此為一個藉由站在旅遊者的角度，對參與流行音樂節慶的旅遊體驗所進行探討的研究論文。本研究將援用詮釋現象學研究法，欲呈現臺灣遊客是如何論述自身對於節慶活動，重構岀特定現象所指涉的本質意義。本研究源自近年新型態的旅遊概念，現代人逐漸開始強調以自我感受為主體之旅遊體驗，由原本規格化、統一化的觀光消費，逐漸轉為以精緻化、個人風格取向之消費模式。觀光是為全球發展最為興盛之產業，更是現代人生活無可或缺的休閒方式，「體驗式觀光（experience tourism）」所透露出的表意訊息，猶如在宣示過去集約式的傳統觀光方式，已無法滿足現代人所欲追求的愉悅；而對於旅遊品質的要求，顯然早已不在有形商品之上。現代旅遊轉而向強調消費最初的本質，亦是指人的五官所接受的整體感官經驗，因此，體驗式經濟的崛起勢必帶來觀光旅遊型態轉移。
本研究以「經驗」為主幹，首先以文獻回顧的方式，追溯以往學術界上對於音樂觀光、節慶活動、流行音樂文化等議題上的剖析，再以陳述近年於歐洲盛行的觀光活動：戶外大型流行音樂節為研究主題，探討九位臺灣人至歐洲參與流行音樂節之旅遊體驗的學術之作。在研究方法的部分，筆者將以詮釋現象學的角度，並採用深度訪談及經驗探究的方式，針對包含研究者本人與其它八位曾赴歐參與音樂節的台灣人，以一至二次的深度訪談，帶引受訪者分享、描述其所經歷的音樂節觀光體驗。此研究呈現岀這九位研究參與者係如何描述其在歐洲的音樂旅行經驗，以及其背後關乎生活世界的意義架構又是如何堆砌而成，最後研究者發展岀四個面向和議題來分述、歸整岀參與音樂節體驗的核心意義之本質。在成果呈現與分析的部分，筆者彙整九位的音樂節體驗相似與相異之處，再分以四個部份：社交互動、文化指涉、個人獲益、象徵意義予以作主題式的論究，總結岀九位流行音樂愛好者持著音樂現場表演的高度熱愛，對於歐洲地區的音樂節慶擁有著偌大的憧憬和響往，行前須先克服歐洲旅遊高額的旅行開支和耗時的旅程，為的便是得到親身實境音樂節的感受。雖然九位研究參與者在身份、職業、個人特質、教育等方面有些許的差異，但從研究中發現，臺灣旅客的歐洲音樂節經驗幾乎都被給與高度正面的評價，並且將之比作是一段需要切身經歷才能體會、收穫滿載且獨一無二的珍貴回憶。

In this research, hermeneutic phenomenology approach was used to detect significant essence among open-air pop music festival experiences from nine Taiwanese’s perspective.
We could see a growing number of research studies are now available to shed some light on the tourist experience research. Unlike music concerts in general, the open-air pop music festival features more than one-day length activity with non-stop performance by around 50-60 famous singers, DJs and music bands on two or more performing stages. The most notable festival, for instance, Rock Werchter in Belgium, Roskilde in Denmark, Glastonbury in the United Kingdom and Sziget in Hungary are the top four largest music festival in Europe area. The author would like to start out the research with her own experience, and to figure out the essential meanings embedded in the pop music festival events. The study involves depth-interviews, comprised of conversation of experience illustrating about their thinking and behavior in the music festival scenes. There would be nine Taiwanese (with the researcher included), to illustrate their tourist experiences of twelve music festivals in five European countries.

The aim of this article attempts to explore how Taiwanese attendants feel and how festival experiences pose an influence on their lives are related. Besides, The research has tended to focus on how did these Taiwanese festival-goers feel in the festival scenes, rather than mere discussion about what they did in the festival. The generic term ‘‘tourist experience’’ is used in the study to cover a range of subjective meanings such as emotions, moods and feelings of individuals moving during festival undergoing. The different perceptions of attending festivals in Taiwan and in Europe are also to be compared.

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