Publications-Theses
Article View/Open
Publication Export
-
Google ScholarTM
NCCU Library
Citation Infomation
Related Publications in TAIR
題名 串流平台移動聆聽經驗:以大台北地區為例
Mobile Listening Experience in Streaming Platforms: A Case Study of Taipei Metro Area作者 湯程
Tang, Cheng貢獻者 王淑美
Wang, Su-Mei
湯程
Tang, Cheng關鍵詞 串流平台
移動聆聽
媒介物質性
馴化理論
都市空間
Streaming platforms
Mobile listening
Materiality of media
Domestication theory
Urban space日期 2025 上傳時間 4-Feb-2025 15:17:41 (UTC+8) 摘要 移動聆聽科技在液態現代性的脈絡下廣為流行,而現今作為主要聆聽媒介的移動裝置結合串流平台,開拓和改變了閱聽人的聆聽習慣和行為。本研究從自身經驗出發,觀察串流平台使用者的移動聆聽集體現象:以自我民族誌進行觀察與記錄,再以台灣年輕世代串流平台使用者為研究對象,透過深度訪談法輔以參與觀察,探究其在大台北地區的移動聆聽經驗與實踐細節,並總結出移動聆聽行為的意義與必要性。 本研究從媒介物質性、馴化理論視角切入,探討透過串流平台進行的移動聆聽行為。研究問題包含三大面向:第一,對於移動聆聽所仰賴的物質條件,使用者有何應對策略與準備動作;進行移動聆聽時,如何與環境特色與限制互動及協商,移動聆聽行為又如何改變空間經驗;第三,如何透過平台特性選擇和安排聆聽內容,並將聆聽行為融入於日常生活節奏。 研究發現,從對物質網絡的準備、為順利進行聆聽所做的預備動作等,皆可見移動聆聽行為在反覆實作下,終能形成一套融入生活的標準流程。研究並呈現串流平台使用者的移動聆聽實踐,如何與所處空間情境協商,以及聆聽在隔離環境、調節情緒等方面所發揮的作用,即為行為之重要性所在。關於移動時間的聆聽內容,其選擇和編排亦會受串流平台的特性與使用者的聆聽偏好及考量所影響。 總結而言,本研究對年輕世代串流平台移動聆聽實作的描寫,除了反映「分心聆聽」、「移動聆聽作為一種儀式」等當代串流平台消費面貌,亦揭示聆聽行為之於年輕族群的意義以及如何成為其生活慣例。
Mobile listening technology has become widely popular in the context of liquid modernity, and today, mobile devices combined with streaming platforms have become the main media for listening, opening up new possibilities and transforming the listening habits and behaviors of audiences. This study starts from personal experience to observe the collective phenomenon of mobile listening among streaming platform users. It uses autoethnography for observation and documentation, and focuses on young-generation streaming platform users in Taiwan. Through in-depth interviews and participant observation, this research explores their mobile listening experiences and practices in Taipei metro area, and concludes the significance and necessity of mobile listening behavior. This study approaches the topic from the perspectives of the materiality of media and domestication theory, examining mobile listening behavior through streaming platforms. The research addresses three main aspects: First, what strategies and preparations do users adopt to deal with the material conditions required for mobile listening? Second, how do they interact with and negotiate the environmental characteristics and limitations while engaging in mobile listening, and how does mobile listening behavior alter their spatial experiences? Third, how do users select and arrange listening content based on the platform's features, integrating listening behavior into their daily life rhythms? The study finds that through repeated practice, mobile listening behavior forms a standard process that integrates into everyday life, including preparation of the material network and actions taken to ensure smooth listening. The research also presents how streaming platform users negotiate their mobile listening practices with the spatial context they are in, and the role that listening plays in isolation, emotion regulation, and other aspects, highlighting the importance of this behavior. Regarding listening content during mobile time, its selection and arrangement are influenced by the characteristics of the streaming platform as well as users' listening preferences and considerations. In conclusion, this study describes the mobile listening practices of the younger generation using streaming platforms. In addition to reflecting contemporary consumption trends such as "distracted listening" and "mobile listening as a ritual," it also reveals the significance of listening behavior for young people and how it has become part of their daily routines.參考文獻 i-Buzz 網路口碑研究中心(2015)。〈i-Buzz 網路口碑報告:智慧型手機百家爭 鳴,領導品牌具絕對優勢〉,《i-Buzz 網路口碑研究中心》。 https://www.ibuzz.com.tw/article/article?atype=industry&id=19 王淑美(2014)。〈馴化 IM:即時通訊中的揭露、協商與創造〉。《中華傳播學 刊》,25:161-192。 文化部影視及流行音樂產業局(2018)。《107 年流行音樂產業調查報告》。文化 部影視及流行音樂產業局。 文化內容策進院(2022)。《2022 年台灣文化內容產業調查報告-流行音樂、廣播 產業》。文化內容策進院。 https://taicca.tw/uploads/userfiles/research/20231228/2022/2022%20Vol%203.pdf 文化內容策進院(2023)。《2022 年文化內容消費趨勢調查報告》。