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題名 音樂 AI 娛樂暨二創平台創新經營模式之研究
A Study of Innovative business model for AI-driven music recreation
作者 張庭維
Chang, Ting-Wei
貢獻者 許牧彥
Xu, Mu-Yan
張庭維
Chang, Ting-Wei
關鍵詞 音樂平台創新
AI 音樂生成
著使用者共
二次創作
創作權
平台治理
Music platform innovation
AI music generation
User co-creation
Derivative works
Copyright
Platform governance
日期 2025
上傳時間 1-Jul-2025 14:32:10 (UTC+8)
摘要 近年來，隨著生成式 AI 技術的快速發展與數位音樂平台的成熟，音樂產業進入「使用者共創」與「平台生成經濟」的新階段。根據國際唱片業協會（IFPI）報告指出，2023 年全球音樂串流收入已達 193 億美元，其中 Spotify以超過 31% 市佔率居於領先地位。然而，儘管平台用戶規模快速增長，長期仍面臨版權成本高昂與創作者參與有限等營運挑戰。同時，Z 世代與年輕創作者對於 AI 音樂創作與二次創作的參與熱情日益升高，據 2025 年《IMS Business Report》指出，全球已有超過 6,000 萬用戶實際使用 AI 音樂創作工具，顯示市場對參與型音樂創作的需求日漸明確。 本研究以 Spotify 為提案對象，提出一創新子平台 Avibe，結合 AI 音樂生成技術與 Remix 編輯模組，建立一個以「使用者即創作者」(users-as-creators)為核心的參與型創作平台。該平台進一步設計「分層級授權架構」、「創作者收益回溯制」與「白名單授權模式」，以回應現行音樂著作權分配、平台治理與產業實務間之斷裂與落差，並兼顧創作自由與法律合規之平衡。本研究採用質性研究方法，透過半結構式訪談蒐集音樂工會代表、平台業者與創作者的意見，評估此創新提案之可行性與制度落地條件，並以訪談回饋修正平台架構設計。 研究結果指出，受訪者普遍肯定 Avibe 對於促進創作參與與強化平台差異化的潛力，並認為其分層級授權制度可作為現行制度下的新型授權範式。然而，在商業使用情境下的權利歸屬、演算法推薦是否涉足「著作改作」、以及AI 音樂歸屬的法律空白，仍需制度與平台共同應對。本研究之貢獻在於建立一套整合技術、治理與授權之平台原型架構，並作為未來數位音樂平台導入生成式 AI 模組與創作者生態治理時之參考藍圖。
In recent years, the rise of generative AI and digital music platforms has ushered in a new era of user co-creation and platform-driven economies. In 2023, global streaming revenue reached USD 19.3 billion, with Spotify leading at over 31% market share. Yet, platforms still face high copyright costs and limited creator engagement, even as AI music tools attract over 60 million users—especially among Gen Z. This study focuses on Spotify and proposes a sub-platform, Avibe, which combines AI music generation with a remix editing module to promote user participation. The platform incorporates a tiered licensing system, creator revenue tracing, and a whitelist-based licensing model to address disconnections between copyright allocation, platform governance, and industry practice—while balancing creative freedom with legal compliance. Using a qualitative approach, semi-structured interviews were conducted with representatives from musicians’ unions, platform operators, and creators to evaluate feasibility and refine the platform’s design. Interviewees generally affirmed Avibe’s potential to enhance creative participation and platform differentiation, viewing the tiered licensing model as a promising new paradigm. This study contributes a prototype framework that integrates technology, governance, and licensing—providing a reference model for future digital music platforms adopting generative AI.
