流行音樂的舞臺上演奏者為觀眾彈奏演唱，帶動著觀眾情感，卻鮮少人知道演奏者的感受。研究者從流行音樂演唱會場域出發，探討演奏者常用的個人混音器使用體驗，主要研究目的為個人混音器發展過程與核心技術、分析個人混音器應用方式與使用現況及演奏者使用個人混音器之體驗分析，最終提出未來建議。本研究採用使用者體驗研究，並運用蜂巢式體驗模型，以質性方式進行產業相關演奏者與從業人員訪談。從應用現況分析研究結果發現，個人混音器使用於中大型演唱會已成為趨勢；個人混音器的通道數可能將不足；各廠牌操作體驗差異大，對演奏者的影響體驗結果發現，使用個人混音器失去聲音平衡統一性；使用耳機聆聽可能產生與觀眾之間距離感。依據上述結論，本研究提議提供專業教學課程，（一）培養良好使用習慣：改變聆聽習慣、保護耳朵做起，演出中固定個人混音器混響比例，以自我彈奏音量為主；（二）建議 開發商發展無線個人監聽混音器的可能性；（三）制訂場館音壓標準，預防演出過大的音壓與震動造成爭議。除舞臺演奏者體驗研究外，眾所皆知，臺上每一位演奏者皆是為了觀眾而來，建議未來可延伸流行音樂場域觀眾研究，以利創造出更多的商業與學術價值。

The performer plays instruments and sings songs for the audience on the stage of pop music to drive their emotions, but few people know how the performer feels. Starting from the field domain of pop music concerts, the researcher discusses the use experience of personal mixers commonly used by performers. The main purpose of this study is to analyze the development process and core technology of personal mixers, the application mode and current situation of personal mixers, and the experience of personal mixers used by performers, so as to put forward suggestions for the future. This study adopts user experience research and user experience honeycomb and conducts qualitative interviews with industry-related players and practitioners. By analyzing the application status, this study finds that it has become a trend to use personal mixers in medium and large concerts, personal mixers may have an insufficient number of channels, and personal mixers of different factories and brands would lead to different operating experiences. The analysis of the influence on performers shows that the use of personal mixers causes the loss of the sound balance and unity, and listening through headphones may create a sense of distance between users and the audience. Based on the above conclusions, this study proposes to provide professional teaching courses. (1) Good usage habits are developed: Listening habits should be changed to protect ears. Fix the reverberation ratio of personal mixers and focus on the volume of self-playing. (2) Developers are advised to develop the possibility of wireless personal monitor mixers. (3) Sound pressure standards for venues are formulated to prevent disputes caused by excessive sound pressure and vibration during performances. In addition to the research on the experience of stage performers, it is suggested that the research can be extended to the audience in the pop music field domain in the future to create more commercial and academic values since every performer on the stage comes for the audience.

中文書目

中華打擊樂協會。《中華打擊樂協會國際爵士鼓能力檢定LEVEL 1》。臺北：中華打擊樂協會，2018。

艾進、李先春。《體驗經濟下的廣告與新媒體管理》。臺北：財經錢線文化事業有限公司，2019。

李恕權。《好萊塢音樂與我二十年》。臺北：高傳真視聽雜誌社，1996。

期刊論文

王甬懿。〈隨身聽耳機密合度與噪音音量對外耳道音量之影響〉。國立高雄師範大學聽力學與語言治療研究所碩士論文，2008。

平利川、原猛、郗昕、馮海泓。〈人工耳蝸使用者音樂感知評估系統的設計〉。《聲學技術》第29卷（第5期，2010）：512-517。

朱雯晶、張磊、王曄斌、趙亮。〈圖書館手機客戶端的探索實踐〉。《數據分析與知識發現》第27卷（第5期，2011）：13-19。

李鴻松。〈中小型演唱會音響工程規劃與再進化之探討〉。國立臺灣師範大學音樂學系碩士論文，2020。

沈超蕾。〈以聲造型-公共空間中聲音媒材的視覺意象〉。中國美術學院碩士論文，2014。
沈玟均。〈歐洲流行音樂節-基於現象學之觀光體驗研究〉。國立臺灣師範大學歐洲文化與觀光研究所碩士論文，2013。

呂佳真。〈成人賞析貝多芬第九交響曲之神馳（Flow）體驗研究〉。國立高雄師範大學成人教育研究所博士論文，2015。

宋炳旭。〈調音臺的選擇與使用技巧探討〉。《山西廣播電視大學學報》第13卷（第2期，2008）：49-50。

林富美、梁秀雯。〈唱片工業數位內容與數位應用平臺匯流之經營管理變革〉。《傳播與管理研究》第5卷（第1期，2005）：60-100。

林維辰。〈現場音樂表演的觀眾互動設計初探-以臺灣獨立樂團大象體操為實驗對象〉。國立政治大學數位內容碩士學位學程，2014。

周慧玲。〈臺灣現代劇場的產業想像：一個「參與觀察者」的劇場民族誌初步書寫〉。《戲劇研究》（第13期，2014）：145-174。
吳松芳。〈音樂欣賞中情感體驗的重要性〉。《中小學音樂教育》（第1期，2007）：12-13。