文化內容策進院。https://taicca.tw/uploads/userfiles/research/20230628/2022 年臺灣文化內容消費趨勢調查報告.pdf 台灣好新聞(2019)。〈北捷車廂免費 WiFi 廠商不玩了 北捷即起終止契約 TPE- Free 服務依舊提供〉,台灣好新聞。 https://www.taiwanhot.net/news/724340/%E5%8C%97%E6%8D%B7%E8%BB%8A%E5 %BB%82%E5%85%8D%E8%B2%BBWiFi%E5%BB%A0%E5%95%86%E4%B8%8D% E7%8E%A9%E4%BA%86+%E5%8C%97%E6%8D%B7%E5%8D%B3%E8%B5%B7% E7%B5%82%E6%AD%A2%E5%A5%91%E7%B4%84+TPE- Free%E6%9C%8D%E5%8B%99%E4%BE%9D%E8%88%8A%E6%8F%90%E4%BE%9 B 行政院智慧國家推動小組(2018)。〈北捷無線上網再升級 即日起系統內全面免費上網〉。行政院智慧國家推動小組。 https://digi.nstc.gov.tw/Page/1538F8CF7474AB4E/09090d8b-f977-40be-bc48- 66eef60ee64b 江明晏(2023 年 7 月 18 日)。〈無線藍牙耳機躍升主流 有線耳機穩居2成市 占〉。中央社。https://www.cna.com.tw/news/afe/202307180356.aspx 吳裕勝(2015)。〈理解 iPod:以 Paul Levinson [玩具, 鏡子, 藝術] 觀點考察〉。 《傳播研究與實踐》,5(1), 101-127。 吳俊葵(2019)。《在串流時代聆聽:日常生活中的流行音樂消費實作》。政治大 學傳播學院傳播碩士學位學程學位論文。 吳怡萱(2022 年 11 月 1 日)。〈男友出門「手機、錢包裝口袋」她無奈:之前 騎車掉過一次了〉,《Yahoo 新聞網》。 林佳慧(2017)。《數位時代下的音樂聆聽:科技、消費與個人日常生活敘事美 學理論初探》。臺北藝術大學音樂學研究所碩士論文。 林秀雲譯(2021)。《社會科學研究方法》。臺北:雙葉書廊。(原書:Earl Babbie [2020]. The Practice of Social Research, 15th ed.) 洪冬力(2014)。〈都市基礎設施治理的失靈與調節:台北市公共無線網路的個 案〉,《資訊社會研究》。27:1-29。 俞璟瑤(2021 年 2 月 17 日)。〈口袋性別政治 男女裝口袋數量尺寸大不 同〉,《TVBS 新聞網》。 侯貝臻(2021)。 《台灣 Podcast 聽眾收聽動機與訂閱行為研究》。政治大學 企業管理研究所碩士學位論文。 高淑清(2018)。《質性研究的 18 堂課——首航初探之旅》。高雄:麗文。財團法人台灣網路資訊中心(2023)。《2023 年台灣網路報告》。台灣網路報告官網。https://report.twnic.tw/2023/ 許夢芸譯(2008)。《文化研究:民族誌方法與生活文化》。台北:韋伯。 (原 書:Gray, A. [2003]. Research practice for cultural studies: ethnographic methods and lived cultures. London: Sage publication.) 國家通訊傳播委員會(2017)。《「行動通信網路成本模型及接續費研究」委託研究案期末報告》。國家通訊傳播委員會。 https://www.ncc.gov.tw/chinese/files/17111/3500_38299_171113_1.pdf 梁雅婷(2020)。《價格戰對電信業行銷組合策略之影響研究-以台灣大哥大為 例》。淡江大學國際行銷碩士在職專班碩士論文。 許鉦揚(2020)。《從媒介到媒介化:以耳機為例》。淡江大學資訊傳播學系碩士班碩士論文。 陳孟湘(2022)。《閱聽眾對音樂串流平台服務內容現況與需求之分析研究》。國立臺灣師範大學科技與工程學院圖文傳播學系碩士論文。 黃厚銘、曹家榮(2015)。〈「流動的手機」:液態現代性的時空架構與群己關 係〉,《新聞學研究》。124: 39-81。 黃郁軒(2020)。《影響消費者購買藍牙耳機關鍵因素之研究——使用 APH 方 法》。東吳大學企業管理學系碩士論文。 葉博里(2015)。〈從下載到串流:音樂產業的最後進化?!〉,李明璁(策 劃),《樂進未來:臺灣流行音樂的十個關鍵課題》,頁 26-43。大塊文化。 楊安淇(2017 年 6 月 20 日)。〈音樂產業從抗拒到重視,Spotify 亞洲區總監:串 流音樂是未來「新常態」〉,《TechNews 科技新報》。 https://technews.tw/2017/06/20/the-development-of-spotify-taiwan-market/ 蔡佩君、張志宇譯(2005)。《劍橋大學流行音樂讀本》。台北:商周出版(原書Frith, S., Straw, W., & Street, J.(Eds.). [2001]. The Cambridge companion to pop and rock. Cambridge, UK: Cambridge University Press.)。 鄭明萱譯(2015)。《認識媒體:人的延伸》。貓頭鷹出版(原書 McLuhan, M. [1964/1994]. Understanding Media: The Extensions of Man. Cambridge, MA: MIT Press)。 廖宜珈 (2018)。《以自我決定論探討串流音樂的任務表現及使用滿意度》。國立交通大學傳播研究所碩士論文。 數位時代(2020 年 5 月 25 日)。〈串流主導市場營收,將帶給音樂產業什麼樣的 轉變?〉。《數位時代》。https://www.bnext.com.tw/article/57829/kkbox-premium- recorded-music? 數位發展部(2023)。《112 年數位發展調查報告》。數位發展部。https://www- api.moda.gov.tw/File/Get/moda/zh-tw/yg2U5UZOHhvWvtm 戴嘉芬(2021 年 12 月 21 日)。 〈運族有福了!手機沒電就去租行動電源充飽飽〉,《太報》。https://www.taisounds.com/news/content/78/6423 蘇碩斌譯(2009)。《媒介文化論:給媒介學習者的 15 講》。台北:群學。 (原書:吉見俊哉. [2004]. メディア文化論: メディアを学ぶ人のため の 15 話.) Aguiar, L. (2017). Let the music play? Free streaming and its effects on digital music consumption. Information Economics and Policy, 41, 1-14. doi: 10.1016/j.infoecopol.2017.06.002 Bauman, Z. (2000). Liquid modernity. Cambridge, UK: Polity Press. Bauman, Z. (2001). Community: Seeking safety in an insecure world. London, UK: Polity Press. Bull, M. (2005). No Dead Air! The iPod and the Culture of Mobile Listening. Leisure Studies, 24(4), 348. Bull, M. (2007). Sound Moves: iPod culture and urban experience. London, UK: Routledge. Bull, M. (2013). Sound Mix: The Framing of Multi-Sensory Connections in Urban Culture. Sound Effects 3(3), 40. Carey, J. W. (1975). A cultural approach to communication. Couclelis, H. (2004). Pizza over the Internet: e-commerce, the fragmentation of activity and the tyranny of the region.Entrepreneurship and regional development,16(1), 41-54. doi: 10.1080/0898562042000205027 Carey, J. W., & Adam, G. S. (2008). Communication as culture, revised edition: Essays on media and society. routledge. DeNora, T. (2000). Music in everyday life. Cambridge, UK: Cambridge University Press. Du