參考文獻 中文文獻 許牧彥. (2007). 以消費過程為基礎的獲利策略，管理評論(中國管理科學類重要期刊) V ol.19, No8, 29-36 中華民國著作權協會. (2018). 區塊鏈於著作權產業之應用. 工業總會白皮書(全國工業總會出版）。 英文文獻 Armstrong, M. (2006). Competition in two-sided markets. The RAND Journal of Economics, 37(3), 668–691. Artists, R. (2022). Music creators' earnings in the digital era. UK Intellectual Property Office. Benkler, Y. (2006). The wealth of networks: How social production transforms markets and freedom. Yale University Press. Bridy, A. (2019). AI authorship and copyright. Columbia Journal of Law & the Arts, 42(3), 341–369. Burk, D. L. (2019). Authoring artificial intelligence. University of California Davis Law Review, 52(2), 529–560. Cepa, K. (2023). Transforming the music industry: How platformization drives ecosystem coordination. Journal of Cultural Economics. Chesbrough, H. (2018). Open innovation results: Going beyond the hype and getting down to business. Oxford University Press. Choi, D. Y., & Perez, A. (2010). Online piracy, innovation, and legitimate business models. Technovation, 30(1), 13–19. Choudary, S. P. (2016). Platform scale: How an emerging business model helps startups build large empires with minimum investment. Platform Thinking Labs. Crawford, K., & Paglen, T. (2019). Excavating AI: The politics of images in machine learning training sets. International Journal of Communication, 13, 2894–2912. Cusumano, M. A., Yoffie, D. B., & Gawer, A. (2020). The future of platforms. MIT Sloan Management Review, 61(3), 46–54. Dijck, J. van. (2013). The culture of connectivity: A critical history of social media. Oxford University Press. Drott, E. (2020). Music as a technology of surveillance. Journal of the Society for American Music, 14(3), 291–317. Frenz, M., & Schlich, B. (2020). Artificial intelligence and the music industry. European Journal of Cultural Studies, 23(6), 944–963. Gawer, A., & Cusumano, M. A. (2014). Industry platforms and ecosystem innovation. Journal of Product Innovation Management, 31(3), 417–433. Gervais, D. (2020). AI and authorship: New paradigms for copyright law. Vanderbilt Journal of Entertainment & Technology Law, 22(3), 615–641. Gillespie, T. (2010). The politics of ‘platforms’. New Media & Society, 12(3), 347–364. Guadamuz, A. (2017). Artificial intelligence and copyright. WIPO Magazine, October 2017. Hagiu, A., & Wright, J. (2006). Multi-sided platforms. Harvard Business School Working Paper. IFPI. (2023). Global music report 2023: State of the industry. International Federation of the Phonographic Industry. Jaszi, P. (2018). Toward a theory of copyright: The metamorphoses of “authorship”. Duke Law Journal, 34(3), 455–502. Jiang, Y. (2017). Intellectual property strategies of Chinese music platforms. Journal of Intellectual Property Law & Practice, 12(10), 857–867. Katz, R. A. (2023). Copyright, creativity, and artificial intelligence. Yale Journal of Law & Technology, 25(2), 112–138. Kerr, S. P., & Mandorff, M. (2015). Social media and creative performance. Economics of Innovation and New Technology, 24(5), 457–478. Leon, L. J. (2017). Remix and the digital commons: Revisiting copyright law in the age of creativity. Media & Law Journal, 12(4), 38–52. Lessig, L. (2008). Remix: Making art and commerce thrive in the hybrid economy. Penguin Press. Liebowitz, S. J. (2006). File sharing: Creative destruction or just plain destruction?. Journal of Law and Economics, 49(1), 1–28. Litman, J. (1990). The public domain. Emory Law Journal, 39, 965–1023. Lusch, R. F., & Nambisan, S. (2017). Service innovation: A service-dominant logic perspective. MIS Quarterly, 39(1), 155–175. Lusch, R. F., & Vargo, S. L. (2004). Evolving to a new dominant logic for marketing. Journal of Marketing, 68(1), 1–17. Madison, M. J. (2014). Law as design: Objects, concepts, and digital things. Case Western Reserve Law Review, 64(2), 381–418. MIDiA Research. (2023). Independent artists market outlook. MIDiA