Development and Business Model of Taiwan’s Pop Music Concert Ticketing

• Main Authors: CHIANG, CHI-HSUAN, 江季璇
• Other Authors: LIN, FU-MEI
• Format: Others
• Language: zh-TW
• Published: 2018
• Online Access: http://ndltd.ncl.edu.tw/handle/ebh875

碩士 === 世新大學 === 傳播管理學研究所(含碩專班) === 106 === 　　In recent years, pop music concerts have become the main driving force for the development of the industry and continued to innovate. As it further leads the booming development of domestic ticketing market in Taiwan, the concert ticketing has begun to attract attention from the market and the industry. Taking the domestic ticketing system operators as the research subject, this study described the development of the ticketing industry of Taiwan’s pop music concerts along with the development of the market and industry, and further explored the business model of the domestic ticketing industry, analyzing its current situation, difficulties, and future prospects. 　　Given the insufficient analysis, research and literature materials regarding the ticketing industry of Taiwan’s pop music concerts in the past, this study not only collected relevant literature and source data by using the secondary data analysis method, but also conducted in-depth interviews with six experts in the ticketing industry. The data from both sources were then summarized and analyzed. 　　From the research results, this study found that the development of the domestic ticketing industry can be divided into six phases: the manual ticketing period, the launch of computer ticketing, the emergence of online ticketing, the joining of convenience store operators, mobile devices and cloud-based ticketing system, and the rise of secondary ticket market. With the development of the concert market and science and technology, the domestic ticketing industry has gradually moved towards a demassified market and provided exclusive services. Today, with flexible elements, the ticketing system’s structure can be adjusted according to the characteristics of the performers or the attributes of the performances. 　　Through the B2B2C transaction model, the concert ticketing industry creates value for companies and customers. Therefore, in order to meet the needs of the organizers, the ticketing industry must provide fans with the ticketing service, which forms the concept of a two-way service. The current chaotic scalper situation in the ticketing market is originated from the structural problems of past government policies, which also causes the potential risk of loss for concert promoters due to the policy loophole. In response to this, the government published the amendment to the “Performing Arts Ticket Standard Contract” in 2018. It will be worth observing that whether it could have a positive impact on the industry and the market, as well as whether domestic companies could develop official secondary ticket websites in the future. 　　Since the development, the role of ticketing has shifted from passive to active, entering the core ecosystem from the bottom of the industry chain.