| dc.contributor.advisor | 何小台 | zh_TW |
| dc.contributor.advisor | Ho, Chester | en_US |
| dc.contributor.author (作者) | 安東寧 | zh_TW |
| dc.contributor.author (作者) | Antonin Saslawski | en_US |
| dc.creator (作者) | 安東寧 | zh_TW |
| dc.creator (作者) | Saslawski, Antonin | en_US |
| dc.date (日期) | 2019 | en_US |
| dc.date.accessioned | 3-一月-2020 15:56:37 (UTC+8) | - |
| dc.date.available | 3-一月-2020 15:56:37 (UTC+8) | - |
| dc.date.issued (上傳時間) | 3-一月-2020 15:56:37 (UTC+8) | - |
| dc.identifier (其他 識別碼) | G0107933059 | en_US |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/128122 | - |
| dc.description (描述) | 碩士 | zh_TW |
| dc.description (描述) | 國立政治大學 | zh_TW |
| dc.description (描述) | 國際經營管理英語碩士學位學程(IMBA) | zh_TW |
| dc.description (描述) | 107933059 | zh_TW |
| dc.description.abstract (摘要) | Hubtrack was born from a simple observation of one of our founders, an underground electronic music artist. Digitalization brought a lot to this domain, from music distribution or music supports to interactions and networking between the electronic music industry stakeholders. New digital solutions appear every day and drastically improve the efficiency within this sector, yet he faced an unpleasant experience that was not made easier by digital yet. After finishing an album, he needed to find a label to sign it on. Then came hours and hours of searching to find the right label that fits his music and is open to sign new artists. Small deejays also spend hours looking for venues and party organizers that are looking for warm-up* artists around their place. So, he realized that we needed to use digitalization to connect better small artists and labels, small deejays and party organizers, while offering listeners the opportunity to discover unknown and emergent underground electronic music artists.Two associates partnered and created Hubtrack, which literally is a hub to improve interactions of electronic music stakeholders around tracks. It would help small artists to find labels by posting demos on the platform and to market their independent releases without label. It would help labels to find new artists that match their artistic line and let them communicate about their availability to sign. It would help small deejays to share their mixes and find party organizers around their location to play for them, and it would help experimented deejays and listeners to dig* for new and unknown artists, either by streaming or by track downloads. Moreover, it would connect people for free while offering different kind of paid services, depending on the budget and the need of our different customers. They are underground electronic music lovers or actors such as artists, label owners and party organizers, and they can’t wait to be better connected thanks to Hubtrack.Because in an artistic environment we need to focus on Art, Hubtrack will save time for musicians. We will strive to become pioneers and leaders in this niche market and expand internationally to offer our service to any underground electronic music stakeholder in the world. | en_US |
| dc.description.tableofcontents | 1. COMPANY DESCRIPTION 71.1 PERSONAL EXPERIENCE 71.2 MISSION STATEMENT 71.3 OWNERSHIP AND MANAGEMENT 81.4 ORGANIZATION AND RESOURCES 81.5 OUR VISUAL IDENTITY 91.5.1 Our name 91.5.2 Our logo 91.6 COMPANY CULTURE AND BUSINESS PHILOSOPHY 101.7 MISSION AND VISION 101.7.1Mission 101.7.2 Vision 111.8 STRATEGIC OBJECTIVES 111.9 KEY SUCCESS FACTORS 122. EXTERNAL ANALYSIS 132.1 THE ELECTRONIC MUSIC AND MUSIC DISTRIBUTION INDUSTRIES 132.1.1 A Brief History 132.1.2 How digitalization changed and democratized the industry 132.1.3 Key numbers about our industry 152.1.4 The revival of vinyl 172.2 PESTEL ANALYSIS 182.2.1 Political 182.2.2 Economical 192.2.3 Social 202.2.4 Technology 202.2.5 Environmental 212.2.6 Legal 212.3 COMPETITORS 222.3.1 Direct and indirect competitors 222.3.2 Competitive analysis 262.4 OUR MARKET AND SEGMENTATION 272.4.1 Our niche and customer profile 272.4.2 Barriers to entry. 