Consulting. Napoli, P. M. (2019). Social media and the public interest: Media regulation in the disinformation age. Columbia University Press. Netanel, N. W. (2008). Copyright’s paradox. Oxford University Press. Ochoa, T. (2019). Who owns AI-created works?. Berkeley Technology Law Journal, 34(3), 745–774. Parker, G., Van Alstyne, M., & Choudary, S. (2016). Platform revolution: How networked markets are transforming the economy. W. W. Norton & Company. Pawlowski, J. M., & Bick, M. (2004). Open source software development–Just another business model?. Proceedings of the 37th Annual Hawaii International Conference on System Sciences. Porter, M. E. (1985). Competitive advantage: Creating and sustaining superior performance. Free Press. Powers, D. (2015). Writing the record: The Village Voice and the birth of rock97 criticism. University of Massachusetts Press. Ramirez, R. (1999). Value co-production: Intellectual origins and implications for practice and research. Strategic Management Journal, 20(1), 49–65. Rosati, E. (2023). Copyright in the digital single market: Article-by-article commentary to the provisions of directive 2019/790. Oxford University Press. Samuelson, P. (2019). Allocating ownership rights in computer-generated works. University of California Davis Law Review, 47(2), 569–614. Schmalensee, R., & Evans, D. S. (2016). Matchmakers: The new economics of multisided platforms. Harvard Business Review Press. Schofield, D. (2017). Music copyright law. Routledge. Senftleben, M. (2015). Flexibilities under the EU copyright rules and the freedom of expression. Amsterdam Law School Research Paper No. 2015-40. Sprigman, C. (2019). The mouse that ate the public domain: Disney, the Copyright Term Extension Act, and Eldred v. Ashcroft. Journal of Copyright Society, 51, 387–417. Strumpf, K. (2007). The effect of file sharing on record sales: An empirical analysis. Journal of Political Economy, 115(1), 1–42. Stuart, T. E. (1996). Network positions and propensities to collaborate: An investigation of strategic alliance formation in a high-technology industry. Administrative Science Quarterly, 41(3), 668–698. Taylor, T. D. (2007). Beyond exoticism: Western music and the world. Duke University Press. Tirole, J., & Rochet, J. C. (2003). Platform competition in two-sided markets. Journal of the European Economic Association, 1(4), 990–1029. Towse, R. (2021). A textbook of cultural economics. Cambridge University Press. Tschmuck, P. (2006). Creativity and innovation in the music industry. Springer98 Science & Business Media. Velez-Hernandez, R. (2020). Legal protection of AI-generated music. Journal of Intellectual Property Rights, 25(2), 112–124. Wright, B., & De Filippi, P. (2015). Decentralized blockchain technology and the rise of lex cryptographia. Harvard Journal of Law & Technology, 29(1), 1–50. Yanisky-Ravid, S. (2020). Generative AI and copyright law: The challenges of human authorship, originality, and infringement. Fordham Intellectual Property, Media & Entertainment Law Journal, 30(3), 1000–1050. Zhang, Y. (2020). China’s music industry and copyright development. Chinese Journal of Communication, 13(2), 177–196. RIAA. (2010). Annual Music Industry Revenue Report. Recording Industry Association of America. IFPI. (2023). Global Music Report 2023: State of the Industry. International Federation of the Phonographic Industry. MIDiA Research. (2023). User-Generated Music Content Outlook. MIDiA Consulting. Harvard Business Review. (2020). What Platforms Do Differently: A Strategic Perspective. Harvard Business Review, July–August Issue.
描述 碩士
國立政治大學
科技管理與智慧財產研究所
112364121
資料來源 http://thesis.lib.nccu.edu.tw/record/#G0112364121
資料類型 thesis
dc.contributor.advisor 許牧彥zh_TW
dc.contributor.advisor Xu, Mu-Yanen_US
dc.contributor.author (Authors) 張庭維zh_TW
dc.contributor.author (Authors) Chang, Ting-Weien_US
dc.creator (作者) 張庭維zh_TW