吳思賢。〈iPad 控制介面之多聲道混音系統建構〉。國立交通大學工學院聲音與音樂創意科技碩士學位學程碩士論文，2013。

吳紹群。〈科技元素應用於博物館館校合作活動之研究：以線上影音，虛擬實境以及3D列印之整合運用為例〉。《博物館學季刊》第32卷（第1期，2018）：85-111。

洪穎。〈音樂推薦系統中音樂情境信息源研究〉。《圖書館工作與研究》第1卷（第9期，2014）：72-75。

城菁汝。〈數位時代的博物館民眾參與：使用者自製內容的個案研究〉。國立臺灣藝術大學藝術管理與文化政策研究所博士論文，2016。

袁雅群。〈音樂祭消費行為之探索性研究〉。國立中正大學企業管理系行銷管理研究所碩士論文，2016。

高瑋。〈國小六年級學生音樂美感經驗之研究-以新竹市北門國小為例〉。國立清華大學音樂學系音樂碩士在職專班碩士論文，2018。

孫薇、關忻、張敏言。〈基於使用者體驗的特性設計方法研究〉。《西安工程科技學院學報》第19卷（第3期，2005）：311-314。

游美惠。〈內容分析，文本分析與論述分析在社會研究的運用〉。《調查研究》（第8期，2000）：5-42。

趙寶強。〈職場低頻噪音暴露評估與健康影響研究〉。臺北醫學大學博士論文，2013。

廖運昌。〈館藏許常惠音樂資料的數位化過程〉。《國史館館訊》（第1期，2008）：85-95。

鄒世東。〈論演奏者演奏體驗的結構〉。《科學探究園地》（第6期，2007）：89-90。

熊申聲。〈舞臺現場多軌數字錄音傳輸技術與設備〉。《演藝科技》（第12期，2012）：29-31。

盧穎儀。〈獨立樂團之產業價值分析-以搖滾辦桌為例〉。世新大學傳播管理學研究所，2014。

魏山德。〈演奏家：兼具直觀介面與即時控制的耳內個人監聽無線行動裝置系統〉。碩士論文，國立臺灣大學資訊工程學研究所，2015。

羅仕鑒、龔蓉蓉、朱上上。〈面向用戶體驗的手持移動設備軟件界面設計〉。《計算機輔助設計與圖形學學報》第22卷（第6期，2010）：1033-1041。

外文書目

Arksey, Hilary, and Peter T. Knight. Interviewing for social scientists: An introductory resource with examples. London: Sage, 1999.

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Charmaz, Kathy. Constructing grounded theory: A practical guide through qualitative analysis. London: Sage. 2006.

Corbin, Juliet, and Anselm Strauss. Basics of qualitative research: Techniques and procedures for developing grounded theory (3rd ed.). Thousand Oaks, CA: Sage. 2008.

Denzin, Norman K. The research act: A theoretical introduction to sociological methods. Transaction publishers, Piscataway: 2017.

Hakim, Catherine. Research design: Strategies and choices in the design of social research. No. 13. Allen and Unwin, Crows Nest: 1987.

McLuhan, Marshall, and Eric McLuhan. Laws of media: The new science. University of Toronto Press, Toronto: 1988.

Roads, Curtis, and John Strawn. The computer music tutorial. Cambridge: MIT press, 1996.

Self, Douglas. Audio engineering explained. New York: Routledge, 2009.

Senior, Mike. Mixing secrets for the small studio. New York: Routledge, 2018.

Strong, Jeff. Home Recording for Dummies. Hoboken: John Wiley & Sons, 2020.

Wengraf, Tom. Qualitative research interviewing: Biographic narrative and semi-structured methods. London: Sage, 2001.

外文期刊

Bowen, Glenn A. "Document analysis as a qualitative research method" Qualitative research journal (2009): 28-40.

Katz, Bob. "A Study of Vibration Isolation for Floor Standing Loudspeakers" Audio Engineering Society Convention 149th. (2020): 1-13.

Fontana, Andrea, and James H. Frey. "The interview" The Sage handbook of qualitative research 3 (2005): 695-727.

Rumsey, Francis. "Audio in the age of digital networks" Journal of the Audio Engineering Society 59.4 (2011): 244-253.

Hassenzahl, Marc, and Noam Tractinsky. "User experience-a research agenda" Behaviour & information technology 25.2 (2006): 91-97.

Holm, Jukka, Kaisa Väänänen, and Anas Battah. "User experience of stereo and spatial audio in 360° live music videos" Proceedings of the 23rd International Conference on Academic Mindtrek (2020): 134-141.

Jääskeläinen, Anssi, and Kari Heikkinen. "Divergence of user experience: Professionals vs. end users" Age 25.59 (2010): 18-64.

Kraght, Paul H. "Aliasing in digital clippers and compressors" Journal of the Audio Engineering Society 48.11 (2000): 1060-1065.

Lincoln, Yvonna S. "Naturalistic Inquiry" The Blackwell Encyclopedia of Sociology (2007).

Morville, Peter. "Experience design unplugged" In ACM SIGGRAPH 2005 Web program, (2005): 10-es.

Qu, Sandy Q., and John Dumay. "The qualitative research interview" Qualitative research in accounting & management (2011): 238-264.

Rogers, Katja, Matthias Jörg, and Michael Weber. "Effects of background music on risk-taking and general player experience." Proceedings of the Annual Symposium on Computer-Human Interaction in Play (2019): 213-224.

Schwanenflugel, Paula J. "An interview method for teaching adolescent psychology." Teaching of Psychology 14.3 (1987): 167-168.

Smith, Nick. "Not just a desk job [electronics audio]." Engineering & Technology 4.18 (2009): 36-39.

Swarbrick, Dana, et al. "How live music moves us: head movement differences in audiences to live versus recorded music." Frontiers in psychology 9 (2019): 1-11.

Ventura, Sara, et al. "Immersive versus non-immersive experience: Exploring the feasibility of memory assessment through 360 technology" Frontiers in psychology 10 (2019): 1-7.

Wang, Kai, and Shin-Ting Huang. "How flow experience affects intention to use music streaming service: Model development" Proceedings of the 12th International Conference on Advances in Mobile Computing and Multimedia (2014): 451-457.

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