282.5 BUSINESS OPPORTUNITIES 293. PRODUCTS AND SERVICES 323.1 SERVICES FEATURES 323.1.1 First development round: Hubtrack for producers 323.1.2 Second development round: Hubtrack for producers and deejays 333.2 PRICING STRATEGY 343.2.1 Cost structure for producers 343.2.2 Cost structure for listeners and digging DJs 353.2.3 Cost structure for labels 363.2.4 Cost structure for promoting DJs 363.2.5 Cost structure for party organizers 363.3 USER INTERFACE 364. MARKETING CHANNELS AND PARTNERS 374.1 PROMOTIONAL PARTNERS 374.2 DIGITAL MARKETING 394.2.1 External strategy 394.2.3 Internal strategy 405. BUSINESS MODEL CANVAS. 416. OPERATIVE PLAN 436.1 YEAR 1 – PRELAUNCH PHASE 436.2 YEAR 2 – LAUNCH PHASE 446.3 YEAR 3 – EXPANSION ABROAD AND DIVERSIFICATION OF OUR SERVICES 456.4 YEAR 4 – LONG TERM VISION 457. FINANCIAL PLAN 477.1 ASSUMPTIONS 477.1.1 Costs assumptions 477.1.2 Revenue assumptions 487.2 COST ANALYSIS 497.2.1 Startup expenses 497.2.2 Operational costs 507.3 REVENUE ANALYSIS 50OUR REVENUE COMES FROM MANY DIFFERENT SOURCES. OUR MAIN SOURCE OF REVENUE IS SUBSCRIPTIONS, BUT IF WE GROW VERY BIG, THE REVENUES FROM SALE OF PAID TRACK AND OVER STORAGE SERVICES SHOULD REPRESENT A BIG SHARE OF OUR REVENUE IN THE YEARS FOLLOWING OUR 5-YEARS FORECAST. 507.4 PROFIT & LOSS TABLE AND BREAK-EVEN ANALYSIS 51OUR PROFIT AND LOSS TABLE SHOWS THAT WE WILL BREAK EVEN A BIT AFTER THE BEGINNING OF YEAR 2, WHICH IS AN ACCEPTABLE RANGE. AS WE CAN SEE MORE VISUALLY ON THE BREAK-EVEN CHART, WE WILL START DOING BIG MARGINS BETWEEN OUR INCOME AND EXPENSES FROM YEAR 5. 518. CONCLUSION 539. FIGURES AND TABLES 5410. GLOSSARY OF TERMS 5411. REFERENCES 55 | zh_TW |
| dc.source.uri (資料來源) | http://thesis.lib.nccu.edu.tw/record/#G0107933059 | en_US |
| dc.subject (關鍵詞) | 音樂平台 | zh_TW |
| dc.subject (關鍵詞) | DJ | zh_TW |
| dc.subject (關鍵詞) | 派對策劃 | zh_TW |
| dc.subject (關鍵詞) | music platform | en_US |
| dc.subject (關鍵詞) | DJ | en_US |
| dc.subject (關鍵詞) | party organizers | en_US |
| dc.title (題名) | 一個串聯創作者，DJ 音樂愛好人，派對策劃， 製作發行公司的音樂圈平台 | zh_TW |
| dc.title (題名) | A music platform to connect artists, labels, DJs, party organizers and listeners | en_US |
| dc.type (資料類型) | thesis | en_US |
| dc.relation.reference (參考文獻) | Brainvoyager, 2017, “The History of electronic music”, brainvoyagermusic.com. Available from: https://brainvoyagermusic.com/history-of-electronic-music/Cousin M. David B., 2000, “Le chant de la machine”, editions allias.Swash R., 2011, “Music industry dances to technology’s tune”, The Guardian. Available from: https://www.theguardian.com/culture/2011/mar/17/sxsw-music-technology-soundcloudThe editorial board, 2019, “Vinyl revival marks the tone of our times”, Financial Times. Available from: https://www.ft.com/content/bc4cbc26-2a27-11e9-88a4-c32129756dd8“Legal regulations for e-commerce”, European Comission. Available from: https://ec.europa.eu/growth/sectors/tourism/business-portal/understanding-legislation/legal-regulations-e-commerce_enThe Copyright hub. Available from: http://www.copyrighthub.org/copyright-resources/copyright-organisations/Delpech M., 2017, “Etat des lieux de la musique électronique”, PWFM.fr. Available from : https://www.pwfm.fr/etat-des-lieux-de-la-musique-electronique/iMusician, 2019, “Everything you need to know about selling music online”, imusiciandigital.com. Available from: https://imusiciandigital.com/en/blog/everything-you-need-to-know-about-selling-music-onlineAlexander J., 2019, “Streaming makes up 80 percent of the music industry’s revenue”, The Verge. Available from: https://www.theverge.com/2019/9/6/20852568/streaming-revenue-growth-spotify-apple-music-industry-ariana-grande-drake-taylor-swiftAmazon S3. Available from: https://aws.amazon.com/fr/s3/Yeung C., 2019, “Competitive benchmarking of top music streaming platforms”, Synthesio. Available from: https://www.synthesio.com/blog/competitive-benchmarking-music-streaming/ | zh_TW |
| dc.identifier.doi (DOI) | 10.6814/NCCU201901284 | en_US |
