音樂之於人們的生活，不只能陶冶心性，更能在現今工商忙碌的時代調劑生活，成為民眾的心靈寄託。近年來，我國音樂產值逐漸高升，且中央政府大力扶植文創產業，各地方縣市政府的相關單位也籌辦了不少藝文展演的活動，提倡慢活都市、悠閒生活，讓藝文演出不再那麼曲高和寡，而是能以共同生活的型態一同融入市井街民的日常中。也因此，藝文活動與相關的藝術展演在我國經濟中逐漸成為不可或缺的重要角色之一；而這樣的現象，運用歷年來的經濟或管理學理論都不一定能有效的解釋與分析，原因在於，伴隨著工商時代環境的變化，人們的消費行為、互動方式、價值理念也已較過去不同產業主導一國經濟來的有所差異。有鑑於此，學者Vargo and Lusch (2014) 提出服務主導邏輯(Service Dominant Logic, S-D logic)來解釋新時代的各種經濟現象。

本研究運用服務主導邏輯的主張、內涵與邏輯基礎，以收藏提琴而聞名全球的奇美博物館為研究案例，運用個案訪談的研究方式，了解奇美博物館因收藏提琴而外借提琴以至於造福社會，並與社會中各級提琴愛好者、使用者共創價值的過程。特別值得一提的是，本研究將討論核心放在這些提琴如何在這些行動者交換服務的過程中產生資源性，一方面強化服務主導邏輯在此主張中的具體性與應用性，另一方面藉由本研究的執行與展示，讓有志研究者看到經濟理論與藝術領域相結合的可用性。研究結果顯示，不管是奇美博物館、不同目的的借用者、每一把提琴的製琴師、每一把提琴的愛好者等，都是一群因提琴獨特魅力而吸引前來的行動者，為了瞭解提琴的內涵，並妥善與之互動，每一位行動者都是透過詳實的學習，擁有特定的知識與技巧後才明白如何運用潛在資源，讓這些資源產生資源性，而這些資源性又再度吸引擁有不同知識與技巧的行動者前來相會，再度產生新的潛在資源與資源，如此周而復始，生生不息。

Music is crucial to people’s life today, not only refining the mind but also adjusting life in this commercial times. In recent, the gross business product generated from music and art industry has risen a lot than ever, moreover, the government in Taiwan also strengthen cultural and creative industry by holding numerous and diversified cultural and artistic activities. That is, cultural and artistic activities could be one of the main part in people’s life. And particularly becoming one of the critical parts in our economy. However, these phenomenon might not be explained efficiently via using normal management or economy theories. The reason is that with the boosting economy and technologies, the value, consuming behaviors and integration have changed a lot than ever. Therefore, Vargo and Lusch (2016) published a new theory named Service-dominant logic (S-D logic) to explain diversified phenomenon in new times.

This study adjusted S-D logic as analytical base and used the violin lending services of Chi Mei Museum as our research sample. Case study is adapted to understand how these violin co-created unique value via lending to student or particular individuals who loves violin. Specifically, we paid much attention on how did these violin produce resourceness within the interaction among actors. By the deep discussion, we can enhance the applicability and specificity of resourceness in S-D logic. On the other hand, we can show the availability of S-D logic within integrating the economic theory and music and art industry. Our results show that no matter which actors, including playlist or researchers or audiences, in order to co-create the specific value, each actor need to utilize his/her knowledge and skills, well using their operational resources to reproduce potential resources. And music and art industry thereafter, these resourceness could attract new actors to produce potential resources and integrated resource repeatedly.

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取自http://119.81.181.208/showreview/violin/news_02.htm

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