dc.creator (作者) Chang, Ting-Weien_US
dc.date (日期) 2025en_US
dc.date.accessioned 1-Jul-2025 14:32:10 (UTC+8)-
dc.date.available 1-Jul-2025 14:32:10 (UTC+8)-
dc.date.issued (上傳時間) 1-Jul-2025 14:32:10 (UTC+8)-
dc.identifier (Other Identifiers) G0112364121en_US
dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/157720-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 科技管理與智慧財產研究所zh_TW
dc.description (描述) 112364121zh_TW
dc.description.abstract (摘要) 近年來，隨著生成式 AI 技術的快速發展與數位音樂平台的成熟，音樂產業進入「使用者共創」與「平台生成經濟」的新階段。根據國際唱片業協會（IFPI）報告指出，2023 年全球音樂串流收入已達 193 億美元，其中 Spotify以超過 31% 市佔率居於領先地位。然而，儘管平台用戶規模快速增長，長期仍面臨版權成本高昂與創作者參與有限等營運挑戰。同時，Z 世代與年輕創作者對於 AI 音樂創作與二次創作的參與熱情日益升高，據 2025 年《IMS Business Report》指出，全球已有超過 6,000 萬用戶實際使用 AI 音樂創作工具，顯示市場對參與型音樂創作的需求日漸明確。 本研究以 Spotify 為提案對象，提出一創新子平台 Avibe，結合 AI 音樂生成技術與 Remix 編輯模組，建立一個以「使用者即創作者」(users-as-creators)為核心的參與型創作平台。該平台進一步設計「分層級授權架構」、「創作者收益回溯制」與「白名單授權模式」，以回應現行音樂著作權分配、平台治理與產業實務間之斷裂與落差，並兼顧創作自由與法律合規之平衡。本研究採用質性研究方法，透過半結構式訪談蒐集音樂工會代表、平台業者與創作者的意見，評估此創新提案之可行性與制度落地條件，並以訪談回饋修正平台架構設計。 研究結果指出，受訪者普遍肯定 Avibe 對於促進創作參與與強化平台差異化的潛力，並認為其分層級授權制度可作為現行制度下的新型授權範式。然而，在商業使用情境下的權利歸屬、演算法推薦是否涉足「著作改作」、以及AI 音樂歸屬的法律空白，仍需制度與平台共同應對。本研究之貢獻在於建立一套整合技術、治理與授權之平台原型架構，並作為未來數位音樂平台導入生成式 AI 模組與創作者生態治理時之參考藍圖。zh_TW
dc.description.abstract (摘要) In recent years, the rise of generative AI and digital music platforms has ushered in a new era of user co-creation and platform-driven economies. In 2023, global streaming revenue reached USD 19.3 billion, with Spotify leading at over 31% market share. Yet, platforms still face high copyright costs and limited creator engagement, even as AI music tools attract over 60 million users—especially among Gen Z. This study focuses on Spotify and proposes a sub-platform, Avibe, which combines AI music generation with a remix editing module to promote user participation. The platform incorporates a tiered licensing system, creator revenue tracing, and a whitelist-based licensing model to address disconnections between copyright allocation, platform governance, and industry practice—while balancing creative freedom with legal compliance. Using a qualitative approach, semi-structured interviews were conducted with representatives from musicians’ unions, platform operators, and creators to evaluate feasibility and refine the platform’s design. Interviewees generally affirmed Avibe’s potential to enhance creative participation and platform differentiation, viewing the tiered licensing model as a promising new paradigm. This study contributes a prototype framework that integrates technology, governance, and licensing—providing a reference model for future digital music platforms adopting generative AI.en_US
dc.description.tableofcontents 第一章 緒論 1 第一節 研究背景與動機 1 第二節 研究問題與目的 3 第三節 研究定位與內容 4 第二章 市場需求趨勢 7 第一節 音樂產業發展及現況 7 第二節 AI 音樂二創發展需求趨勢 14 第三節 市場痛點及平台相關爭議 16 第三章 文獻回顧 18 第一節 音樂二創、AI 創作領域之智財權議題 18 第二節 平台模式 33 第三節 平台的價值創造與獲取 40 第四節 現有平台機制分析 53 第四章 創新提案_Avibe 56 第一節 Avibe 的內容及功能 56 第二節 Avibe 的採用與使用 66 第三節 Avibe 的價值創造與獲取 71 第五章 研究方法 74 第一節 研究設計與方法選擇 74 第二節 訪談問題設計 77 第六章 提案驗證分析 79 第一節 平台制度與法律面（音樂工會／著作權管理組織）79 第二節 市場與營運面（平台業者）86 第三節 使用與參與面（音樂創作者）87 第七章 結論與建議 89 第一節 研究結論 89 第二節 研究限制與建議 92 參考文獻 94 附錄 100zh_TW
dc.format.extent 13250073 bytes-
dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0112364121en_US
dc.subject (關鍵詞) 音樂平台創新zh_TW
dc.subject (關鍵詞) AI 音樂生成zh_TW
dc.subject (關鍵詞) 著使用者共zh_TW
dc.subject (關鍵詞) 二次創作zh_TW
dc.subject (關鍵詞) 創作權zh_TW
dc.subject (關鍵詞) 平台治理zh_TW
dc.subject (關鍵詞) Music platform innovationen_US
dc.subject (關鍵詞) AI music generationen_US
dc.subject (關鍵詞) User co-creationen_US
dc.subject (關鍵詞) Derivative worksen_US
dc.subject (關鍵詞) Copyrighten_US
dc.subject (關鍵詞) Platform governanceen_US
dc.title (題名) 音樂 AI 娛樂暨二創平台創新經營模式之研究zh_TW
dc.title (題名) A Study of Innovative business model for AI-driven music recreationen_US
dc.type (資料類型) thesisen_US
