演唱會策展人問題，一直都是音樂界內熱衷討論的議題：有一派認為只要演出藝人具足夠市場需求，則無論任何人來舉辦表演都會有良好的效益；另一派則認為，現今高度分工的演唱會產業結構，由於策展人站在市場最前端，對市場具高度敏感性、因能據此策劃出更貼近市場需求的演唱會。本研究透過蒐集一年期Pollstar資料，並立基於訪談演唱會產業之業界觀點(Rock Empire Music / Metal Gate Promotion 、 Icon Promotion)，據此設計計量實證模型，透過工具變數迴歸解決策展人能力與市場需求之間的因果關係。研究結果顯示，在高寡佔型的音樂現場演出產業中，市值大的策展公司其影響市場需求之力量仍難以撼動，但規模小甚至尚未上市的策展單位(如展演空間自行負責演唱會相關業務)，若透過藝人於網路上討論年數多寡做為依據，結合所在地之市場趨勢與需求，將可發現利基市場，並從中獲利。

This study investigates the impact of promoters on the market demand of concerts. The aim of the study is to understand this relationship in music industry, where some people argue that everyone can be a professional promoter as long as the artist is a superstar while others argue that a professional promoter can create huge concert market demands due to his or her great insight into the music industry
This study collected data from Pollstar, which start at 2017/2 ,ends at 2018/2.And found some points from music industry which based on interview method, developed concert Econometrics model. Further, solve cause-effect relation problems between promoter and concert market demands, by using instrumental variables and two-stage least square regression model.
The findings reveal that in highly oligopoly market which like concert industry, the promoters which are huge market value are barriers in concert industry, for the other promoters which are small market value, if they can finding some artist's information from internet , like how long is the artist survive on internet , and conduct the show which fits the local market demands, they might find niche market and gain profit from it.

論文審定書 i
誌謝 ii
摘要 iii
Abstract iv
目錄 v
圖次 vi
表次 vii
第一章 緒論 1
1.1 研究背景 1
1.2 研究動機與研究缺口 1
1.3 研究問題 3
第二章 文獻回顧 4
2.1 文化產業定義 4
2.2 音樂產業 4
2.3 演唱會產業 11
2.4 策展人(PROMOTER)影響 14
第三章 研究方法 18
3.1 資料來源 18
3.2 計量模型 29
第四章 研究結果 33
4.1 資料敘述統計 33
4.2 基本分析結果 38
4.3 進階分析結果 41
第五章 結論與建議 47
5.1　研究結論 47
5.2　研究建議與未來方向 48
參考文獻 49

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2. 中文文獻：
王偉霖,楊珮琪. (2011). 文化創意產業與中國大陸法制─以音樂產業為中心. 元照出版公司.
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財團法人臺灣唱片出版事業基金會. (2013). 台灣唱片發展現況.
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高珮芳. (2004). 線上音樂商店系統架構之競爭分析. 政治大學智慧財產研究所碩士論文.
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黃福瑞. (2003). 從矽谷到好萊塢─企業的e化與E化. 中國生產力中心. 頁113.
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3. 網路連結：
Blabber Mouth.net. (2017). Amon Amarth guitarists say it's almost 'Impossible' for new bands to make a living from playing music. http://www.blabbermouth.net/news/amon-amarth-guitarists-say-its-almost-impossible-for-new-bands-to-make-a-living-from-playing-music/
Business Wire. (2005). Clear Channel Communications Completes Spin-off of CCE Spinco, Inc. https://www.businesswire.com/news/home/20051221005742/en/Clear-Channel-Communications-Completes-Spin-off-CCE-Spinco
Live Nation公司介紹. https://money.moneydj.com/us/basic/basic0001/LYV

Mintel. (2015). SEVEN IN 10 AMERICANS SEEK OUT OPINIONS BEFORE
MAKING PURCHASES. 
http://www.mintel.com/press-centre/social-and-lifestyle/seven-in-10-american
s-seek-out-opinions-before-making-purchases
New Opinion Research Corporation. (2008). Online Consumer Reviews Significantly
Impact Consumer Purchasing Decisions. 
http://www.reuters.com/article/idUS117426+24-Jun-2008+BW20080624
Pollstar官方網站. https://www.pollstar.com/
大紀元. (2005). 54%網友願意付錢使用網路音樂 http://www.epochtimes.com/b5/5/8/30/n1035456.htm
陳文賢. (2007). Napster 與數位音樂對音樂產業之影響
http://web.nchu.edu.tw/~jodytsao/IM/cases/Napster.pdf