由於盜版盛行，網路下載音樂之便利，自1998年以來，每年唱片銷售數量平均以20%左右的幅度下滑，2002年的總銷售金額尚不及1997年的一半。流行音樂(Pop music)市場受到嚴重打擊的同時，獨立音樂(Indie music)卻由2005年的500-600團增長至2009年的1500團左右。與此同時，介於獨立音樂與流行音樂之間的獨立流行音樂不只在蕭條的唱片市場中存活下來，更成為台灣音樂市場的主流。
獨立流行音樂之所以在蕭條的唱片市場中得以生存及發展，跟獨立流行音樂人與粉絲的密切互動脫不開關係。獨立流行音樂人一方面堅持獨特的音樂風格、表達自己的想法，注重大範圍的網路上的消息發佈，也熱衷於小型現場演出中近距離的與歌迷互動。粉絲(fans)與客體(fan object)在表演現場的互動及體驗，迷與迷共同參與的回憶，共同穿著印有客體的t恤站在迷群中的經歷，甚至粉絲們更為突顯的行為（如收藏、模仿等）都已構成粉絲與粉絲，粉絲與客體(fan object)之間的一種價值共創(value co-creation)。另一方面，獨立流行音樂人不否定自己在流行音樂的價值，不刻意回避商業化的操作，不拒絕更多粉絲的加入。這樣的互動方式使獨立流行音樂的粉絲客體贏得比獨立音樂更多、比流行音樂更忠實的粉絲，這些粉絲願意購買的不只是歌曲本身，更是購買一種對粉絲客體的支持。總之，獨立流行音樂通過獨樹一格的經營模式，某種程度上來說造就粉絲對粉絲客體的高忠誠度、高消費力及高共創力。
本論文的研究目的為探討粉絲與粉絲客體之間的價值共創過程及粉絲王國（fandom）內部的價值共創過程，以及共創價值對粉絲王國的影響。以陳綺貞的粉絲族群為研究案例，研究以下問題：（一） 價值共創過程如何在粉絲王國中以及粉絲與粉絲客體之間形成；（二）共創過程中產生的價值類型；（三）共創價值如何影響及促進粉絲王國更加強大。本研究得出共創形成的過程分為四階段：粉絲客體認知階段，粉絲客體探索階段，價值共產階段以及共創價值分享階段。在共創過程中產生了社會價值，情感價值，認知價值，經濟價值，功能價值及文化價值。共創的社會價值可以促進情感價值、認知價值、經濟價值、功能價值及文化價值的產出，亦可促進熱衷的粉絲數增加，熱衷的粉絲有助於粉絲王國內互動增強以及促使粉絲平台建立，使得粉絲王國更加強大。

Annual sales of music records has been decreased at a 20% rate every year since 1998 in Taiwan, because of the convenience and prevalence of downloading pirate music online. The total record sales in 2002 is less than half of that in 1997. While the pop music market was suffering, the number of indie music group had soared from 500-600 in the year of 2005 to 1500 in 2009. At the same time, indie pop music that between pop music and indie music was not only survive, even has become a main stream in Taiwan today.
The survival and development of indie pop music in a decreasing music market are closely related to the interaction between indie pop musicians and their fans. Indie pop musicians not only keep holding on their unique styles of music and expressing their thoughts, release their new online in a wide range, but like to interact with fans in close distance in smaller size live performances. The interaction and experience between fans and fan object in live events, the shared memory between fans and fans, wearing T-shirts with the logo of same fan object and even more highlighted behaviors (collection and imitating, etc.) have become a value co-creation between fans and fans, as well as fans and fan object. On the other hand, indie pop musicians do not deny their value in pop music, embracing the business-oriented operation and more fans. This way of interaction has won more fans for the fan object of indie pop music than indie music, and more loyal fans than pop music. The fans are willing to buy not only the music itself, but also support to fan object. In sum, the unique operation model to some extent has created the high loyalty, high consumption and high co-creation of fans to fan object.