dc.relation.reference (參考文獻) 中文文獻 許牧彥. (2007). 以消費過程為基礎的獲利策略，管理評論(中國管理科學類重要期刊) V ol.19, No8, 29-36 中華民國著作權協會. (2018). 區塊鏈於著作權產業之應用. 工業總會白皮書(全國工業總會出版）。 英文文獻 Armstrong, M. (2006). Competition in two-sided markets. The RAND Journal of Economics, 37(3), 668–691. Artists, R. (2022). Music creators' earnings in the digital era. UK Intellectual Property Office. Benkler, Y. (2006). The wealth of networks: How social production transforms markets and freedom. Yale University Press. Bridy, A. (2019). AI authorship and copyright. Columbia Journal of Law & the Arts, 42(3), 341–369. Burk, D. L. (2019). Authoring artificial intelligence. University of California Davis Law Review, 52(2), 529–560. Cepa, K. (2023). Transforming the music industry: How platformization drives ecosystem coordination. Journal of Cultural Economics. Chesbrough, H. (2018). Open innovation results: Going beyond the hype and getting down to business. Oxford University Press. Choi, D. Y., & Perez, A. (2010). Online piracy, innovation, and legitimate business models. Technovation, 30(1), 13–19. Choudary, S. P. (2016). Platform scale: How an emerging business model helps startups build large empires with minimum investment. Platform Thinking Labs. Crawford, K., & Paglen, T. (2019). Excavating AI: The politics of images in machine learning training sets. International Journal of Communication, 13, 2894–2912. Cusumano, M. A., Yoffie, D. B., & Gawer, A. (2020). The future of platforms. MIT Sloan Management Review, 61(3), 46–54. Dijck, J. van. (2013). The culture of connectivity: A critical history of social media. Oxford University Press. Drott, E. (2020). Music as a technology of surveillance. Journal of the Society for American Music, 14(3), 291–317. Frenz, M., & Schlich, B. (2020). Artificial intelligence and the music industry. European Journal of Cultural Studies, 23(6), 944–963. Gawer, A., & Cusumano, M. A. (2014). Industry platforms and ecosystem innovation. Journal of Product Innovation Management, 31(3), 417–433. Gervais, D. (2020). AI and authorship: New paradigms for copyright law. Vanderbilt Journal of Entertainment & Technology Law, 22(3), 615–641. Gillespie, T. (2010). The politics of ‘platforms’. New Media & Society, 12(3), 347–364. Guadamuz, A. (2017). Artificial intelligence and copyright. WIPO Magazine, October 2017. Hagiu, A., & Wright, J. (2006). Multi-sided platforms. Harvard Business School Working Paper. IFPI. (2023). Global music report 2023: State of the industry. International Federation of the Phonographic Industry. Jaszi, P. (2018). Toward a theory of copyright: The metamorphoses of “authorship”. Duke Law Journal, 34(3), 455–502. Jiang, Y. (2017). Intellectual property strategies of Chinese music platforms. Journal of Intellectual Property Law & Practice, 12(10), 857–867. Katz, R. A. (2023). Copyright, creativity, and artificial intelligence. Yale Journal of Law & Technology, 25(2), 112–138. Kerr, S. P., & Mandorff, M. (2015). Social media and creative performance. Economics of Innovation and New Technology, 24(5), 457–478. Leon, L. J. (2017). Remix and the digital commons: Revisiting copyright law in the age of creativity. Media & Law Journal, 12(4), 38–52. Lessig, L. (2008). Remix: Making art and commerce thrive in the hybrid economy. Penguin Press. Liebowitz, S. J. (2006). File sharing: Creative destruction or just plain destruction?. Journal of Law and Economics, 49(1), 1–28. Litman, J. (1990). The public domain. Emory Law Journal, 39, 965–1023. Lusch, R. F., & Nambisan, S. (2017). Service innovation: A service-dominant logic perspective. MIS Quarterly, 39(1), 155–175. Lusch, R. F., & Vargo, S. L. (2004). Evolving to a new dominant logic for marketing. Journal of Marketing, 68(1), 1–17. Madison, M. J. (2014). Law as design: Objects, concepts, and digital things. Case Western Reserve Law Review, 64(2), 381–418. MIDiA Research. (2023). Independent artists market outlook. 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