Gay, P., Hall, S., Janes, L., Madsen, A. K., Mackay, H., & Negus, K. (2013). Doing cultural studies: The story of the Sony Walkman. Sage. Ellis, C. & Bochner, A. P. (2000). Autoethnography, Personal Narrative, Reflexivity: Researcher as Subject. In N. Denzin & Y. Lincoln (Eds.), Handbook of qualitative research (pp. 733-768). Thousand Oaks, CA: Sage. Entwistle, J. (2000). Fashion and the fleshy body: Dress as embodied practice. Fashion theory, 4(3), 323-347. Flynn, M. (2016). Accounting for listening: How music streaming has changed what it means to listen. Musical and Media Connectivities: Practices, Circulation, Interactions, 6, 36-59. Gauntlett, D., & Hill, A. (1999).TV living: Television, culture, and everyday life. London: Routledge. Grinter, R. E., & Palen, L. (2002).Instant messaging in teen life. Paper presented at the Proceedings of the 2002 ACM Conference on Computer Supported Cooperative Work, New Orleans, Louisiana. Getreuer-Kargl, I. (2012). Gendered modes of appropriating public space.Urban Spaces in Japan: Cultural and Social Perspectives, 167-183. Haddon, L. (2011). Domestication Analysis, Objects of Study, and the Centrality of Technologies in Everyday Life. Canadian journal of communication, 36(2), 311-324. doi: 10.22230/cjc.2011v36n2a2322 Hagen, A. N. (2015). The playlist experience: Personal playlists in music streaming services. Popular Music and Society, 38(5), 625-645. Hagen, A. N. (2016). Music streaming the everyday life. In R. Nowak & A. Whelan (Eds.),Networked music cultures: Contemporary approaches, emerging issues(pp. 227- 246). Basingstoke, UK: Palgrave. Hagen, A. N., & Lüders, M. (2017). Social streaming? Navigating music as personal and social. Convergence: The International Journal of Research into New Media Technologies, 23(6), 643-659. Innis, H. A. (1972). Empire and communications. Toronto, CA: University of Toronto Press. International Federation of the Phonographic Industry (2017). Global music report 2017: Annual state of the industry. https://www.musikindustrie.de/fileadmin/bvmi/upload/06_Publikationen/GMR/GMR2017_ press.pdf International Federation of the Phonographic Industry (2023). Global music report 2023: state of the industry. https://www.ifpi.org/wp- content/uploads/2020/03/Global_Music_Report_2023_State_of_the_Industry.pdf Johansson, S., Werner, A., Åker, P., & Goldenzwaig, G. (2017). Streaming music: Practices, media, cultures. Routledge. Kibby, M. (2009). Collect yourself: Negotiating personal music archives.Information, Communication & Society, 12(3), 428-443. Kamalzadeh M., BAU D. and MOLLER T. (2016), “Listen or interact? A Large-scale survey on music listening and management behaviours”, Journal of New Music Research, vol.45, no.1. p.42-67 Kuch, M., & Wöllner, C. (2021). On the move: Principal components of the functions and experiences of mobile music listening. Music & Science, 4.https://doi.org/10.1177/20592043211032852 Lievrouw, L.A. (2014). Materiality and media in communication and technology studies: an unfinished project. In: Gillespie, T, Boczkowski, PJ, Foot, KA (Eds.) Media Technologies: Essays on Communication, Materiality, and Society (pp. 21–52). Cambridge, MA: The MIT Press. Larsen, J., & Urry, J. (2016). Mobilities, networks, geographies. Routledge. Lasen, A. (2018). Disruptive ambient music: Mobile phone music listening as portable urbanism. European journal of cultural studies, 21(1), 96-110. Magaudda, P. (2021). Smartphones, streaming platforms, and the infrastructuring of digital music practices. In Rethinking music through science and technology studies (pp. 241- 255). Routledge. Nowak, R. (2014). Investigating the interactions between individuals and music technologies within contemporary modes of music consumption. First Monday, 19(10). Retrieved from http://firstmonday.org/ojs/index.php/fm/article/view/5550/4129 Orlikowski, W. J. (1992). The duality of technology: Rethinking the concept of technology in organizations. Organization Science, 3 (3): 398-427. doi:10.1287/orsc.3.3.398 Orlikowski, W. J. (2007). Sociomaterial Practices: Exploring Technology at Work. Organization Studies, 28(9), 1435-1448. Oi, R. (2019). Spotify on the streets: walking and listening to music in urban spaces. Powell, A. (2009). Wi-fi as public utility or public park? Metaphors for planning local communication infrastructure.Metaphors for Planning Local Communication Infrastructure (January 21, 2009). Pink, S.