本論文以成立超過二十五年的吉聲影視、龍閣文化和漢興傳播為研究對象，以深度訪談法探究客家音樂獨立廠牌的經營策略。研究一共訪談三大唱片公司主要負責人、創意總監和廠牌歌手共七位受訪者，將訪談資料整理後，依Porter的分析架構，將客家音樂獨立廠牌的經營策略分為1998年前後兩大時期做說明。 研究結果發現，1998年以前，三家客家獨立廠牌較有組織，亦願雇用專職人員為歌手量身訂做唱片，與一般流行音樂市場一樣，較強調行銷，但又因定位在客家地區，較具特殊性，如以Porter的論點來檢視客家流行音樂獨立廠牌的經營策略，我們可以說，早期的經營策略較偏向「差異化」策略，即以其獨特性的優勢競爭於廣泛目標市場。相較之下，1998年後，因為唱片市場不景氣，三家客家獨立廠牌的唱片作品，雖在音樂市場上有其差異性，但由於幾乎不做行銷，完全未突顯其產品特殊性，再加上亦未針對其特殊目標眾進行任何宣傳，將人力成本減至最低，亦不再花費於行銷和歌手訓練上，轉而採取的經營策略可說是較偏向「成本領導策略」。

This paper primarily explores the business strategy of Hakka pop music independent label. In this paper we adopt porter’s generic strategies to be explained frameworks. Porter’s generic strategies are Cost Leadership, Differentiation and Focus. The cost leadership strategy advocates gaining competitive advantage due to the lowest cost of production of a product or service. The differentiation strategy involves creation of differentiated products for different segments. The ‘focus’ strategy involves focusing on a narrow, defined segment of the market, also called a “niche” segment. For further to understand the changes for the business strategy, the research time was divided into two periods with 1998 and interviewed 3 Hakka pop music independent label’s managers, 3 Hakka pop music independent label’s singers and one Hakka pop music independent label’s creative director . The research results reveal that three Hakka independent labels stressed on marketing and positioned Hakka area, according to the Porter’s generic strategies framework, we can say that the business strategy was more oriented toward “differentiation” strategy before 1998. In contrast, because the pop music market is in a slump, the three Hakka pop music labels rarely spend money on marketing and singers training. In favor of taking over the business strategy was “cost leadership strategy” after 1998.