise required for managing social media constraint indie singers so that only very few reach mainstream recognition through self-promotion in social media. However, many indie singers perceive their career goals as sharing stories through music rather than using music as means to reach fame and fortune.		en_US
dc.description.tableofcontents Chapter One: Introduction 14
Chapter Two: Literature Review 19
Section One. Taiwan Indie Music Industry 20
2.1.1 Taiwan Indie Music Historical and Cultural Context 20
2.1.2 Definition, Production Process, Creative Principle 22
2.1.3 Roles of Independent Music Industry 24
2.1.4 Taiwan Independent Music Subgenres 30
2.1.5 Artists as Entrepreneurs 32
2.1.6 Roles of Audience 33
2.1.7 Democratization of Music Production and the Media 35
Section Two. Music Marketing on Facebook 39
Section Three. Word-of-Mouth 42
Section Four. The Megaphone Effect 46
2.4.1 Personal Journal to Taste/Crafts Display 46
2.4.2 Venturesome Taste Display 47
2.4.3 From Community to Audience 47
2.4.4 Audience Maintenance Practices: Feigning Similarity and Self-Deprecation 48
2.4.5 Embracement of the Mass Market Brands, Without Losing Authenticity 51
Chapter Three: Methodology 54
3.1 In-Depth Interview 54
3.2 Interviewees Overview and Credentials 57
3.3 Interviewee Target Segmentation 61
Chapter Four: Data Analysis 67
Section One: Democratization of Music Production and Distribution 67
4.1.1 Music Production 67
4.1.2 Music Distribution 67
Section Two: The Independent Music Journey 70
4. 2.1 Motivation and Creative Principle 70
4. 2.2 Creating versus Self-Promotion 72
4. 2.3 Live Performance/Storytelling 73
4. 2.4 Artist as Entrepreneur 76
4. 2.5 Roles of Audience 78
4. 2.6 Independent Music Journey 82
Section Three: Social Media Marketing 84
4. 3.1 Five Consumer Psychological Motives for Joining Social Media 84
4. 3.2 Word-of-Mouth 89
4. 3.3 The Megaphone Effect 92
Section Four: the Independent Music Career Pattern 104
4. 4.1 The Independent Music Career Pattern 104
4. 4.2 Finding 105
Chapter Five: Conclusion 108
References 111
Appendix: Interview Questions 116		zh_TW
dc.format.extent 2659692 bytes-
dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0104461002en_US
dc.subject (關鍵詞) 台灣獨立音樂zh_TW
dc.subject (關鍵詞) 社群媒體時代zh_TW
dc.subject (關鍵詞) 台灣獨立歌手zh_TW
dc.subject (關鍵詞) 創作zh_TW
dc.subject (關鍵詞) 創業zh_TW
dc.subject (關鍵詞) 行銷zh_TW
dc.subject (關鍵詞) Taiwan indie musicen_US
dc.subject (關鍵詞) Social media eraen_US
dc.subject (關鍵詞) Taiwan indie singersen_US
dc.subject (關鍵詞) Creatingen_US
dc.subject (關鍵詞) Entrepreneurshipen_US
dc.subject (關鍵詞) Self-promotionen_US
dc.title (題名) 社群媒體時代的台灣獨立音樂：台灣獨立歌手如何平衡創作、創業及行銷的調查研究zh_TW
dc.title (題名) Taiwan Indie Music in the Social Media Era: an Empirical Investigation of How Taiwan Indie Singers Balance Creating, Entrepreneurship and Self-Promotionen_US
dc.type (資料類型) thesisen_US
dc.relation.reference (參考文獻) Bourdieu, P. (1996). The State Nobility: Elite Schools in the Field of Power. Stanford University Press.
Hamilton, S.L. (2011). Extreme Dance: Rock. ABDO Publishing Company.
Hansen, D., Shneiderman, B., & Smith, M. A. (2011). Analyzing social media networks with NodeXL: Insights from a connected world. Boston: Elsevier.
Hesmondhalgh, D & Meier, L. M. (2015). Popular Music, Independence and the Concept of the Alternative in Contemporary Capitalism. Media Independence: Working with Freedom Or Working for Free? Routledge.
King, G. (2005). American Independent Cinema. I.B. Tauris Publishing.
Li M. T. (2015). Echo of the Time (時代迴音). Locus Publishing. November 31.
Mason, M. (2009). Pirate’s Dilemma. Simon & Schuster. May.
Mjos, O. J. (2012). Music, Social Media and Global Mobility: MySpace, Facebook, YouTube. Routledge, U.K.
Tuten, T. L. & Solomon, M. R. (2015.) Social Media Marketing. Sage Publishing, UK.
Tracy, L. Tuten, M. & Solomon, R. (2017). Social Media Marketing. Sage Publishing.
Treadaway, C. & Smith, M. (2010). Facebook marketing an hour a day. Wiley Publishing, Indianapolis.

Acar, A. S. & Polonsky, M. (2007). Online Social Networks and Insights into Marketing Communications. Journal of Internet Commerce. P 55-72.
Berthona, P. R., Pittb, L. F., Planggerb, K., & Shapiro, D. (2012). Marketing Meets Web 2.0, Social Media, and Creative Consumers: Implications for International Marketing Strategy. Business Horizons. Volume 55, Issue 3, May–June, P 261–271.