(2009). Situating Sensory Ethnography: From Academia to Intervention. In Sarah Pink, Doing Sensory Ethnography. London: Sage. Pink, S. (2011). Multimodality, multisensoriality and ethnographic knowing: social semiotics and the phenomenology of perception. Qualitative Research, 11(3), 261-276. doi: 10.1177/1468794111399835 Prior, N. (2014). The plural iPod: A study of technology in action. Poetics, 42, 22-39. Pink, S. (2015). Doing Sensory Ethnography (2nd ed.). London, UK: SAGE Publications. Prior, N. (2018). Popular music, digital technology and society. London, UK: SAGE. Prey, R. (2018). Nothing personal: algorithmic individuation on music streaming platforms. Media, Culture & Society, 40(7), 1086-1100. Reed-Danahay, D. (1997) Auto-ethnography: Rewriting the Self and the Social. Oxford, UK: Berg. Rodríguez-García, A. M., Moreno-Guerrero, A. J., & Lopez Belmonte, J. (2020). Nomophobia: An individual’s growing fear of being without a smartphone—a systematic literature review.International journal of environmental research and public health,17(2), 580. Sommer, R. (1969). Personal Space: The Behavioral Basis of Design. Englewood Cliffs, NJ: Prentice-Hall. Silverstone, R., Hirsch, E., & Morley, D. (1992). Information and communication technologies and the moral economy of the household. In R. Silverstone & E. Hirsch (Eds.), Consuming technologies (pp. 15- 31). London: Routledge. Silverstone, R. (1994). Television and everyday life. London: Routledge. Silverstone, R., & Haddon, L. (1996). Design and the domestication of information and communication technologies: Technical change and everyday Life. In R. Mansell & R. Silverstone (Eds.),Communication by design(pp. 44-74). Oxford, UK: Oxford University Press. Schwanen, T., Dijst, M., & Kwan, M.-P. (2008). ICTs and the decoupling of everyday activities, space and time: Introduction.Tijdschrift voor Economische en Sociale Geografie,99, 519-527. Stevenson, A. (2017). Arrival stories: Using participatory, embodied, sensory ethnography to explore the making of an English city for newly arrived international students.Journal of Contemporary Ethnography,46(5), 544-572. Thapan, M. (1995). Gender, body and everyday life. Social Scientist, 32-58. Valverde, R. C. (2022). Online musicking for humanity: the role of imagined listening and the moral economies of music sharing on social media. Popular Music, 41(2), 194-215. Yildirim, C., & Correia, A. P. (2015). Exploring the dimensions of nomophobia: Development and validation of a self-reported questionnaire. Computers in human behavior, 49, 130-137 描述 碩士
國立政治大學
傳播學院傳播碩士學位學程
110464040資料來源 http://thesis.lib.nccu.edu.tw/record/#G0110464040 資料類型 thesis dc.contributor.advisor 王淑美 zh_TW dc.contributor.advisor Wang, Su-Mei en_US dc.contributor.author (Authors) 湯程 zh_TW dc.contributor.author (Authors) Tang, Cheng en_US dc.creator (作者) 湯程 zh_TW dc.creator (作者) Tang, Cheng en_US dc.date (日期) 2025 en_US dc.date.accessioned 4-Feb-2025 15:17:41 (UTC+8) - dc.date.available 4-Feb-2025 15:17:41 (UTC+8) - dc.date.issued (上傳時間) 4-Feb-2025 15:17:41 (UTC+8) - dc.identifier (Other Identifiers) G0110464040 en_US dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/155378 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 傳播學院傳播碩士學位學程 zh_TW dc.description (描述) 110464040 zh_TW dc.description.abstract (摘要) 移動聆聽科技在液態現代性的脈絡下廣為流行,而現今作為主要聆聽媒介的移動裝置結合串流平台,開拓和改變了閱聽人的聆聽習慣和行為。本研究從自身經驗出發,觀察串流平台使用者的移動聆聽集體現象:以自我民族誌進行觀察與記錄,再以台灣年輕世代串流平台使用者為研究對象,透過深度訪談法輔以參與觀察,探究其在大台北地區的移動聆聽經驗與實踐細節,並總結出移動聆聽行為的意義與必要性。 本研究從媒介物質性、馴化理論視角切入,探討透過串流平台進行的移動聆聽行為。研究問題包含三大面向:第一,對於移動聆聽所仰賴的物質條件,使用者有何應對策略與準備動作;進行移動聆聽時,如何與環境特色與限制互動及協商,移動聆聽行為又如何改變空間經驗;第三,如何透過平台特性選擇和安排聆聽內容,並將聆聽行為融入於日常生活節奏。 