| dc.contributor.advisor | 邱志聖 | zh_TW |
| dc.contributor.advisor | Chiou, Jyh-Shen | en_US |
| dc.contributor.author (Authors) | 李宥慈 | zh_TW |
| dc.contributor.author (Authors) | Li, You-Cih | en_US |
| dc.creator (作者) | 李宥慈 | zh_TW |
| dc.creator (作者) | Li, You-Cih | en_US |
| dc.date (日期) | 2019 | en_US |
| dc.date.accessioned | 6-Apr-2020 14:49:14 (UTC+8) | - |
| dc.date.available | 6-Apr-2020 14:49:14 (UTC+8) | - |
| dc.date.issued (上傳時間) | 6-Apr-2020 14:49:14 (UTC+8) | - |
| dc.identifier (Other Identifiers) | G0106363083 | en_US |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/129237 | - |
| dc.description (描述) | 碩士 | zh_TW |
| dc.description (描述) | 國立政治大學 | zh_TW |
| dc.description (描述) | 企業管理研究所(MBA學位學程) | zh_TW |
| dc.description (描述) | 106363083 | zh_TW |
| dc.description.abstract (摘要) | 網路技術的快速發展，改變了大眾的生活型態，也劇烈影響了全球音樂產業：新載具推陳出新、實體唱片銷售量嚴重下滑等．．．。在網際網路的影響下，串流音樂服務逐漸成為主流的音樂消費模式，2004年台灣出現了第一家串流音樂平台KKBOX，發展至今已成為台灣規模最大的音樂平台。但在2013年，全球最大的串流音樂平台宣布進入台灣市場後，用戶成長速度飛快，對國內第一大串流音樂服務業者KKBOX造成極大的威脅。因此，本研究以KKBOX與Spotify為例，聚焦於分析兩平台在台灣地區的競爭狀況，並透過4C策略行銷分析架構歸納分析出影響消費者對線上串流音樂平台之滿意度與購買意願之關鍵影響因素，此兩大平台又各自透過何種策略吸引消費者。經由本研究發現，平台所提供的有形效益、整體效益成本、履行合約能力、說到做到、心理層面品牌認同、產品相關專屬資產對滿意度皆有正面影響，而心理層面品牌認同、滿意度、整體效益成本及產品相關專屬資產為影響消費者購買意願的關鍵因素。根據本研究結果發現，目前KKBOX在4C個面向上表現皆輸於Spotify。儘管如此，在亞洲地區作為串流音樂市場前瞻者的KKBOX，仍具有先進者優勢，根據研究結果發現，KKBOX已與用戶建立起產品相關專屬資產，且其擁有豐富的亞洲流行歌曲，如華語及日語歌曲等。因此，面對Spotify強勢的競爭壓力，本研究建議KKBOX必須先改善其服務的有形功能，再者可以結合長期在亞洲地區耕耘之優勢，透過產品相關專屬資產發展相關娛樂事業，具體塑造出專業娛樂服務者之形象，使其未來在串流音樂市場仍保有一席之地。 | zh_TW |
| dc.description.abstract (摘要) | As Internet techniques develop rapidly, the lifestyle of people has changed significantly and thus the global music industry. For instance, the innovation of media vehicles, the great declining of physical records, etc. With the Internet, online music streaming service has increasingly become a dominant consumption pattern in recent years. In 2004, KKBOX, the first online music streaming server in Taiwan, was established, and now it is in the first rank of music streaming platforms in Taiwan. However, after the biggest global online music streaming server, Spotify, entered Taiwan in 2013, whose subscribers grow vigorously, and which therefore posed a great threat to KKBOX.Consequently, this research takes KKBOX and Spotify as the case study, focusing on analyzing the competition of these two platforms in Taiwan and using 4C strategic marketing framework to explore the significant factors on users’ satisfaction and purchase intention when choosing a music platform. Also, this research would like to know what different strategies these two platforms adopted for attracting consumers are. According to the result, the tangible benefit, utility of cost, capability, commitment, psychological brand identity, and product-related asset specificity the servers provide to customers would have positive impact on users’ satisfaction. Meanwhile, psychological brand identity, satisfaction, utility of cost and product-related asset specificity are four key factors in purchase intention of users. Currently, in line with this research finding, the performance of KKBOX is inferior to Spotify in respective 4C aspects.Despite of that, KKBOX, as an online music streaming pioneer in Asia, still has first-mover advantage. As the finding of this survey, KKBOX has built up