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研究生： 廖學民
Liao, Hsueh-Min
論文名稱： 探討台灣創作歌手職涯發展的創意自主性： 以利害關係人的合作動態為觀點
Exploring the Creative Autonomy of Taiwan's Singer-songwriters' Career Development: The Perspective of Stakeholders' Collaborative Dynamics
指導教授： 仲曉玲
Chung, Hsiao-Ling
學位類別： 博士
Doctor
系所名稱： 規劃與設計學院 - 創意產業設計研究所
Institute of Creative Industries Design
論文出版年： 2024
畢業學年度： 112
語文別： 英文
論文頁數： 261
中文關鍵詞： 創作歌手 、創意自主性 、創意合作案 、利害關係人影響 、台灣音樂產業
外文關鍵詞： Singer-songwriter, creative autonomy, creative collaboration, stakeholder influence, Taiwanese music industry
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    • 在數位化的誘發之下，全球音樂人的職涯發展中涵蓋了了多元形式的創意合作案，他們的創意自主性也因此受到利害關係人的影響。創作歌手們倚賴自主性來寫出原創音樂，因此他們動態的創意自主性更需要一個完整的檢視，以便反映他們的職涯發展過程。然而過去的文獻往往透過單一且零碎的認知來理解創意自主性、難以呼應今日複雜的音樂產業。創意自主性的意涵以及其對創意合作案的影響必須透過實證資料來重新思考。本研究透過多重個案研究方法，從創作歌手及利害關係人的視角共同檢視台灣創作歌手在創意合作案中創意自主性的改變。本研究透過音樂人的職涯階段將他們分成三個類別，包含探索者、維持者、以及進階者，同時也透過原創的 Four-S 架構來分析他們的創意自主性，其中包含自我表述、自我決策、自我成就，以及自我實現。本研究認為，音樂人的創意自主性在合作案初期會受到利害關係人的限制，並且會透過不同的回應逐漸提升自主性的程度，其中每個職涯階段的音樂人都會生產一種自我說服的自主性以克服受限制的情況。本研究希望能夠在以下層面中提供貢獻：首先在實證層面上，為創意自主性、創意作案，以及臺灣的音樂產業的相關研究提供在地的實證資料。在學術層面上，本研究加深並重新探究了創意自主性的動態意涵與定義，彌補了相關文獻對於創意自主性研究的不連貫。在實務層面上，本研究檢視了創意自主性的實際效用，預示了音樂人職業生涯的未來展望，並且進一步認為，這些自主的音樂家，是守護臺灣音樂產業在華語流行音樂世界中領導地位的關鍵角色。

    The career development of global musicians involves various creative collaborations triggered by digitalization, wherein their creative autonomy is influenced by the stakeholders. As the singer-songwriters depend on autonomy to deliver original music, it requires thorough examination of the dynamic creative autonomy to address their career developments. However, creative autonomy is understood by previous literatures as single and fragmented conditions, it is insufficient to reflect the current complex music industry. Empirical data is required to rethink the connotations of creative autonomy and to perceive its effectiveness underlaid in collaborations. This research employed multiple case studies to investigate the changes in the Taiwanese singer-songwriters’ creative autonomy over collaborations from both musicians’ and stakeholders’ perspectives. By categorizing the musicians into explorers, maintainers, and advancers regarding the career stages, this research analyzed the collected data regarding the influenced autonomy with the original Four-S analytical framework comprising self-expression, self-determination, self-achievement, and self-actualization. This study suggests that musicians initially adopt constrained autonomy and gradually reclaim this autonomy in response to stakeholder influences throughout the collaborations, wherein the musicians in all three stages generate self-persuaded autonomy to override regulated conditions. This study is expected to empirically provide local evidence regarding creative autonomy and creative collaborations. Theoretically, it enriches the implications of dynamic creative autonomy, addressing gaps in the fragmented understanding of this concept. Practically, it examines the effectiveness of creative autonomy in musicians’ career development, highlighting autonomous musicians as the key to securing Taiwan’s leading position in the Mandopop business.

