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Title: | 在地出發 全球佈局 — 台灣唱片公司在華語音樂市場中的國際分工策略 The Strategies of International Divisions Adopted by Record Companies in Taiwan within the Mandarin Popular Music Industry |
Authors: | Wan-Yi Chang 張婉怡 |
Advisor: | 洪貞玲(Chen-Ling Hung) |
Keyword: | 華語流行音樂產業,全球化,區域市場,國際分工,台灣,彈性策略,產製,銷售, popular music industry,Mandarin pop,record companies,Taiwan,globalization,production,marketing,retailing,international division, |
Publication Year : | 2010 |
Degree: | 碩士 |
Abstract: | 由於語言和文化上的接近性,亞洲在世界版圖中算是自成一個區域。尤其,在此區域中又以擁有多達12億5千萬的華語人口,包括台灣、香港、中國、新加坡、馬來西亞等國家所形成的華語區域市場最受矚目。豐富的多元文化及歷史背景造就了台灣深厚的流行音樂產業基礎;根據統計,全球華語歌曲有八成產自台灣,一直以來台灣在華語流行音樂市場都具有重要地位,過去台灣唱片業最繁榮的時候,許多音樂製作人都認為只要能在台灣樂壇做出成績,幾乎就是一路暢銷到香港、中國、新加坡、馬來西亞等華語地區的最好保證。
然而,由於國內音樂市場產值的遞減以及全球區域市場整合之趨勢,台灣市場似乎不再是唱片公司關心的主要目標,將產品行銷到整個大中華區域才是長久經營的目標策略,這也意味著從音樂的製作到發行,台灣唱片業者都必須隨著這股全球化趨勢進行調整。 換句話說,隨著華語區域市場的壯大,為了讓區域中各種經濟和文化活動的分工能順利進行,跨區域的音樂產製流程已成為必然趨勢,因此包括台灣、中國大陸與香港、新加坡、馬來西亞等華語區域國家逐漸發展出一套音樂產製的分工模式。就像當前的華語音樂在生產與銷售上主要由台灣唱片公司主導,從本地向外擴散,和中國大陸、香港、新加坡、馬來西亞等周圍國家的唱片工業發展出一套密切的互動關係,形成華語流行音樂產業的國際分工。 一方面是產業中心的主動選秀,另一方面則是人才向中心地帶的自願流動,這樣的互動關係也符合晚近資本主義下的彈性生產策略。有能力開發海外市場的台灣唱片公司也跟上這股全球風潮,前進其他華語地區吸引當地人才與創作資源;同時,來自新、馬、香港等地的音樂人也在華語音樂市場裡和台灣唱片業者及歌手進行合作,共同在華語流行音樂產業裡開多層次的動態分工。 不論歌手來自台灣、新馬、香港或中國大陸,這些華語專輯在台灣唱片公司熟練的運作下,從產製、流通到販售都是立足台灣、放眼全球。台灣在華語流行音樂產業的觸角可以說到達了華人世界的每個角落,從音樂的企劃製作、宣傳包裝到行銷通路,藉由完整的唱片工業體制,來自任何地區的華語歌手都有機會在台灣唱片公司的企劃與行銷下成為華人樂壇的下一個新星,以動人音樂打破地區隔閡,讓有華人的地方就有台灣的音樂。 The contemporary popular music industry is based on the principle that popular music is a commodity produced by big companies in a process of technologico-economic control. These companies rely on a system of musical creation, reproduction and retailing focused around big stars. For a long time Taiwan has been the center of Mandarin popular music, attracting artists from other countries with large Chinese communities such as Singapore, Malaysia and Mainland China. As a matter of fact, the rising of China market has gradually taken Taiwan’s place as the main battlefield for Mandarin popular music industry, as a result causing the record companies in Taiwan to make some transformation. However, the freedom of musical production and diversity of history and culture in Taiwan still make many overseas musicians and artists come to Taiwan to develop their music careers, especially those who have been dedicated to Mandarin pop. Most important of all, the major labels in Taiwanese Mandarin pop industry have developed an international division of labor in musical production and marketing. For most Mandarin pop artists in the recent decades, music produced, promoted and distributed in Taiwan seems guarantee a big success in Singapore, Malaysia, Hong Kong and Mainland China. Therefore, I would like to investigate a thesis that demonstrates the production and marketing strategies applied by major record companies in Taiwan within the Mandarin popular music industry. I shall discuss the recent changes in production and marketing of Taiwanese Mandarin pop industry by examining the dynamics within cultural production structured by a wide economic formation, thus gaining a deeper understanding of the industry. Particularly, I'll concentrate on the way record companies apply strategies of production and marketing to launch international divisions within the industry. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/22733 |
Fulltext Rights: | 未授權 |
Appears in Collections: | 新聞研究所 |
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