32

1990-1997

ICRT

1 0

2

3

1988

know-how(strategic importance of specific areas)4

5

6

1990-1997

19901997

33

Keith Negus 1996

7

8

1989

910

1998

1995 Segram EMI 1990

1995 1996 (EEI) 1993 EMI

SONY 1993 SONY

BMG 1991

RCAArista 11

1993

1999

1995

34

1993

Fujisankei1993

1998

199891%25%65%12

35

3-1

(Sony) ()

1993

(EMI) ()

1990 1993 1995 1996

Virgin

(Universal) ()

1995 1995 1997

(MCA) Segram

(Warner) ()

1993-1998 1998

(BMG) ()

1991 1996

(Polygram) ()

1990 1998

Segram

36

1990-1997

talent scountA&R(Artist & Repertoire)A&R

13

PUB

DEMO

Keith Negus(Information networks)14

37

EMI

Bill Ryan(name-based)15

16 17

Simon Frith

(talent spotters)1819

Roy Shuker

20

38

A&R

in-house

out-sourcing

21

SONY22

39

23

24

A&R(artist & repertoire)

A&R

25

Paul Hirsch26

John Ryan

Richard Peterson

40

A&R

27

A&R

A&R

A&R

Keith Negus28

MTV 29

30

31

32 MTVAndrew Goodwin

MTV33

41

Simon FrithMTV34FrithMTV

35

36

1996

37

John Ryan Richard Peterson

38

1990-1997

50 800

1990-1997

42

1996 100 39

43

401990-199767001996800199916002000-400041

40

1/31/215

42

3-2

3-10 200

300-400 MTV 200-300 100 200-300 100-200

1994

44

43199344

(TV surfing)

(payola)45

TVBSMTV906050402300150046

2300500/

VCD

VCD47

481996IFPI100-150

1999

45

10

CD3500049

83-86

CDCOPY50

Ryan

46

51

52

/

1990-1997

1990-1997

400 53

/

54

Roy Shuker

47

55

(symbiosis)(niche)

5657

1990-1997

48

(non-rival)

(Indefinitely Expansible)

MSTMusic Copyright Intermediary Society of Chinese Taipei

1999 58

Music Publishers Association Of Chinese Taipei 6 59

1990-1997KTV

packageKTV60KTVKTVKTV 8 KTV 300011061

KTV

Nicholas Garnham

62

/

49

400 /

400 1990-1997

50

63

64

65

66

40

67

68Keith Negus (hip retailers)69

51

Keith Negus 22 9( 90 Warner Music BMG)70

1991 3,545 1996 3,445 71

72

73

CD MP3

CD CD 2300 CD CD

52

(boom time) 400

3-3 1990-1997 1990 23.1 141.7 3,707.6 1991 30.1 223.9 5,734.0 1992 43.1 326.3 8,352.0 1993 36 270.7 7,043.4 1994 45.6 337.8 8,930.4 1995 41.5 336.4 8,912.9 1996 47.3 415.6 11,401.7 1997 48.1 427.8 12,332.3

