隨兩岸經貿關係的快速發展，臺灣音樂產業，業已成為這當中的一個重要部 分。然而，兩岸跨界產業研究，大多以製造業為討論焦點；文化產業的跨界論述， 仍屬低度發展。本文因此以兩岸流行音樂演唱會專案為討論對象，旨在探討於市 場經濟 (後社會主義vs.資本主義)、政治問題、意識型態、產業制度環境等緊張 關係中，音樂產業專案網絡的形成及運作；同時，揭露其間的政府、資本、社會 等綿密網絡與制度作用。本文指出，鑑於中國對音像事業的高度支配，及盜版、 非法燒錄、下載等唱片出版的制度性障礙，跨國資本以象徵華文流行音樂品牌的 臺灣歌手，於中國的跨界演唱會專案，變成是進入中國市場的關鍵路徑。然而， 基於中國市場經濟轉型、及兩岸特殊政經關係而形成的外在結構條件，專案正當 性源自於政治、金融及人脈資源的動員，並且造成演唱會專案網絡內部運作的質 變。在專案鑲嵌於政治脈絡的情形下，網絡行動者的組成與合作，並非基於信任、 契約、聲望、創意及市場導向等既有文獻所指稱的專案運作基本變數，而是取決 於以中國政府及國營企業為核心的地方政商關係建立。

Within a growing context of economic connections, pop music across Taiwan Strait is increasingly integrated as an industrial region. However, research into the cross-trait production activity has for a long time been dominated by a focus on the manufacture. Against the empirical background of the cross-trait pop music concert, this paper aims to explore formation and networking of the music project in the context of political, ideological, and economic conflicts between Taiwan and China, and to uncover roles and interactions between the state, trans-national capital and society. It is suggested that cross-trait pop music concert is the critical strategy for transnational corporations (TNCs) to enter the China market in view of institutional obstacles of state intervention and piracy. Nevertheless, the music project’s legitimacy results from mobilization of political, financial and inter-personal resources in the structural conditions of China’s transformational market economy and the unique cross-trait relationship. By looking at the embeddedness of project network in political institutional context, it is concluded that cooperation and composition of project actors depend upon government-business relationships around China’s authorities and state-run businesses rather than traditional variables such as trust, contract, reputation, creativity and market-driven operation.