研究發現,從對物質網絡的準備、為順利進行聆聽所做的預備動作等,皆可見移動聆聽行為在反覆實作下,終能形成一套融入生活的標準流程。研究並呈現串流平台使用者的移動聆聽實踐,如何與所處空間情境協商,以及聆聽在隔離環境、調節情緒等方面所發揮的作用,即為行為之重要性所在。關於移動時間的聆聽內容,其選擇和編排亦會受串流平台的特性與使用者的聆聽偏好及考量所影響。 總結而言,本研究對年輕世代串流平台移動聆聽實作的描寫,除了反映「分心聆聽」、「移動聆聽作為一種儀式」等當代串流平台消費面貌,亦揭示聆聽行為之於年輕族群的意義以及如何成為其生活慣例。 zh_TW dc.description.abstract (摘要) Mobile listening technology has become widely popular in the context of liquid modernity, and today, mobile devices combined with streaming platforms have become the main media for listening, opening up new possibilities and transforming the listening habits and behaviors of audiences. This study starts from personal experience to observe the collective phenomenon of mobile listening among streaming platform users. It uses autoethnography for observation and documentation, and focuses on young-generation streaming platform users in Taiwan. Through in-depth interviews and participant observation, this research explores their mobile listening experiences and practices in Taipei metro area, and concludes the significance and necessity of mobile listening behavior. This study approaches the topic from the perspectives of the materiality of media and domestication theory, examining mobile listening behavior through streaming platforms. The research addresses three main aspects: First, what strategies and preparations do users adopt to deal with the material conditions required for mobile listening? Second, how do they interact with and negotiate the environmental characteristics and limitations while engaging in mobile listening, and how does mobile listening behavior alter their spatial experiences? Third, how do users select and arrange listening content based on the platform's features, integrating listening behavior into their daily life rhythms? The study finds that through repeated practice, mobile listening behavior forms a standard process that integrates into everyday life, including preparation of the material network and actions taken to ensure smooth listening. The research also presents how streaming platform users negotiate their mobile listening practices with the spatial context they are in, and the role that listening plays in isolation, emotion regulation, and other aspects, highlighting the importance of this behavior. Regarding listening content during mobile time, its selection and arrangement are influenced by the characteristics of the streaming platform as well as users' listening preferences and considerations. In conclusion, this study describes the mobile listening practices of the younger generation using streaming platforms. In addition to reflecting contemporary consumption trends such as "distracted listening" and "mobile listening as a ritual," it also reveals the significance of listening behavior for young people and how it has become part of their daily routines. en_US dc.description.tableofcontents 第一章 緒論1 第一節 研究緣起1 第二節 研究背景2 第三節 研究目的與問題意識 4 第四節 學術價值6 第二章 文獻回顧 9 第一節 液態現代性與移動典範9 一、液態現代性9 二、移動典範11 第二節 串流音樂平台與行動經驗 12 一、串流音樂平台市場現況12 二、平台服務 14 三、基礎設施 17 第三節 媒介的系統 20 一、電視網絡系統架構 20 二、串流平台的網絡系統 23 第四節 科技物的馴化29 一、馴化理論 29 二、都市空間中的馴化 32 三、小結 34 第三章 研究方法36 第一節 研究取徑與流程36 一、質性研究36 二、自我民族誌 37 三、深度訪談法與參與觀察法 39 第二節 訪談設計40 一、研究對象 41 二、訪談方式41 三、自我民族誌觀察注意要點 41 四、訪談大綱 42 五、訪談對象資料 43 第四章 為移動聆聽做準備50 第一節 使移動聆聽可能的物質條件 50 一、電源 52 二、網路 56 三、智慧型手機:分心聆聽61 四、耳機.65 第二節 聆聽作為優先事項 71 一、將聆聽設備準備在手邊或口袋 71 二、偶爾「失常」的聆聽準備 73 第三節 小結74 第五章 移動聆聽過程與環境的互動 77 第一節 移動聆聽的時空意義77 一、尖峰時段:擁擠車廂的聆聽困境 77 二、隔離現實環境的必要 80 三、寬鬆自在且專注自身的離峰時段 81 四、車程作為吸收新知的時間 83 第二節 空間中的性別差異84 一、裝扮如何影響與空間的互動方式 85 二、站姿與位置選擇 87 第三節 小結 91 第六章 移動聆聽如何聽與聽什麼93 第一節 串流平台特性與聆聽內容選擇 93 一、演算法介入的音樂選擇 93 二、透過播放清單蒐集喜好 95 三、音樂偏好與音質要求影響內容選擇96 四、串流平台品牌與方案選擇97 第二節 移動情境下的聆聽儀式 99 一、音樂作為移動時間的背景聲響 99 二、Podcast 與移動情境 101 三、聆聽內容影響生活節奏103 第三節 小結 104 第七章 結論與建議 106 第一節 研究結論106 一、串流平台融入日常的移動聆聽模式 106 二、移動聆聽先決的空間協商 108 三、移動情境之於聆聽內容 108 第二節 研究討論109 一、移動聆聽意義 109 二、生命階段不同造就聆聽意義差異111 三、選擇聆聽內容的主動性113 第三節 研究貢獻與限制 114 一、研究貢獻 114 二、研究限制與建議 116 參考文獻 119 zh_TW dc.format.extent 1457020 