音樂是生活中不可或缺的一部分。隨著網際網路的發明而誕生的數位音樂改變了整個音樂產業的發展與消費模式，隨之出現的音樂串流平台更是大幅轉變了產業的供需結構，而作為當代音樂產業的中流砥柱，卻仍有音樂消費者選擇不採用此服務。而作為音樂產業中的創新產品，為了增加未來市場擴張的可能性，探討影響消費者不採用的障礙並予以排除事關重大。其中 X 世代作為見證了音樂產業結構產生巨大轉變過程的參與者，經歷過音樂科技演進的他們在此服務上之採用率卻相對 Y 世代與 Z 世代較低，然而針對影響其對此服務的決策過程之阻礙的相關研究仍較缺乏。因此，本研究期望透過對於研究 X 世代之中有參與音樂消費但未使用音樂串流平台的族群是否有產生對此種新型態音樂消費模式的創新抗拒的因素，進而提供平台因應之服務調整策略，以作為未來市場擴張之參考。
本研究自文化消費（Cultural Consumption）的視角探討X世代的音樂消費脈絡，結合創新抗拒理論（Innovation Resistance Theory）的分析架構討論未使用音樂串流平台的X世代對此服務可能產生之抵觸的原因，並採用混合型研究。透過(1)文獻回顧：分析並歸納數位音樂以及音樂串流平台發展相關之文獻；(2)問卷調查：了解X世代對於音樂的文化消費觀點與採用因素；(3)半結構式深度訪談：深入了解 X 世代音樂消費者對於音樂串流平台的消費意圖與見解；(4)專家訪談：透過與相關領域專家訪談深化研究並掌握音樂串流平台如何能更貼近 X 世代市場之推廣策略。
研究結果發現 X 世代的非音樂串流平台使用者在線上音樂消費的行為上容易受到價值障礙、風險障礙與傳統障礙的因素干擾，其中價值障礙有最顯著的影響。音樂消費方面，由於 X 世代接觸音樂的管道多元，因此在音樂消費媒介的選擇上會產生了對於各項媒介的評估，顯示出這個群體在使用音樂科技上具有高度的選擇性（Technological Eclecticism），進而使該群體產生對音樂串流平台的價值障礙。此外，音樂在 X 世代日常生活的消費意義分為兩種，一種是作為聲音的陪伴——以功能性（Functionality）為主；另一種為聆聽的藝術品——以審美性（Aesthetic）為主，且價值障礙會隨著音樂意義的不同會間接影響在音樂串流平台的音樂消費。同時 X 世代非串流平台的使用者也容易受到對音樂串流平台資訊不足的影響，進而產生傳統障礙。本研究提出以增加情緒價值為主要目標提升音樂串流平台的物質體驗（Materiality）以及加入懷舊行銷（Nostalgia Marketing），同時建立線上與線下行銷通路作為未來音樂串流平台在 X 世代市場擴張的策略，並提出未來音樂科技發展應落實包容性設計（Inclusive Design）準則。

The existence of music enriches everyday life, which is beneficial to the improvement of health. So far in the Music Industry, music streaming platforms serve as the dominant channel with accessibility and low cost. Noteworthiness, Generation X, who owns high consumption capacity and purchase intention on cultural consumption, places the second lowest in the subscription number in Taiwan. Previous research in Taiwan overlooked the phenomenon and focused on younger generations only. Additionally, most of the studies on the service address the acceptance of technology but the cultural consumption factors. For this knowledge, this study aims to explore why Generation X less use stream music, in particular, investigate the cultural consumption on their decision on music streaming platform from their cultural consumption in music. Therefore, this research hopes to provide a corresponding service adjustment strategy for the platform by studying the possible innovative resistance of Generation X music consumers who have not applied the music streaming platform, which is a new service provided in music, as a reference for future market expansion.
This study will be explored from Cultural Consumption to identify the factors of Generation X who do not use music streaming platforms from the perspective of innovation resistance theory, and mixed research method is adopted as follows, (1) Literature review: analyzing and summarizing literature related to the development of digital music and music streaming platforms; (2) Questionnaire survey: understanding the views and consumption factors of Generation X on music cultural consumption; (3) Semi-structured in-depth interviews: In-depth understanding of the consumption intentions and insights of non-users of music streaming platform in Generation X towards music streaming platforms; (4) Expert interviews: Through interviews with experts in related fields, deepen research and master marketing strategies that are closer to the market. Drawing on the identified factors, this study would provide further understanding on non-users in Taiwanese Generation X from the perspective of cultural consumption.
The research findings indicate that non-music streaming platform users of Generation X are easily influenced by value barriers, risk barriers, and traditional barriers in their online music consumption behavior, with value barriers exerting the most significant influence. Given the diverse avenues through which Generation X accesses music, there is a propensity for evaluating various media options, reflecting a high degree of Technological Eclecticism within this demographic. Consequently, this eclecticism contributes to the formation of value barriers towards music streaming platforms. Regarding music consumption, the significance of music in the daily lives of Generation X can be divided into two categories: as an auditory companion, emphasizing functionality, and as an art form to be appreciated, emphasizing aesthetics. Value barriers indirectly affect music consumption on streaming platforms depending on the perceived significance of the music. Additionally, Generation X non-streaming platform users are prone to traditional barriers due to insufficient information about music streaming platforms. This study proposes enhancing the materiality of music streaming platforms and incorporating nostalgia marketing as the primary strategies to increase emotional value. Additionally, it suggests establishing both online and offline marketing channels as a strategy for future expansion of music streaming platforms in the Generation X market. The study also advocates for the implementation of inclusive design principles in the future development of music technology.