its asset specificity with its users, and it has abundant Asian pop songs, such like Mando pop and Japanese pop. Hence, confronting to global dominating figure, Spotify, this research suggests that KKBOX should improve its functional services first, combining with its reginal advantage in Asia and product-related asset specificity to develop entertainment referential business and to effectively convey an image of professional entertainment server to consumers, making it have a place in the music streaming market in the future. | en_US |
| dc.description.tableofcontents | 誌謝 i摘要 ii目錄 v表目錄 viii圖目錄 x第一章 緒論 1第一節 研究背景 1第二節 研究動機及目的 2第三節 研究流程 3第二章 文獻探討 5第一節 串流音樂 5一、串流音樂定義 5二、串流音樂服務類型 5三、串流音樂發展簡介 7第二節 台灣串流音樂發展 9第三節 策略行銷4C分析架構 12一、外顯單位效益成本(C1) 13二、買者資訊搜尋成本(C2) 15三、買者道德危機成本(C3) 16四、買者專屬資產陷入成本 19五、串流音樂平台4C策略行銷分析 23第三章 研究設計與方法 27第一節 研究對象 27一、研究對象—KKBOX簡介 27二、研究對象—Spotify簡介 31第二節 研究架構與假設 34第三節 操作型定義 36一、有形效益、無形效益與整體效益成本 37二、履行合約的能力 38三、仁慈同理心 39四、說到做到 40五、心理層面品牌認同 40六、產品相關專屬資產 41七、使用滿意度 42八、購買意願 43第四節 抽樣設計與分析 43一、描述性統計分析 44二、信度分析 44三、Pearson相關分析 45四、迴歸分析 45五、獨立樣本T檢定 46第四章 實證分析 47第一節 描述性統計分析 47一、人口統計變數 47二、受訪者聆聽音樂習慣 49三、十大構面之敘述統計 54第二節 信效度分析 64第三節 4C與滿意度、購買意願之相關分析 67第五章 結論與建議 78第一節 研究結果 78一、描述性分析結果 78二、假設驗證結果 79三、選購因素與滿意度、購買意願之相關分析 81四、KKBOX與Spotify差異比較 82第二節 行銷意涵與建議 83一、KKBOX的策略行銷4C分析 83二、KKBOX未來經營建議 85第三節 研究限制 86參考文獻 88中文文獻 88英文文獻 90附件一 問卷 92 | zh_TW |
| dc.format.extent | 1994496 bytes | - |
| dc.format.mimetype | application/pdf | - |
| dc.source.uri (資料來源) | http://thesis.lib.nccu.edu.tw/record/#G0106363083 | en_US |
| dc.subject (關鍵詞) | 串流音樂平台 | zh_TW |
| dc.subject (關鍵詞) | 4C 策略行銷架構 | zh_TW |
| dc.subject (關鍵詞) | KKBOX | zh_TW |
| dc.subject (關鍵詞) | Spotify | zh_TW |
| dc.subject (關鍵詞) | 滿意度 | zh_TW |
| dc.subject (關鍵詞) | 購買意願 | zh_TW |
| dc.subject (關鍵詞) | online music streaming platform | en_US |
| dc.subject (關鍵詞) | 4C strategic marketing framework | en_US |
| dc.subject (關鍵詞) | KKBOX | en_US |
| dc.subject (關鍵詞) | Spotify | en_US |
| dc.subject (關鍵詞) | satisfaction | en_US |
| dc.subject (關鍵詞) | purchase intention | en_US |
| dc.title (題名) | 消費者對線上串流音樂平台之滿意度與購買意願之影響因素探討－以 KKBOX 與 Spotify 為例 | zh_TW |
| dc.title (題名) | Determinants of users` satisfaction and purchase intention on online music streaming platforms-a case study of KKBOX and Spotify | en_US |
| dc.type (資料類型) | thesis | en_US |
| dc.relation.reference (參考文獻) | 中文文獻1.吳震威(2016)。線上串流音樂平台使用者對平台之購買意願-以KKBOX與Spotify為例。國立台灣大學，台北市。2.沈政輝(2003)。數位音樂平台之經營模式與價值再造分析-以KKBOX及iTunes Music Store為例(未出版之碩/博士論文)。國立中央大學，桃園市。3.邱志聖(2017)。品牌策略與管理，台北：智勝文化。4.邱志聖(2017)。策略行銷分析:架構與實務應用，台北：智勝文化5.林岳甫(2014)。數位音樂下載與串流之滿意度與購買意願-以iTunes與KKBOX為例。淡江大學，台北市。6.周世玉、黃品瑄、王蕙晴(2008)。KKBOX 線上音樂系統使用意願影響因素之實證研究。2008第12屆科際整合管理研討會，私立東吳大學。7.周榮賢、張弘毅、張世明(2013)。KKBOX使用者參與動機及關係品質對其顧客忠誠度之影響。資訊傳播研究，2，95-116。8.張瑞倫(2003)。多媒體串流技術簡介與實作。電腦與通訊，103，41-47。9.莊于葶(2015)。串流音樂產業平台競爭之策略:以KKBOX為例(未出版之碩/博士論文)。國立台灣大學，台北市。10.曾雅彩(2011)。台灣線上音樂市場發展動態之研究。中山管理評論，19(2)，939-969。11.Taiwan Beats(2017)。myMusic 與資策會公佈調查：台灣音樂服務付費市場漸趨成熟。檢自https://zh.taiwanbeats.tw/archives/17941(Mar 27,2019)12.Titan & Liz Chen(2013)。KKBOX vs. Spotify：台灣線上串流音樂大戰。檢自https://www.inside.com.tw/article/3016-kkbox-vs-spotify (Mar 26,2019)13.何佩珊(2018)。對戰蘋果沒本錢硬碰硬， KKBOX改打整合戰活下去。檢自https://www.bnext.com.tw/article/51188/kkbox (Jun 3,2019)14.唐子晴(2018)。從線上走到線下！KKBOX經營場館辦演唱會，成立「LIVE」新事業體。