This study is to discuss the co-creation between fans or fandom and fan object, as well as from inside of the fandom. Based on the case studies of Cheer Chen’s fans group, the study discusses the value and process of co-creation between stakeholders and how co-created value facilitated fandom. The funding is the value co-creation process could be divided into four phase: fan object recognition phase, fan object exploration phase, value co-production phase and co-created value sharing phase. During this process, six types value could be generated: social value, emotional value, epistemic value, economic value, functional value and cultural value. Co-created social value can facilitate the generation of emotional value, epistemic value, economic value, functional value and cultural value, and also facilitate to increase the number of enthusiastic fans. Fans in enthusiastic level can rise the interaction inside the fandom and help to build platforms about fan object to make fandom become stronger.

Abercrombie, N., & Longhurst, B. J. (1998). Audiences: A sociological theory of performance and imagination. Sage.
Boon, S. D., & Lomore, C. D. (2001). Admirer‐celebrity relationships among young adults. Human Communication Research, 27(3), 432-465.
Booth, P., & Kelly, P. (2013). The changing faces of Doctor Who fandom: New fans, new technologies, old practices?. Participations, 10(1).
Brooker, W. (2002). Using the force: Creativity, community and Star Wars fans. Bloomsbury Publishing.
Cavicchi, D. (2007). Loving Music: Listeners, Entertainments, and the Origins of Music Fandom in Nineteenth-Century America. Fandom: Identities and Communities in a Mediated World, 235-249.
Chang, W. Y. (2007). Research on the Business Models of the Cultural Creativity Industry-A Value Chain of Cultural products Perspective.
Coppa, F. (2014). Fuck yeah, fandom is beautiful. The Journal of Fandom Studies, 2(1), 73-82.
Crawford, G. (2012). Forewords: Sport & its female fans.
Duffett, M. (2013). Introduction: Directions in Music Fan Research: Undiscovered Territories and Hard Problems. Popular Music and Society, 36(3), 299-304.
Duffett, M. (2013). Understanding fandom. New York: Bloomsbury.
Fiske, J. (1992). The cultural economy of fandom. The adoring audience: Fan culture and popular media, 30-49.
Fletcher, M. (2014). Reinforcing Divisions and Blurring Boundaries in Johannesburg Football Fandom. Identity and Nation in African Football: Fans, Communities, and Clubs, 133-154.
Foulger, D. (2004). An ecological model of the communication process.Unpublished.
Frith, S. (1996). Music and identity. Questions of cultural identity, 108-27.
Galuszka, P., & Bystrov, V. (2014). The rise of fanvestors: A study of a crowdfunding community. First Monday, 19(5).
Gentile, C., Spiller, N., & Noci, G. (2007). How to sustain the customer experience:: An overview of experience components that co-create value with the customer. European Management Journal, 25(5), 395-410.
Gibbert, M., Leibold, M., & Probst, G. (2002). Five styles of customer knowledge management, and how smart companies use them to create value.European Management Journal, 20(5), 459-469.
Grayson, K., Johnson, D., & Chen, D. F. R. (2008). Is firm trust essential in a trusted environment? How trust in the business context influences customers.Journal of Marketing Research, 45(2), 241-256.
Grönroos, C. (2011). Value co-creation in service logic: A critical analysis.Marketing theory, 11(3), 279-301.
Grönroos, C. (2012). Conceptualising value co-creation: A journey to the 1970s and back to the future. Journal of Marketing Management, 28(13-14), 1520-1534.
Grossberg, L. (1992). Is there a fan in the house?: The affective sensibility of fandom (Vol. 59). London: Routledge.
Haynes, M. (2014). Heaven, Hell, and Hipsters. Ecclesial Practices, 1(2), 207-228.
Hills, M. (2003). Star Wars in Fandom, Film Theory, and the Museum’. Movie Blockbusters, 178-89.
Hills, M. (2013). Fiske’s ‘textual productivity’and digital fandom: web 2.0 democratization versus fan distinction. Participations, 10(1), 130-153.
Jenkins, H. (2007). The future of fandom. Fandom: Identities and communities in a mediated world, 357-364.
Jenkins, H., Ford, S., & Green, J. (2013). Spreadable media: Creating value and meaning in a networked culture. NYU Press.
Jordan, P. W. (2000). The four pleasures-a framework for pleasures in design. In Proceedings of Conference on Pleasure Based Human Factors Design, Groningen. The Netherlands: Philips Design.
