台灣重型搖滾樂文化行銷研究

Abstract

本研究目的在於從歷史、社會與產業的角度，分析重型搖滾在台灣的發展與商業現況，並探討台灣重型搖滾唱片經營者的文化行銷與中介者的角色。研究對象包括兩家經營重型搖滾唱片的唱片公司以及唱片行等四家業者。研究發現台灣重型搖滾發展的過程中，由國家機器轉化為商業運作的控制。就產業現況而言，四家業者經營的重心不同，三家業者以唱片銷售為主，但營業額比重不同， ㄧ家則轉向舉辦演唱會的方向發展。業者在文化中介過程中，扮演守門人角色，自行篩選唱片進入市場。但因為大部分的愛好者專注於音樂性，無需對重型搖滾進行在地化的包裝，且主動性高，只需將原來的符碼傳播出去即可。在文化行銷方面上，以市場導向、新品銷售為基礎。宣傳通路為網路、口碑與異業結合。在行銷實踐上，業者的運作雖已朝向長尾理論的模式，但產品數位化模式，目前由於市場規模太小，國外廠商權利金太高，尚無法實施，仍以實體銷售為主。

The purpose of this study was to analyze the development of hard n’ heavy music and business practice in historical, social, and industrial perspectives, and treat of culture marketing and cultural medium of record label and record store in Taiwan. The objects of this study were two record labels and two retail stores. The results from this study had showed that the domination of hard n’ heavy music by political power had turned into the control of commercial mechanism. In the business practice, three of them focused on CD sales, but the share of hard n’ heavy music were different. Another one paid attention to promote live performance tours. In the process of cultural medium, four dealers played as gatekeeper, and they didn’t add any brand new image to the music, due to the fans’ main attention was the diversity of music. In culture marketing, cultural medium of four dealers was important. CD sales depended on market’s demand. Internet, public praise, and collaboration with other industry were three promotion methods. The practice of long tail theory still didn’t work, due to market size and high license fee in digital music operation.