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0110464040 en_US dc.subject (關鍵詞) 串流平台 zh_TW dc.subject (關鍵詞) 移動聆聽 zh_TW dc.subject (關鍵詞) 媒介物質性 zh_TW dc.subject (關鍵詞) 馴化理論 zh_TW dc.subject (關鍵詞) 都市空間 zh_TW dc.subject (關鍵詞) Streaming platforms en_US dc.subject (關鍵詞) Mobile listening en_US dc.subject (關鍵詞) Materiality of media en_US dc.subject (關鍵詞) Domestication theory en_US dc.subject (關鍵詞) Urban space en_US dc.title (題名) 串流平台移動聆聽經驗:以大台北地區為例 zh_TW dc.title (題名) Mobile Listening Experience in Streaming Platforms: A Case Study of Taipei Metro Area en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) i-Buzz 網路口碑研究中心(2015)。〈i-Buzz 網路口碑報告:智慧型手機百家爭 鳴,領導品牌具絕對優勢〉,《i-Buzz 網路口碑研究中心》。 https://www.ibuzz.com.tw/article/article?atype=industry&id=19 王淑美(2014)。〈馴化 IM:即時通訊中的揭露、協商與創造〉。《中華傳播學 刊》,25:161-192。 文化部影視及流行音樂產業局(2018)。《107 年流行音樂產業調查報告》。文化 部影視及流行音樂產業局。 文化內容策進院(2022)。《2022 年台灣文化內容產業調查報告-流行音樂、廣播 產業》。文化內容策進院。 https://taicca.tw/uploads/userfiles/research/20231228/2022/2022%20Vol%203.pdf 文化內容策進院(2023)。《2022 年文化內容消費趨勢調查報告》。文化內容策進院。https://taicca.tw/uploads/userfiles/research/20230628/2022 年臺灣文化內容消費趨勢調查報告.pdf 台灣好新聞(2019)。〈北捷車廂免費 WiFi 廠商不玩了 北捷即起終止契約 TPE- Free 服務依舊提供〉,台灣好新聞。 https://www.taiwanhot.net/news/724340/%E5%8C%97%E6%8D%B7%E8%BB%8A%E5 %BB%82%E5%85%8D%E8%B2%BBWiFi%E5%BB%A0%E5%95%86%E4%B8%8D% E7%8E%A9%E4%BA%86+%E5%8C%97%E6%8D%B7%E5%8D%B3%E8%B5%B7% E7%B5%82%E6%AD%A2%E5%A5%91%E7%B4%84+TPE- Free%E6%9C%8D%E5%8B%99%E4%BE%9D%E8%88%8A%E6%8F%90%E4%BE%9 B 行政院智慧國家推動小組(2018)。〈北捷無線上網再升級 即日起系統內全面免費上網〉。行政院智慧國家推動小組。 https://digi.nstc.gov.tw/Page/1538F8CF7474AB4E/09090d8b-f977-40be-bc48- 66eef60ee64b 江明晏(2023 年 7 月 18 日)。〈無線藍牙耳機躍升主流 有線耳機穩居2成市 占〉。中央社。https://www.cna.com.tw/news/afe/202307180356.aspx 吳裕勝(2015)。〈理解 iPod:以 Paul Levinson [玩具, 鏡子, 藝術] 觀點考察〉。 《傳播研究與實踐》,5(1), 101-127。 吳俊葵(2019)。《在串流時代聆聽:日常生活中的流行音樂消費實作》。政治大 學傳播學院傳播碩士學位學程學位論文。 吳怡萱(2022 年 11 月 1 日)。〈男友出門「手機、錢包裝口袋」她無奈:之前 騎車掉過一次了〉,《Yahoo 新聞網》。 林佳慧(2017)。《數位時代下的音樂聆聽:科技、消費與個人日常生活敘事美 學理論初探》。臺北藝術大學音樂學研究所碩士論文。 林秀雲譯(2021)。《社會科學研究方法》。臺北:雙葉書廊。(原書:Earl Babbie [2020]. The Practice of Social Research, 15th ed.) 洪冬力(2014)。〈都市基礎設施治理的失靈與調節:台北市公共無線網路的個 案〉,《資訊社會研究》。27:1-29。 俞璟瑤(2021 年 2 月 17 日)。〈口袋性別政治 男女裝口袋數量尺寸大不 同〉,《TVBS 新聞網》。 侯貝臻(2021)。 《台灣 Podcast 聽眾收聽動機與訂閱行為研究》。政治大學 企業管理研究所碩士學位論文。 高淑清(2018)。《質性研究的 18 堂課——首航初探之旅》。高雄:麗文。財團法人台灣網路資訊中心(2023)。《2023 年台灣網路報告》。台灣網路報告官網。https://report.twnic.tw/2023/ 許夢芸譯(2008)。《文化研究:民族誌方法與生活文化》。台北:韋伯。 (原 書:Gray, A. [2003]. Research practice for cultural studies: ethnographic methods and lived cultures. London: Sage publication.) 國家通訊傳播委員會(2017)。《「行動通信網路成本模型及接續費研究」委託研究案期末報告》。國家通訊傳播委員會。 https://www.ncc.gov.tw/chinese/files/17111/3500_38299_171113_1.pdf 梁雅婷(2020)。《價格戰對電信業行銷組合策略之影響研究-以台灣大哥大為 例》。淡江大學國際行銷碩士在職專班碩士論文。 許鉦揚(2020)。《從媒介到媒介化:以耳機為例》。淡江大學資訊傳播學系碩士班碩士論文。 陳孟湘(2022)。《閱聽眾對音樂串流平台服務內容現況與需求之分析研究》。國立臺灣師範大學科技與工程學院圖文傳播學系碩士論文。 黃厚銘、曹家榮(2015)。〈「流動的手機」:液態現代性的時空架構與群己關 係〉,《新聞學研究》。124: 39-81。 黃郁軒(2020)。《影響消費者購買藍牙耳機關鍵因素之研究——使用 APH 方 法》。東吳大學企業管理學系碩士論文。 葉博里(2015)。〈從下載到串流:音樂產業的最後進化?!〉,李明璁(策 劃),《樂進未來:臺灣流行音樂的十個關鍵課題》,頁 26-43。大塊文化。 楊安淇(2017 年 6 月 20 日)。〈音樂產業從抗拒到重視,Spotify 亞洲區總監:串 流音樂是未來「新常態」〉,《TechNews 科技新報》。 https://technews.tw/2017/06/20/the-development-of-spotify-taiwan-market/ 蔡佩君、張志宇譯(2005)。《劍橋大學流行音樂讀本》。台北:商周出版(原書Frith, S., Straw, W., & Street, J.(Eds.). [2001]. The Cambridge companion to pop and rock. Cambridge, UK: Cambridge University Press.)。 鄭明萱譯(2015)。《認識媒體:人的延伸》。貓頭鷹出版(原書 McLuhan, M. [1964/1994]. Understanding Media: The Extensions of Man. Cambridge, MA: MIT Press)。 廖宜珈 (2018)。《以自我決定論探討串流音樂的任務表現及使用滿意度》。國立交通大學傳播研究所碩士論文。 數位時代(2020 年 5 月 25 日)。〈串流主導市場營收,將帶給音樂產業什麼樣的 轉變?〉。《數位時代》。https://www.bnext.com.tw/article/57829/kkbox-premium- recorded-music? 數位發展部(2023)。《112 年數位發展調查報告》。數位發展部。https://www- api.moda.gov.tw/File/Get/moda/zh-tw/yg2U5UZOHhvWvtm 戴嘉芬(2021 年 12 月 21 日)。 〈運族有福了!手機沒電就去租行動電源充飽飽〉,《太報》。https://www.taisounds.com/news/content/78/6423 蘇碩斌譯(2009)。《媒介文化論:給媒介學習者的 15 講》。台北:群學。 (原書:吉見俊哉. [2004]. メディア文化論: メディアを学ぶ人のため の 15 話.) Aguiar, L. (2017). Let the music play? Free streaming and its effects on digital music consumption. Information Economics and Policy, 41, 1-14. doi: 10.1016/j.infoecopol.2017.06.002 Bauman, Z. (2000). Liquid modernity. Cambridge, UK: Polity Press. Bauman, Z. (2001). Community: Seeking safety in an insecure world. London, UK: Polity Press. Bull, M. (2005). No Dead Air! The iPod and the Culture of Mobile Listening. Leisure Studies, 24(4), 348. Bull, M. (2007). Sound Moves: iPod culture and urban experience. London, UK: Routledge. Bull, M. (2013). Sound Mix: The Framing of Multi-Sensory Connections in Urban Culture. Sound Effects 3(3), 40. Carey, J. W. (1975). A cultural approach to communication. Couclelis, H. (2004). Pizza over the Internet: e-commerce, the fragmentation of activity and the tyranny of the region.Entrepreneurship and regional development,16(1), 41-54. doi: 10.1080/0898562042000205027 Carey, J. W., & Adam, G. S. (2008). Communication as culture, revised edition: Essays on media and society. routledge. DeNora, T. (2000). Music in everyday life. Cambridge, UK: Cambridge University Press. Du Gay, P., Hall, S., Janes, L., Madsen, A. K., Mackay, H., & Negus, K. (2013). Doing cultural studies: The story of the Sony Walkman. Sage. Ellis, C. & Bochner, A. P. (2000). Autoethnography, Personal Narrative, Reflexivity: Researcher as Subject. In N. Denzin & Y. Lincoln (Eds.), Handbook of qualitative research (pp. 733-768). Thousand Oaks, CA: Sage. Entwistle, J. (2000). Fashion and the fleshy body: Dress as embodied practice. Fashion theory, 4(3), 323-347. Flynn, M. (2016). Accounting for listening: How music streaming has changed what it means to listen. Musical and Media Connectivities: Practices, Circulation, Interactions, 6, 36-59. Gauntlett, D., & Hill, A. (1999).TV living: Television, culture, and everyday life. London: Routledge. Grinter, R. E., & Palen, L. (2002).Instant messaging in teen life. Paper presented at the Proceedings of the 2002 ACM Conference on Computer Supported Cooperative Work, New Orleans, Louisiana. Getreuer-Kargl, I. (2012). Gendered modes of appropriating public space.Urban Spaces in Japan: Cultural and Social Perspectives, 167-183. Haddon, L. (2011). Domestication Analysis, Objects of Study, and the Centrality of Technologies in Everyday Life. Canadian journal of communication, 36(2), 311-324. doi: 10.22230/cjc.2011v36n2a2322 Hagen, A. N. (2015). The playlist experience: Personal playlists in music streaming services. Popular Music and Society, 38(5), 625-645. Hagen, A. N. (2016). Music streaming the everyday life. In R. Nowak & A. Whelan (Eds.),Networked music cultures: Contemporary approaches, emerging issues(pp. 227- 246). Basingstoke, UK: Palgrave. Hagen, A. N., & Lüders, M. (2017). Social streaming? Navigating music as personal and social. Convergence: The International Journal of Research into New Media Technologies, 23(6), 643-659. Innis, H. A. (1972). Empire and communications. Toronto, CA: University of Toronto Press. International Federation of the Phonographic Industry (2017). Global music report 2017: Annual state of the industry. https://www.musikindustrie.de/fileadmin/bvmi/upload/06_Publikationen/GMR/GMR2017_ press.pdf International Federation of the Phonographic Industry (2023). Global music report 2023: state of the industry. https://www.ifpi.org/wp- content/uploads/2020/03/Global_Music_Report_2023_State_of_the_Industry.pdf Johansson, S., Werner, A., Åker, P., & Goldenzwaig, G. (2017). Streaming music: Practices, media, cultures. Routledge. Kibby, M. (2009). Collect yourself: Negotiating personal music archives.Information, Communication & Society, 12(3), 428-443. Kamalzadeh M., BAU D. and MOLLER T. (2016), “Listen or interact? A Large-scale survey on music listening and management behaviours”, Journal of New Music Research, vol.45, no.1. p.42-67 Kuch, M., & Wöllner, C. (2021). On the move: Principal components of the functions and experiences of mobile music listening. Music & Science, 4.https://doi.org/10.1177/20592043211032852 Lievrouw, L.A. (2014). Materiality and media in communication and