    Abstract i 摘要 iii Table of contents iv LIST OF FIGURES viii List of Tables ix CHAPTER 1 INTRODUCTION 1 1.1 Research Background 1 1.2 Research Motivations 15 1.3 Research Objectives and Questions 17 1.4 Significances and Expected Contributions 19 1.5 Overview of the Research Process 22 1.6 Operational Definitions 23 CHAPTER 2 LITERATURE REVIEW 28 2.1 Rethinking the Relationship Between Digitalization and Musicians’ Career Development 28 2.2 Understanding the Benefits and Risks of Creative Collaborations 33 2.2.1 Complex Collaborations in the Global Music Industry 33 2.2.2 It is All About Stakeholders: Understanding Stakeholders’ Influences 37 2.2.3 Are Two Heads Really Better than One? The Dilemma of Collaborative Creativity 39 2.2.4 Music Contracts: Regulations or Commitments? 41 2.3 A Denial or Necessity? Negotiating the Implications of Creative Autonomy 43 2.3.1 A Bait of Self-exploitation: The Denial of Desirable Autonomy 44 2.3.2 Creative Autonomy as a Necessity in Creative Works 46 2.4 Understanding the Taiwanese Music Industry 49 2.4.1 From the Underground to the Frontline: Development of Taiwanese Independent Music 50 2.4.2 The Evolution of the Taiwanese Music Industry 52 2.5 Generating the Four-S Analytical Framework 55 CHAPTER 3 RESEARCH METHODOLOGY 59 3.1 Overview of the Research Design 59 3.2 Pilot Study: A Mixed-Methods Approach 62 3.2.1 Phase 1 of the Pilot Study: The Interviews 62 3.2.2 Results of the Interviews 66 3.2.3 Phase 2 of the Pilot Study: Online Survey 70 3.2.4 Results of the Survey 71 3.3 Primary Research: Conducting Multiple Case Studies 78 3.4 The Semi-structured Interviews 81 3.4.1 The Development of the Interview Questions 82 3.4.2 The Design of the Interview Sessions 83 3.4.3 Triangulation 87 3.4.4 From Creative Music Collaborations to Creative Cross-field Collaborations 88 3.4.5 The Interview Schedules 89 CHAPTER 4 Examining the Dynamics of The Independent Musicians’ Creative Autonomy in Creative Collaborations from Their Own Perspectives 93 4.1 Examining the Taiwanese Singer-Songwriters’ Career Developments 93 4.1.1 The Three Stages of the Taiwanese Musicians’ Careers 94 4.1.2 From the Starting Points to the Goals: Constructing the Independent Musicians’ Career Spectra 102 4.2 The Influences of Digital Technologies in the Career Developments 110 4.2.1 Obtaining Life-changing Opportunities from Digital Platforms 111 4.2.2 It’s Easier to Make Music, But It’s Even Harder to Make Good Music 115 4.2.3 Triggering Musical Creativities and Potentials Through Digital Tools 118 4.3 The Singer-Songwriters’ Journeys Toward Creative Collaborations 123 4.3.1 Case Eggy: From Legally Bound Acquisition to Creative Collaboration 124 4.3.2 Case Bee: From Networking to Collaborating 127 4.3.3 Case Abby: From Commercial Collaboration to Creative Entrepreneur 130 4.4 Examining Taiwanese Singer-Songwriters’ Dynamic Creative Autonomy with the Four-S Analytical Framework 134 4.4.1 Case Eggy: Aiming at Obtaining Self-determination while Struggling with Self-expression 135 4.4.2 Case Bee: Managing Creative Autonomy in Unfamiliar Fields 140 4.4.3 Case Abby: Accumulating Self-achievements to Obtain Self-actualization 145 CHAPTER 5 Reexamining the Dynamics of The Independent Musicians’ Creative Autonomy from the Key Stakeholders’ Perspectives 155 5.1 Identifying the Key Stakeholders in the Creative Collaborations 156 5.1.1 The Explorer, the Manager, and the Mega Music Company 158 5.1.2 The Maintainer, the Duo Partner, and the Visual Director 160 5.1.3 The Advancer, the Duo Partner, and the Label Manager 163 5.2 Understanding the Identified Creative Collaborations from the Stakeholders 165 5.2.1 The Explorer in the Commercial Artist Developing Collaboration 166 5.2.2 The Maintainer in the Creative MV Collaboration 170 5.2.3 The Advancer in the Creative Songwriting Collaboration 173 5.3 Reexamining the Independent Musicians’ Creative Autonomy in the Creative Collaborations from the Key Stakeholders’ Perspectives 176 5.3.1 The Explorer with Low Degrees of Creative Autonomy 177 5.3.2 The Maintainer with Over-valued Creative Autonomy in Unfamiliar Fields 183 5.3.3 The Advancer with Certain Creative Autonomy 190 CHAPTER 6 CONCLUSIONS Facilitating Music Careers as Autonomous Musicians 200 6.1 Emphasizing Self-determination while Engaging with Stakeholders 201 6.1.1 Decision-Makers are the Key Stakeholders in Creative Collaboration 201 6.1.2 Musicians Serve as both Actors and Enactors of the Creative Autonomy Under Multilateral Stakeholder Interactions 202 6.1.3 Moderating the Influenced Creative Autonomy: Overcoming External Regulations with Internal Recognitions 205 6.2 Benefiting Taiwanese Music Industry with Creativity and Diversity as an Autonomous Musician 208 6.2.1 Activating Efficient Creative Collaborations through Creative Autonomy 208 6.2.2 Managing Creative Autonomy for Career Development: The Leader of Creative Works and the Follower of the Bigger Pictures 210 6.2.3 Autonomous Musicians as the Key Players in the Prosperity of the Taiwanese Music Industry 211 6.3 Limitations and Policy Implications 214 REFERENCES 218 Appendix 1: Backgrounds of the Interviewees from the Pilot Study 226 Appendix 2: Interview Questions of Pilot Study 227 Appendix 3: The Questions of the Online Survey of the Pilot Study 229 Appendix 4: List of Digital Audio Workstation Used by the Respondents 231 Appendix 5: Results of the Survey of the Pilot Study 232 Appendix 6: The Design of the Interviews of the Primary Research 243 Appendix 7: Interview Questions 246

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