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| Title: | 在串流時代聆聽：日常生活中的流行音樂消費實作
Music streaming in everyday life: Popular music, technology and cultural practices |
| Authors: | 吳俊葵
Wu, Chun-Kuei |
| Contributors: | 黃俊銘
Huang, Chun-Ming
吳俊葵
Wu, Chun-Kuei |
| Keywords: | 串流音樂
文化消費
數據中介
日常生活
閱聽人研究
streaming music
cultural consumption
infomediation
everyday life
audience research |
| Date: | 2019 |
| Issue Date: | 2019-09-05 17:40:21 (UTC+8) |
| Abstract: | 串流音樂已成為驅動流行音樂市場發展的重要消費面向，構築了當代流行音樂消費的形貌，本研究關注流行音樂閱聽人的聆聽經驗，探究其於日常生活中音樂消費實作在串流科技情境中的意義與轉變。以文化消費的理論模式為基礎，形成四種流行音樂消費取徑：意義生產、社會交往、情感連結、社會維繫作為研究框架，同時聚焦串流音樂媒介的科技特性，作為觀察閱聽人科技實踐的基礎。本研究採用質性焦點團體法，透過受訪者間的對話厚描聆聽經驗。
研究發現，串流音樂透過數據中介、社群展演、情境化聆聽的經驗，揭開了閱聽人新興的音樂消費實作。閱聽人在串流情境中往往陷入個人化聆聽與自我展演的抉擇之間，個人品味、聆聽觀點、私密情感經驗的揭露與維繫，藉由音樂逃逸於社會現實與重新接合社會生活，成就閱聽人協商自我、社會與音樂三者關聯的日常生活實踐。另一方面，聆聽資料數據化與演算法推薦機制，實現了閱聽人對於消費實作的再詮釋與反思，卻也透過分神聆聽狀態、推薦內容標準化的營造促成文化工業邏輯的操弄；閱聽人則發展出積極區辨、跳轉介面、跨媒介的聆聽策略進行逃逸，形成了閱聽人與音樂媒介科技不同以往的互動關聯。
Music streaming services have contributed to the development of popular music industry and the transformation of how people listen to music. This study aims to explore the changing experience and meaning of popular music consumption, which focuses on music streaming as both a technological and cultural practice in everyday life. Four approaches of music consumption, inspired by the model of cultural consumption theory, are integrated as theoretical framework, including meaning production, social intercourse, affective bonding, and social ordering. Furthermore, features of streaming platforms are emphasized as crucial research elements. Qualitative method was employed to gather materials from focus group interviews with streaming music audience, which offers thick descriptions of the music listening experience.
The findings suggested that the experience of infomediation, social presentation, and situated listening shed new light on the practice of popular music consumption. While consuming music streams, the audience were faced with a dilemma of whether they should maintain the boundary between personal and social life. They were engaging in a daily negotiation between individual, society, and music, during which they hesitated over whether they should reveal their taste, perspective on music, or private feelings. They confronted the relationship between escaping from reality and blending into society through music. The datafication of listening and the recommendation algorithms not only actualizes self-reflection of the audience to their own listening behavior but also manipulates the audience through a series of standardization and distraction in the logic of cultural industry. The audience then came up with diverse listening tactics to free themselves from the manipulation and forms an unpresented interaction between people and music technology. |
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| Description: | 碩士
國立政治大學
傳播學院傳播碩士學位學程
104464044 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G1044640441 |
| Data Type: | thesis |
| DOI: | 10.6814/NCCU201901030 |
| Appears in Collections: | [傳播學院傳播碩士學位學程] 學位論文
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