| 摘要: | 在全球化與數位科技興起的背景下，近年來台灣音樂產業的產值逐年下降，政府為振興流行音樂產業，提出了流行音樂中心的文化建設計畫，但是從此一建設計畫所延伸出的音樂產業與政策辯論，顯然不僅是音樂空間的問題，而是整體音樂文化的問題。從這個問題出發，本文透過相關理論以及國外案例的探討，從檢討我國現行的音樂文化政策，接著從獨立音樂工作者的角度，了解其對於現行政策的回應，以及對於目前音樂環境狀況的看法，最後對未來政策提出建議。
本研究認為，在國家推動文化創意產業之際，仍然以傳統菁英音樂文化的思維來面對流行音樂文化，顯示出政府對於音樂文化的意義以及音樂環境缺乏認識和思考、政府部門之間步調不一、種種介入方式又過於草率，因此產生了許多政策上的矛盾。另一方面，雖然許多現行政策是針對於獨立音樂，但實際上獨立音樂卻並非如表面上蓬勃，獨立音樂工作者面臨的困境包括：創作不穩定、缺乏專業技術人才、唱片發行的低門檻與風險、宣傳上的極度弱勢、展演產業的蓬勃與泡沫、便利與獨立的矛盾，以及政治對立的干擾等；亟需國家在政策制訂上予以考量。最後，本研究建議流行音樂政策應該著重在：紮根音樂人文教育、文化立法、專業技術人員培育、公共媒體協助推廣、相關部門事權整合等。
In the context of globalization and the rise of digital technologies, the music industry in Taiwan has been declining for years . As a solution, Taiwan government proposed a construction plan of ‘Popular Music Centers’, which raised huge debates in the society. Commentators argue that the key of the problem is about the music culture rather than the music performing space. The research aims to reassess on the present music policies.by reviewing relevant theories, referring foreign examples, and interviewing independent music workers.
The research argues that when dealing with popular music culture, the government did not give up its traditional thinking of elite music culture and pay enough attention to consider comprehensively the social significance of music culture and the real situation of music industry. Besides, different sectors of the government conflicted with each other in policy-making and most governmental interventions were made carelessly. In independent music workers’ point view, the most important difficulties include the uncertainty of creation, lack of professional talents, high risk of releasing new records, and weak marketing and promotion resources and so on. In conclusion, the research suggests that the music policy-making should focus on music education, legislation, training of professionals, support from public media, and unification of related authority sectors. |
