대만은 어떻게 중화권 대중음악 생산의 중심지가 되었는가? ― 타이베이시 음악산업 클러스터에 대한 논의를 중심으로|RISS 상세보기

다국어 초록 (Multilingual Abstract)

This article started with the question of how Taiwan became a ‘center of Chinese pop music production’. In order to find the answer to the question, the music industry development process by period was divided into four periods in the 1960s to 1990s, and then the embeddedness inside the music industry cluster established in Taipei City and the co-evolution of the music production model were examined.
In the 1960s and 1970s, music was produced as a ‘vertical integrated division of labor model’ based on network embeddedness. Under the political pressure of the Kuomintang, the musicians gathered in Taipei City to form an industrial cluster. The actors actively exchanged tacit knowledge with each other and signed exclusive contracts with record labels to promote network solidarity. In the 1980s, as network embeddedness shifted, the music production method evolved into a ‘cooperative network division of labor model’. The shift in network embeddedness was expressed through the change of singer, transformation into a singer-songwriter, and transformation into a record label executive.
In the 1990s, both the movement of network embeddedness and disembeddedness worked at the same time, and music production was carried out as a ‘elastic project management model’. In the 1990s, the movement of network embeddedness was expressed in a temporary project organization. Project members of large local and global record labels repeatedly gathered and gathered according to the music style pursued by the singer, and in the process, new ideas were triggered and high-quality songs could be produced. The strong power of profit-seeking caused disembeddedness, and the pursuit of profit could be maximized thanks to the institutionalization of the market. As part of market institutionalization, local record companies discovered talent by holding various music contests, TV audition programs, and music festivals.
Global record companies actively utilized their global networks to land singers from China, Hong Kong, and Southeast Asia in Taiwan. Both global and large local record companies tried to maximize the pursuit of profits by recruiting singers who were already stars to their companies.

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참고문헌 (Reference)

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