technology studies: an unfinished project. In: Gillespie, T, Boczkowski, PJ, Foot, KA (Eds.) Media Technologies: Essays on Communication, Materiality, and Society (pp. 21–52). Cambridge, MA: The MIT Press. Larsen, J., & Urry, J. (2016). Mobilities, networks, geographies. Routledge. Lasen, A. (2018). Disruptive ambient music: Mobile phone music listening as portable urbanism. European journal of cultural studies, 21(1), 96-110. Magaudda, P. (2021). Smartphones, streaming platforms, and the infrastructuring of digital music practices. In Rethinking music through science and technology studies (pp. 241- 255). Routledge. Nowak, R. (2014). Investigating the interactions between individuals and music technologies within contemporary modes of music consumption. First Monday, 19(10). Retrieved from http://firstmonday.org/ojs/index.php/fm/article/view/5550/4129 Orlikowski, W. J. (1992). The duality of technology: Rethinking the concept of technology in organizations. Organization Science, 3 (3): 398-427. doi:10.1287/orsc.3.3.398 Orlikowski, W. J. (2007). Sociomaterial Practices: Exploring Technology at Work. Organization Studies, 28(9), 1435-1448. Oi, R. (2019). Spotify on the streets: walking and listening to music in urban spaces. Powell, A. (2009). Wi-fi as public utility or public park? Metaphors for planning local communication infrastructure.Metaphors for Planning Local Communication Infrastructure (January 21, 2009). Pink, S.(2009). Situating Sensory Ethnography: From Academia to Intervention. In Sarah Pink, Doing Sensory Ethnography. London: Sage. Pink, S. (2011). Multimodality, multisensoriality and ethnographic knowing: social semiotics and the phenomenology of perception. Qualitative Research, 11(3), 261-276. doi: 10.1177/1468794111399835 Prior, N. (2014). The plural iPod: A study of technology in action. Poetics, 42, 22-39. Pink, S. (2015). Doing Sensory Ethnography (2nd ed.). London, UK: SAGE Publications. Prior, N. (2018). Popular music, digital technology and society. London, UK: SAGE. Prey, R. (2018). Nothing personal: algorithmic individuation on music streaming platforms. Media, Culture & Society, 40(7), 1086-1100. Reed-Danahay, D. (1997) Auto-ethnography: Rewriting the Self and the Social. Oxford, UK: Berg. Rodríguez-García, A. M., Moreno-Guerrero, A. J., & Lopez Belmonte, J. (2020). Nomophobia: An individual’s growing fear of being without a smartphone—a systematic literature review.International journal of environmental research and public health,17(2), 580. Sommer, R. (1969). Personal Space: The Behavioral Basis of Design. Englewood Cliffs, NJ: Prentice-Hall. Silverstone, R., Hirsch, E., & Morley, D. (1992). Information and communication technologies and the moral economy of the household. In R. Silverstone & E. Hirsch (Eds.), Consuming technologies (pp. 15- 31). London: Routledge. Silverstone, R. (1994). Television and everyday life. London: Routledge. Silverstone, R., & Haddon, L. (1996). Design and the domestication of information and communication technologies: Technical change and everyday Life. In R. Mansell & R. Silverstone (Eds.),Communication by design(pp. 44-74). Oxford, UK: Oxford University Press. Schwanen, T., Dijst, M., & Kwan, M.-P. (2008). ICTs and the decoupling of everyday activities, space and time: Introduction.Tijdschrift voor Economische en Sociale Geografie,99, 519-527. Stevenson, A. (2017). Arrival stories: Using participatory, embodied, sensory ethnography to explore the making of an English city for newly arrived international students.Journal of Contemporary Ethnography,46(5), 544-572. Thapan, M. (1995). Gender, body and everyday life. Social Scientist, 32-58. Valverde, R. C. (2022). Online musicking for humanity: the role of imagined listening and the moral economies of music sharing on social media. Popular Music, 41(2), 194-215. Yildirim, C., & Correia, A. P. (2015). Exploring the dimensions of nomophobia: Development and validation of a self-reported questionnaire. Computers in human behavior, 49, 130-137 zh_TW