90 1990 1997 1990 2300

1997 4700 1061990 1 4170 1997 4 2780 123 201

74

KTV

75

53

KTV KTV

1997 123 22 2

300 76

U2

1996 13 2000

77

78

54

79

80

81

55

1990-19971997

Michael Porter

82

80 123

1990-1997

/

//

83

56

A&R84

know-how851990-1997

86

1998

CD2000P2PKuroezPeer

1998

57

1 199919992002 2 1970 -1994

1976

80 3 1982 1983 1984 4 Keith Negus, K. Producing Pop: Culture and Conflict in the Popular Music Industry. London: Routledge. 1992. p8. 5 125 54-711998 6 19961998199819991999 7 Keith Negus. Popular Music in Theory. London: Wesleyan Univ. Press. 1996. 164-189. 8 Robert Burnett. The Global Jukebox: the International Music Industry. London: Routledge. 1996. ; Pekka Gronow. The Record Industry: the Growth of a Mass Medium. Popular Music Ed. R. Middleton & D. Horn. Cambridge: Cambridge Univ. Press, 1983. 53-66. 9 10 Decca 11 1996 1998 12 1999170 13 1996 14 Keith Negus1992 Keith Negus PUB DEMO (raw talent)(discovery & development) 15 Bill Ryan. Making Capital from Culture: the Corporate from of Capitalist Culture Production. New York: Walter deGruyter, 1991.198 16 Keith Negus1992 Geoffrey Hull. The Recording Industry. Boston: Ally & Bacon, 1998. 17 Hull 1234 18 Simon Frith. Sound Effects. New York: Pantheon. 1981. 19 OSullivan, Tim 1997John W. Ryan & Richard A. Peterson. The Product Image: the Fate of Creativity in Country Music Song Writing. Sage Annual Reviews of Communication Research. 10(1982): 11-32. Hartley 12345(constituency)(mass) Gillett Ryan Peterson

58

20 Richard A. Peterson & David G. Berger. Cycles in Symbol Production: the Case of Popular Music. On Record: Rock, Pop, and the Written Word Ed. Simon Frith. & Andrew Goodwin. London: Routledge, 1975. 140-159.Heiki Hellman. The new state of competition in the record industry. Sociologia, 20.4 (1983): 355-367.

(symbiosis) 21 2002 22

1999 9 4 567-5932001 23 1999 24 23 25 2004 26 Keith Negus1996 36-65 27 2004 28 Keith Negus1996 36-65 29 1995 30 56 105-1341998 31 1995 32 2004 33 Andrew Goodwin. Rationalization and Democratization in the New Technologies of Popular Music Popular Music & Communication. Ed. James, Lull. London: Sage. London: Sage, 1992. 75-100 34 Keith Negus, 1992 35 CHEERS2000 36 2004 37 38 Richard A. Peterson & David G. Berger1983 39 2004 40 Keith Negus1992 41 Richard A. Peterson & David G. Berger1983 42 Richard A. Peterson & David G. Berger1983 43 : 2000 Kiss Radio ( Hit FM)

44 2004

59

45 2004 FCC(payola)80

46 216 56-631999 47 2000 48 Jacques Attali (1995) 49 Richard A. Peterson & David G. Berger1983 50 Onlinehttp://www.musicmusic.com.tw/ap/news/home.php?cate=2&type=812004/11/7 51 2004 52 53 54 2000 55 Roy Shuker. Understanding the Music. London: Routledge. 1994. 56 57 Robert Burnett. The Implications of Ownership: Changes for Concentration and Diversity in the Phonogram Industry. Communication Research 19.6 (1992): 749-769Paul D. Lopes. Innovation and Diversity in the Popular Music Industry: 1969 to 1990. American Sociological Review. 57(1992): 46-71. 58 http://www.must.org.tw/index.htm 59 http://www.mpa-taipei.org.tw/ 60 KTV Onlinehttp://ba.lm.fju.edu.tw/ba/37report/bp/BK9202.pdf2005/1/16 61 KTV KTV 246 2002 62 Nicholas Garnham. Capitalism and Communication. Global Culture and the Economics of Information. London: Sage. 1990. 162-163 63 Keith Negus1992 64 1996 65 2000 (Tower) 1992

66 1998 67 http://www.asia-records.com.tw/ 68 1996 69 Keith Negus1992 70 Keith Negus. Music Genres and Corporate Cultures. London: Routledge. 1999. 31-62. 71 2001 72 Keith Negus1992 Keith Negus 1980 WoolworthsWH SmithBoots HMVOur Price/Virgin Tower 1991 (British Phonographic Industry, BPI)

73

60

2003 2003 74 - 149-2242000 75 V.S 1998/8 38-47 76 1994/5/24 1994/5/24 77 2000 1996/6/19 78 2002 79 1996 80 19951994 12 81 1999 82 Porter, M.(2002) 83 + 2003 84 2001 85 B2C Online http://www.find.org.tw/trend_disp.asp?trend_id=10732003/10/7-Onlinehttp://www.etaiwannews.com/Forum/2003/04/23/1051426160.htm 86 19951994 12