臺灣民間樂團新興品牌經營模式之研究-以灣聲樂團為例

Abstract

隨著社會的進步，臺灣富有多元的藝術活動，不論是硬體演出場地與設備不斷更新與興建，軟體也由政府及民間企業以實質性的方式鼓勵藝文活動之演出，使得我國有越來越多的表演藝術團體成立，其中又以音樂性性質的團隊為最多數，然而交響樂團的形式，更是眾多音樂形式中最精緻的。管絃樂團（Orchestra）及交響樂團（Symphony Orchestra）等樂團形式，皆是來自於西方音樂演進後的文明產物，是由不同音樂家和多種樂器組成之大型合奏演出形式，可追溯至15世紀義大利社會上層階級貴族生活型態，此時將音樂家邀請進入宮廷演奏是一種流行。直到18世紀末至19世紀初，古典主義和浪漫主義音樂的興起，管弦樂團漸漸成為一種標準編制，且是音樂會和歌劇表演之重要演出形式，管弦樂團演出形式隨著音樂家、作曲家和指揮家的巡演，交響樂的影響力逐漸擴展到世界各地，我國也隨著社會的進步，除了公設樂團，私人企業及民間組織也開始紛紛成立交響樂團。我國的交響樂團組織型態約可以分為公務機關專職團員之交響樂團簡稱公辦專職、民間成立專職團員之交響樂團簡稱民辦專職、公務機關非專職團員之交響樂團簡稱公辦非專職、民間成立非專職團員之交響樂團簡稱民辦非專職，以上四種。目前我國的職業交響樂團以公辦專職為主，由政府編列預算、出資，作為樂團主要經費來源，而樂團團員均為專職，具有公務人員身份之專職演奏家。本研究以民辦專職的灣聲樂團（OneSong Orchestra）為研究對象，此團於2017年由企業家「雷輝」與傳藝金曲獎得主「李哲藝」共同發起創立，致力成為我國首創以臺灣本土音樂文化為核心價值的專業樂團，強調以經費自籌，成立樂團後援會、顧問團及演出票房收入等自主模式，樂團成立至今僅七年，經歷兩波疫情的打擊，依然屹立於臺灣樂團，實為民辦專職樂團少見之成功異數。是以本研究主要意義為：一、探索灣聲樂團創團發展迄今現況。二、灣聲樂團新興經營品牌與行銷模式。三、民辦專業樂團之困難與挑戰。綜上所述，進而提出研究與觀察建言。With the progress of society, Taiwan boasts diverse artistic activities. From the continuous upgrading and construction of performance venues and equipment to substantial support from both government and private enterprises encouraging artistic performances, the number of performing arts groups in Taiwan has steadily increased, with music-oriented groups being the most prevalent. Among various musical forms, the symphony orchestra stands out as the most refined.Orchestras and Symphony Orchestra are products of Western musical evolution. These large-scale ensemble formats, composed of various musicians and instruments, can be traced back to the 15th century, reflecting the lifestyle of the aristocracy in Italian upper-class society, where inviting musicians for court performances became fashionable. By the late 18th to early 19th century, with the rise of Classical and Romantic music, the orchestra became a standardized format and a key component of concerts and operatic performances. The influence of symphony orchestras expanded worldwide through tours by musicians, composers, and conductors. In Taiwan, alongside societal advancements, in addition to publicly established orchestras, private enterprises and civil organizations have also begun forming symphony orchestras.The organizational structures of symphony orchestras in Taiwan can be classified into four types: symphony orchestras with full-time members established by government agencies (public full-time orchestras), symphony orchestras with full-time members established by private entities (private full-time orchestras), symphony orchestras with part-time members established by government agencies (public part-time orchestras), and symphony orchestras with part-time members established by private entities (private part-time orchestras). Currently, professional symphony orchestras in Taiwan are predominantly public full-time orchestras, funded by government budgets, with all members serving full-time and holding civil servant status.This study focuses on the OneSong Orchestra, a private full-time orchestra established in 2017 by entrepreneur Lei Hui and Golden Melody Award winner Lee Che-Yi. The orchestra is dedicated to being Taiwan's first professional orchestra centered on local musical culture. It emphasizes self-financing through the establishment of a supporting association, advisory group, and revenue from ticket sales. Despite only seven years since its inception and facing two waves of pandemic challenges, the OneSong Orchestra remains a prominent presence in Taiwan's music scene, a rare success among private full-time orchestras.The primary purposes of this study are as follows:1.To explore the development and current status of the OneSong Orchestra since its inception.2.To analyze the emerging branding and marketing strategies of the OneSong Orchestra.3.To examine the difficulties and challenges faced by private professional orchestras.Based on the above, this study aims to provide research insights and recommendations.