臺灣「獨立音樂」在 1990 年代以前稱為「地下音樂」。2000 年後，web1. 0、web2. 0 甚至 web3. 0 快速來到，本研究為理解臺灣獨立音樂之身分認同，以Bourdieu之場域論為理論基礎，並以深度訪談法蒐集資料，歸納出臺灣獨立音樂因網際網路而導致產業結構轉變的新身分認同內容。研究發現，對於獨立音樂人而言，獨立音樂圈中之文化資本影響權力關係最大；而對於獨立音樂中介者而言，卻是以經濟資本影響最大。獨立音樂人與中介者之合作關係，在獨立音樂為大眾所廣泛接受後逐漸普遍，但容易被忽略的是，大多數音樂人對於新媒體之運用並不擅長，造成獨立音樂整體向上發展，但音樂人本身被體制壓榨的情形，最大受益者為中介者，而非音樂人。
"Independent music" of Taiwan in the 1990s before the "underground music". After 2000, web1.0, web2.0 and even web3. 0 came quickly. In order to understand the identity of Taiwan's independent music, Bourdieu's field theory was used as theoretical basis, and in-depth interviews were used to collect data. Independent music of Taiwan due to the Internet and lead to the transformation of the industrial structure of the new identity. The study finds that for independent musicians, the cultural capital in independent music circles has the greatest influence on rights, while for independent music intermediaries, economic capital is the most influential. The relationship between independent musicians and intermediaries is becoming more common after the widespread acceptance of independent music, but it is easy to overlook that most musicians are not good at the use of social media, resulting in the overall upward development of independent music, but Music itself is squeezed by the system, the biggest beneficiaries of intermediaries, rather than music.