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林資敏，陳德文（1999）。《生活型態行銷ALL IN ONE》。台灣：奧林。 ISBN：9789570391008

Journal Articles
黃一峯、陳建志（2021）。世代差異與留才策略：工作價值觀點的探討。國家菁英，14-3. （53），251-266。
Master’s Thesis
曾祥景（2022）。以延伸整合型科技接受模式探討消費者使用數位音樂串流平台之訂閱意圖－以KKBOX為例（博碩士論文）。取自https://hdl.handle.net/11296/ft2gm9
陳孟湘（2022）。閱聽眾對音樂串流平台服務內容現況與需求之分析研究（博碩士論文）。取自https://hdl.handle.net/11296/cyy3fz
張玟涓（2022）。社會影響與創新抵制對行動支付使用意願之影響（博碩士論文）。取自https://hdl.handle.net/11296/7vuqhc
黃育純（2021）。免費增值模式下音樂串流平台用戶之升級意圖研究—以Spotify為例（博碩士論文）https://hdl.handle.net/11296/7g2752
陳孟淳（2021）。消費者對串流音樂平台訂閱意願之研究（博碩士論文）。取自https://hdl.handle.net/11296/6h6h52
劉佩欣（2021）。創新抵制如何調節消費者從眾傾向與使用意圖之關係： 以行動支付之使用為例。https://hdl.handle.net/11296/y8n564
​​何亘翊（2020）。消費者於付費數位音樂串流平台購買意圖之影響因素（博碩士論文）。取自https://hdl.handle.net/11296/c9k9e9
劉湝沂（2019）。影音串流平台之創新擴散模型研究－以Netflix和Spotify為例（博碩士論文）。取自https://hdl.handle.net/11296/7bk6wb
黃詩婷（2019）。音樂串流服務平台持續訂閱意願之影響因素―服務主導邏輯觀點之探討（博碩士論文）。取自https://hdl.handle.net/11296/7zqp7z
吳俊葵（2019）。在串流時代聆聽：日常生活中的流行音樂消費實作（博碩士論文）。取自https://hdl.handle.net/11296/w2adx8
邱雅琪（2017）。不同世代工作價值觀對組織承諾與專業承諾影響之研究—以臺北市地方稅務人員為例（博碩士論文）。取自https://hdl.handle.net/11296/x39t9b
李思穎（2015）。從文化消費觀點探討雙性化女性性別認同（博碩士論文）。取自https://hdl.handle.net/11296/48m8kf
藍元坤（2013）。中高齡消費者對創新產品購買意願之研究―以智慧型手機為例（博碩士論文）。取自https://hdl.handle.net/11296/7d859u
呂嘉珮（2007）。台灣地區X世代電視閱聽眾生活型態及電視節目使用與滿足之初探（博碩士論文）。取自https://hdl.handle.net/11296/n9cu5p
許智豪（2005）。Y世代、X世代和嬰兒潮世代學習風格分析之研究（博碩士論文）。取自https://hdl.handle.net/11296/9qzm8c
許迪翔（2003）。不同世代之工作價值觀、工作態度及其關聯性之研究-以台灣高科技產業之員工為例（博碩士論文）。取自https://hdl.handle.net/11296/jvwx3a
黃識銘（1999）。生活型態、消費態度與消費行為之關聯性研究（博碩士論文）。取自https://hdl.handle.net/11296/maezb8
Reports
文化內容策進院（2022）。2021 年臺灣文化內容消費趨勢調查計畫。文化內容策進院，https://taicca.tw/article/80ee6ce1。
文化內容策進院（2021）。2020 年臺灣文化內容消費趨勢調查計畫。文化內容策進院，https://taicca.tw/article/6ed44bb4。
文化部影視及流行音樂產業局（2020）。107年流行音樂產業調查報告。文化部影視及流行音樂產業局，https://www.bamid.gov.tw/downloadfile?fid=60052
郭千瑜（2019）。台灣串流音樂市場概況分析（上篇）防疫期間 居家數位娛樂急速增長。凱度洞察，https://kantar.com.tw/MailSources/InfoPulse/2020/05/2020_May_Kantar_Taiwan_and_LifePoints_Report_music_streaming_trend(PART_1).pdf
KKBOX（2017）。音樂內容 會員輪廓。KKBOX，https://www.kkbox.com/about/zh-tw/ad-cooperation/user-profile