檢自https://www.bnext.com.tw/article/49614/kkbox-group-establish-new-company-kklive?fbclid=IwAR3Jgnvl2HV-v24jRh59lGymeX9GpLK4WBJWlw84s2yh5aJYBVNk-iKYjBU (Jun 3,2019)15.唐子晴(2018)。全娛樂時代來臨，149元聽歌、追劇雙享，KKBOX為什麼要「賠本」推出Prime服務？。檢自https://www.bnext.com.tw/article/50078/kkbox-prime (Jun 3,2019)16.陳怡如(2013)。打入唱片生態圈KKBOX搶攻亞洲音樂版圖(一)。檢自https://www.bnext.com.tw/article/28182/BN-ARTICLE-28182(Mar 26,2019)17.陳怡如(2013)。打入唱片生態圈KKBOX搶攻音樂版圖(二)。檢自https://www.bnext.com.tw/article/28220/BN-ARTICLE-28220 (Mar 26,2019)18.楊安琪(2018)。個人化音樂體驗再升級！Spotify手機免費版正式在台上線。檢自https://technews.tw/2018/11/13/spotify-free-now-on-mobile/ (Mar 28, 2019)19.顏理謙(2017)。你都怎麼聽音樂KKBOX發表音樂數據報告:歌單取代專輯、嘻哈與電音崛起。檢自https://www.bnext.com.tw/article/44913/kkbox-unveil-digital-music-report(Mar 26,2019)20.顏理謙(2017)。每五個網友就有一個是用戶! Spotify亞洲區總監：台灣是全球前20大串流音樂市場。檢自https://www.bnext.com.tw/article/44992/spotify-thinks-taiwan-is-a-important-market-for-music-streaming (Mar 26,2019)英文文獻1.Datta, H., Knox, H., Bronnenberg, J. H. (2018). Changing Their Tune: How Consumers’ Adoption of Online Streaming Affects Music Consumption and Discovery. Marketing Science, 37(1),5-21.2.International Federation of the Phonographic Industry (2019) Global Music Report 2019, London, United Kingdom.3.Morris, J. W., & Powers, D. (2015). Control, curation and musical experience in streaming music services. Creative Industries Journal, 8:2, 106-122, doi: 10.1080/17510694.2015.10902224.Marshall, L. (2015). ‘Let`s keep music special. F—Spotify’: on-demand streaming and the controversy over artist royalties. Creative Industries Journal, 8:2, 177-189, doi: 10.1080/17510694.2015.10966185.Wlömert, N. & Papiesb, D. (2015). On-demand streaming services and music industry revenues —Insights from Spotify`s market entry. International Journal of Research in Marketing, 33 (2), 314–327, doi: 10.1016/j.ijresmar.2015.11.0026.Wang, A. X. (2018). Spotify Is in Trouble With Record Labels (Again). Retrieved from https://www.rollingstone.com/music/music-news/spotify-record-labels-dispute-720512/(April 2, 2019)7.McKenzie, H. (2012). How Napster gave birth to Spotify. Retrieved from https://pando.com/2012/11/08/how-napster-gave-birth-to-spotify/(April 1,2019)8.Linshi, J. (2014), Here`s Why Taylor Swift Pulled Her Music From Spotify. Retrieved from http://time.com/3554468/why-taylor-swift-spotify/ (April 1,2019)9.Parson, J. (2018). History of Spotify: how the Swedish streaming company changed the music industry. Retrieved from https://www.mirror.co.uk/tech/history-spotify-how-swedish-streaming-12291542 (April 2,2019)10.Lu, K. (2016). 9 International Growth Strategies from Spotify. Retrieved from http://www.oneskyapp.com/blog/spotify-global-expansion/(April 3,2019)11.Lu, K. (2016). Localization in Asia: How Spotify Conquered 6 Challenging Markets (Includes Japan Pre-Launch Case Study). Retrieved from http://www.oneskyapp.com/blog/spotify-asia-expansion-japan-case-study/(April 3,2019)12.Marks, S. (2017). Celebrating the ‘Celestial Jukebox’. Retrieved from https://www.huffpost.com/entry/celestial-jukeboxes_b_8462468(April 1, 2019)13.Brewster, W. (2017). MUSICOLOGY: THE HISTORY OF MUSIC STREAMING From Napster To Now. Retrieved from http://www.mixdownmag.com.au/musicology-history-music-streaming(April 1, 2019) | zh_TW |
| dc.identifier.doi (DOI) | 10.6814/NCCU202000370 | en_US |