Castronovo, C., & Huang, L. (2012). Social Media in an Alternative Marketing Communication Model. Journal of Marketing Development. (February), P 117-134.
David, G. (2010). Camera Phone Images, Videos and Live Streaming: a Contemporary Visual Trend. New Media Review. March 22, P 89-98.
De Vries, L., Gensler, S., & Leeflang, P. S. H. (2012). Popularity of Brand Posts on Brand Fan Pages: an Investigation of the Effects of Social Media Marketing. Journal of Interactive Marketing. P 83-91.
Entman, R. M. (2007). Framing Bias: Media in the Distribution of Power. Journal of Communication. Volume 57, Issue 1, March,P 163–173.
Galuszka, P. (2014). New Economy of Fandom. Popular Music and Society. October 30, P 25-43.
Hinz, O., Skiera, B., Barrot, C., & Becker, J. U. (2011). Seeding Strategies for Viral Marketing: An Empirical Comparison. Journal of Marketing. Vol. 75, No. 6, November, P 55-71.
Huang, A. (2010). The Reluctant Celebrity. The Taipei Times. January 14.
Jien, M. R. (2013). The Production Politics of Taiwan Independent Music (台灣獨立音樂的生產政治). Retrieved from academia.edu.
José I. P. A. (2012). The Semiotics of Performance and Success in Madonna. The Journal of Popular Culture. Volume 45, Issue 1, February, P 173-196.
Jung, S., & Shim, D. (2014). Social Distribution: K-Pop Fan Practices in Indonesia and the ‘Gangnam Style’ Phenomenon. International Journal of Cultural Studies. Vol 17, Issue 5.
Kaikati, A. M., & Kaikati, J. G. (2004). Stealth Marketing: How to Reach Consumers Surreptitiously. California Management Review. 46 (4), P 6-22.
Kaplan, A., & Haenlein, M. (2012). The Britney Spears Universe: Social Media and Viral Marketing at Its Best. Business Horizons. (February), P 27-31.
Kaplan, A., & Haenlein, M. (2011). Two Hearts in Three-Quarter Time: How to Waltz the Social Media/Viral Marketing Dance. Business Horizons. Volume 54, Issue 3, May–June, P 253–263.
Kaplan, A. M., & Haenlein, M. (2010). Users of the World, Unite! The Challenges and Opportunities of Social Media. Business Horizons. 53 (1), P 59-68.
Kozinets, R. V., de Valck, K., Wojnicki, A. C., & Wilner, S.J.S. (2010). Networked Narratives: Understanding Word-of-Mouth Marketing in Online Communities. Journal of Marketing. 74(2), P 71-89.
Lin, Y. R. (2016). "Is This a Fake Review? Analytics on Types of Opinion Posting and Social Network of Spammers" (這是業配文嗎？網軍的貼文型態與網絡分析). Taipei University Information Management graduate school degree thesis. Retrieved from: airitilibrary.com. P 1-69.
Liu, Y. F. (2015). "Hou Hsiao-hsien New Cinema`s Individual Concern and Artistic Spirit" (侯孝賢“新電影”的個體關懷與藝術精神). Criticism and Creation. Volume 18. P. 92-98.
McQuarrie, E. F., Miller, J., & Phillips, B. J. (2013). The Megaphone Effect: Taste and Audience in Fashion Blogging. Journal of Consumer Research. Vol. 40, No. 1. June, P 136-158.
Newman, N. (2009). The Rise of Social Media and Its Impact on Mainstream Journalism. Reuters Institute for the Study of Journalism: Working Papers.
Retrieved from: https://ora.ox.ac.uk/objects/uuid:a980df14-1b49-401b-a136-78d47ab76cdc
Oh, I., & Park, G. S. (2012). From B2C to B2B: Selling Korean Pop Music in the Age of New Social Media. Korea Observer. Autumn, P 365-397.
Salo, J., Lankinen, M., & Mantymaki, M. (2013). The Use of Social Media for Artist Marketing: Music Industry Perspectives and Consumer Motivations. International Journal on Media Management. February 8, P23-41.
Tai, Y. (2005). The Practice of the Independent Record Label in Taiwan - A Case Study of White Wabbit Records (台灣獨立唱片廠牌實作：以小白兔橘子唱片為例). Retrieved from: nccur.lib.nccu.edu.tw.
Thomas, G. M. (2004). Building the Buzz in the Hive Mind. Journal of Consumer Behaviour. 4 (1), P 64-72.
Thorburn, E. D. (2013). Social Media, Subjectivity, and Surveillance: Moving on from Occupy, the Rise of Live Streaming Video. Communication and Critical/Cultural Studies Journal. 23 September, P 52-63.
Trusov, M., Bucklin, R. E., & Pauwels, K. (2009) Effects of Word-of-Mouth Versus Traditional Marketing: Findings from an Internet Social Networking Site. Journal of Marketing. Vol. 73, No. 5, September, P 90-102.

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Bleu & Book. (2017). Artists are Adventurous, but Opening a Record Company Might not Be. Retrieved from: www.Readmoo.com. January 9.
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