Kambil, A., Friesen, G. B., & Sundaram, A. (1999). Co-creation: A new source of value. Outlook Magazine, 3(2), 23-29.
Kang, C. W. (2011). With Me, Conscious of Cheer Chen's Evolution: Interpretation and Change of the Fans Meaning.
Lee, S., Scott, D., & Kim, H. (2008). Celebrity fan involvement and destination perceptions. Annals of Tourism Research, 35(3), 809-832.
Lichtenstein, D. R., Netemeyer, R. G., & Burton, S. (1990). Distinguishing coupon proneness from value consciousness: An acquisition-transaction utility theory perspective. The Journal of Marketing, 54-67.
McLuhan, M. (1994). Understanding media: The extensions of man. MIT press.
Normann, R., & Ramirez, R. (1993). Designing interactive strategy. Harvard business review, 71(4), 65-77.
North, A. C., & Hargreaves, D. J. (1999). Music and adolescent identity. Music education research, 1(1), 75-92.
O'Hara, K., & Brown, B. (Eds.). (2006). Consuming music together: social and collaborative aspects of music consumption technologies (Vol. 35). Springer Science & Business Media.
Patterson, P. G., Cowley, E., & Prasongsukarn, K. (2006). Service failure recovery: the moderating impact of individual-level cultural value orientation on perceptions of justice. International Journal of Research in Marketing, 23(3), 263-277.
Payne, A. F., Storbacka, K., & Frow, P. (2008). Managing the co-creation of value. Journal of the academy of marketing science, 36(1), 83-96.
Pine, B. J., & Gilmore, J. H. (1999). The experience economy: Work is theatre & every business a stage. Harvard Business Press.
Porter, Michael E. "What is strategy?." Published November (1996).
Prahalad, C. K., & Ramaswamy, V. (2000). Co-opting customer competence.Harvard business review, 78(1), 79-90.
Prahalad, C. K., & Ramaswamy, V. (2004). Co-creation experiences: The next practice in value creation. Journal of interactive marketing, 18(3), 5-14.
Rajala, A., Westerlund, M., Murtonen, M., & Starck, K. (2013). Servitization in a Security Business: Changing the Logic of Value Creation. Technology Innovation Management Review, 3(8).
Ramirez, R. (1999). Value co-production: intellectual origins and implications for practice and research. Strategic Management Journal, 20(1), 49-65.
Sandvoss, C. (2012). Enthusiasm, trust and its erosion in mediated politics: On fans of Obama and the Liberal Democrats. European Journal of Communication, 27(1), 68-81.
Sandvoss, C. (2013). Toward an understanding of political enthusiasm as media fandom: Blogging, fan productivity and affect in American politics.Participations, 10(1), 252-96.
Sheth, J. N., Newman, B. I., & Gross, B. L. (1991). Why we buy what we buy: a theory of consumption values. Journal of business research, 22(2), 159-170.
Slobin, M. (1976). Music in the culture of northern Afghanistan.
Smith, J. B., & Colgate, M. (2007). Customer value creation: a practical framework. Journal of marketing Theory and Practice, 15(1), 7-23.
Stanfill, M. (2013). “They're Losers, but I Know Better”: Intra-Fandom Stereotyping and the Normalization of the Fan Subject. Critical Studies in Media Communication, 30(2), 117-134.
Throsby, D. (2003). Determining the value of cultural goods: How much (or how little) does contingent valuation tell us?. Journal of cultural economics, 27(3-4), 275-285.
Tulloch, J., & Lupton, D. (2002). Consuming Risk, Consuming Science The case of GM foods. Journal of Consumer Culture, 2(3), 363-383.

Internet Reference
Articles: Twee as Fuck. (n.d.). Retrieved January 25, 2016, from http://pitchfork.com/features/articles/6176-twee-as-fuck/
Fire escape talking. (n.d.). Retrieved January 25, 2016, from http://fireescapetalking.blogspot.tw/2006/07/anoraky-in-uk-c86-punk-that-refuses-to.html
Taipei: The World's Newest Indie Music Capital. (n.d.). Retrieved January 25, 2016, from http://mic.com/articles/77757/taipei-the-world-s-newest-indie-music-capital#.4uqoKdLbC
www.cheergo.com