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    Please use this identifier to cite or link to this item: http://nccur.lib.nccu.edu.tw/handle/140.119/66561

    Title: 台灣流行音樂地景的文化經濟:Live House的創意產業、情感勞動及消費認同(2/2)
    Other Titles: The Music Scene's Cultural Economy in Taiwan: Creative Industry, Affective Labor and Identities of Consumption in Live House
    Authors: 簡妙如;劉昌德;何東洪
    Contributors: 新聞系
    Date: 2011
    Issue Date: 2014-06-05 14:41:04 (UTC+8)
    Abstract: 台灣流行音樂地景的文化經濟:Live House 的創意產業、情感勞動及消費認同 【中文摘要】 近年來,較為穩定的現場音樂演唱文化,已在台灣的幾個代表性空間蔚然成形。包 括音樂空間的經營者、表演者及消費者,似乎都形成、也帶動一個新的音樂聆聽及體驗 文化,更是一個後唱片時代的新興音樂產業。本研究以目前活躍於台灣的小型現場音樂 表演空間(live house)為研究對象,探討近十年來漸成形的現場音樂地景文化,同時也 探討其作為養成當前流行音樂產業「產業預備軍」的重要角色,包括獨立樂團、及新近 浮現的歌唱選秀節目歌手,甚至是養成特定音樂產業的潛在消費者的重要意涵。一方 面,本研究將這些特定的音樂地景,視為某種當代音樂產業轉型下的新興商品:音樂商 品由過去唱片生產,轉為音樂相關的體驗服務。其創意內容、美學價值及音樂展演與消 費形式,都需調整及發展出另一套文化生產及消費邏輯。另一方面,參與其中的文化工 作者,包括創意經理人、創意人,以及消費者,也都以不同非物質性的勞動實踐,或說 「情感勞動」,參與了某種自願的、合作的、社群的,但也可能是剝削的,勞動生產及 再生產關係。 本研究結合文化研究及政治經濟學的方法取徑及批判觀點,將音樂地景的研究與文 化產業、勞動理論結合。研究問題將由三個層面著手,包括:(1)台灣音樂地景的歷史及 產業脈絡,(2)音樂「產業預備軍」的勞動及再生產關係,以及(3)音樂地景中的消費者 參與文化及認同。透過深度的理論探討及經驗資料分析,本研究預計在為期三年的田野 調查、深度訪談,以及全球化的音樂地景比較研究中,提出對於台灣流行音樂文化、音 樂產業的創意工作者,以及相關文化政策,更具批判性及建設性的研究成果。
    The music scene’s cultural economy in Taiwan: Creative industry, affective labor and identities of consumption in ‘Live House’ Abstract In recent years, live music has developed into a remarkable culture in some clubs in Taiwan. Such music venues provide live gigs and new “experiential” forms of Taiwan’s musical culture. This trend has initiated the rise of new ways of consumption. It is now commonly known as “live houses”. This also marks a meaningful business model for the related popular music industries in an era of “post-record” in Taiwan. This research project will focus on the music scene of such live houses in Taiwan. We will explore the history and cultural economy of Taiwan’s representative live houses in the last decade. A further concern will be the role of such venues in nurturing the “industry reservoirs” of popular music. Our focus will concentrate specifically on the recent growth of bands in independent music and, the new joiners of wannabe singers from talent search shows. We intend to include the potential fan and consumer base in this study. From a new logic of contemporary cultural economy, the live house has transformed the commodity of music albums into a more music experimental service. At the same time, the labor forms and the related identities in the production of such a new commodity has emerged as a new logic of “affective labor” between the involved cultural workers. It could be more voluntary, co-operative and community based. However, it could be exploitative as well to some extent. This research will explore three dimensions of the music scene in Taiwan: (1)The development and history of main live houses , (2)The labor practices and its reproduction of “industry reservoirs” , (3)the participatory culture and identities of fans and consumers. Combined with the perspectives of cultural study and political economy, this project will conduct a 3 year research, including methods of field studies, in-depth interviews and comparison studies of global and local music scenes. The anticipated result is intended to be effective and helpful for both the creative workers of music industries and the related governmental cultural policies.
    Relation: 行政院國科會委託研究案
    Data Type: report
    Appears in Collections:[新聞學系] 國科會研究計畫

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