臺灣博碩士論文加值系統

中文摘要
有樂器之王稱謂的鋼琴，起源於歐洲三百年來，發展出鋼琴製造與音樂文化、音樂家間緊密相連的關係，並由製琴廠掌握核心技術及整體製程的生產者驅動商品鏈形式。但隨著產業全球化的轉移中國成為鋼琴生產最大國，演變出與過去不同的生產模式，其中位於浙江省的洛舍鎮，在中國鼓勵農村工業化政策與創辦者自我意志的敦促下，開辦全國第一家非國營鋼琴廠，藉由政商共治的鄉鎮企業面對市場不確定性之優勢，如今已為全國30%的琴廠與20%產量的鋼琴生產基地。該現象（農民造鋼琴）促使引發本研究欲探討在缺乏鋼琴生產經驗與相關音樂發展背景的農村地區，何以在當今的鋼琴製造業佔有一席之地？
為理解農村鋼琴產業的發跡與運作，本文試透過製琴生產網絡與商品鏈作為切入點，比對歐美、日韓的生產形式，結合實地訪談資料進行論述。研究發現主要有二，其一，鋼琴製造流程從歐美的純手工打造階段，經過日韓機械化大量生產的洗禮逐漸去文藝化，並在鋼琴結構趨向定型，以及穩定核心部件供應源的出現下，縮短了製琴生產鏈、降低入行的門檻，加上洛舍鎮琴業聚源起於鄉鎮企業的背景，致使不同背景、規模與製造形式的琴廠在地建構出特殊的生產模式與社會網絡。其二，在商品鏈的銷售端部分，中國的琴行一改過去附屬於琴廠的形式，轉為扮演通路的事業單位，與琴廠各自負責產、銷的業務，一方面琴廠透過對國外廠商OEM的策略，一方面則為滿足國內龐大的鋼琴市場需求，因而出現買方（國外廠商、小琴行）驅動的商品鏈型態，實為洛舍鎮鋼琴產業獨有的產業特徵。

ABSTRACT
Under the context of globalization of piano production, China is now the world’s biggest piano producer in the 21st century, producing 340,000 pianos in the world (70 % of the world share) in 2009. Luoshe, a rural township under the Huzhou city of Zhejiang Province with no any piano industry background before the 1980s, has produced its first piano in 1985 and nowadays has 46 piano manufacturers (30 % China in total) together making makes 65,000 pianos in 2009. The case of Luoshe is quite different from the typical western model of piano production which has existed since the 18th century. In the west, pianos are mainly manufactured by musical craftsmen or related family business, who also generally control the piano consumption market. However, Luoshe becomes the piano cluster without any craftsmen tradition nor power of controlling the market, making the rise of Luoshe deserves our scholarly attention than it has received. This thesis pays attention to the gap and asks why and how and under what circumstance the cluster has been formatted and transformed over the past decades.
The case of Luoshe is empirically examined by two dimensions. On the one hand, from the production side, there is a very complex production network that is consisted of three kinds of piano factories in terms production size- the mega one (producing 30,000 pianos a year), the larger one (3,000-5,000 production a year) and the medium and small one (300-500 output a year). The only mega one, which produces nearly half of piano output in Luoshe, was jointly established by a local woodcutting company and a state-owned piano company in Guangdong. The production network of the mega one is relatively independent by itself without interacting with local suppliers. On the contrary, the larger ones and the medium and small ones have closer connections with other local production networks as there are certain traded/ untraded dependence relationships between different piano producers and component suppliers.
On the other hand, in terms of consumption side, more than 90% pianos produced in Luoshe are sold domestically to the increasing demands of so-called Chinese middle-class families. Increasing numbers of various types of newly established piano shops play a role between those buyers who like to buy pianos at homes and piano producers in Luoshe. These piano shops (especially small piano ones) become very crucial in the piano marketing channel as they predominantly manage the information and process of introducing what brands of pianos to consumers. Therefore, the piano market in Luoshe is instead dominated by piano shops rather than producers, which is very different from the west.

目 錄
口試委員會審定書 #
謝辭 i
中文摘要 ii
ABSTRACT iii
目 錄 iv
圖目錄 vi
表目錄 viii
第一章 緒論 1
1.1 研究動機與目的 1
1.2 相關文獻回顧 3
1.3 研究發問與架構 17
1.4 研究設計與方法 19
第二章 全球鋼琴製造業之歷史與空間演化歷程 23
2.1 鋼琴製造業概述 23
2.2 主要的歷史與空間演化分期 30
2.3 鋼琴製造業與音樂文化發展的關係 36
2.4 中國鋼琴產業發展 41
第三章 洛舍鎮鋼琴製造群聚之建構 47
3.1 發展脈絡：長三角鋼琴製造業與洛舍鎮 47
3.2 洛舍鎮產業發展的製琴轉向 53
3.3 民營化改制後的快速發展 58
3.4 洛舍鎮鋼琴製造群聚的形成 63
3.5 小結 72
第四章 洛舍鎮鋼琴製造業之地方發展模式 73
4.1 洛舍鎮鋼琴產業群聚總觀 73
4.2 超大型鋼琴廠的生產模式 76
4.3 大型鋼琴廠的生產模式 79
4.4 中小型鋼琴廠的生產模式 83
4.5 鋼琴製造與洛舍鎮產業網絡的形塑 87
第五章 洛舍鎮鋼琴製造業的產銷鏈結 93
5.1 琴廠與琴行的產銷體系 93
5.2 不同形式琴廠的銷售型態 98
5.3 中國鋼琴市場與洛舍鋼琴業的牽動 103
第六章 結論 107
6.1 研究結論 107
6.2 研究限制 111
6.3 研究建議 111
參考文獻 112

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