隨著生成式人工智慧（Generative Artificial Intelligence, AI）技術快速發展，其於音樂、影像與文化創意產業中的應用，正逐步改變當代藝術創作的生產模式與美學邏輯。AI 已不再僅是輔助創作的工具，而成為創作者進行情緒轉譯、風格實驗與跨媒介敘事的重要協作媒介。本研究以創作作品《開花》探討創作者如何運用 Suno AI 音樂生成平台進行多版本音樂創作，並以女性在「女孩—女人—母親」生命歷程中所經驗的身份轉換、情緒勞動、親密關係與自我追尋為創作基礎，發展結合 AI 協作音樂、專輯視覺設計與香氛體驗的跨領域藝術作品。本研究採取創作研究法（practice-based research），透過歌詞書寫、初步旋律構思、主題設定、風格定位、提示詞設計、音樂生成、版本篩選、反覆修正與作品詮釋，建構一套以人機協作為核心的創作流程。創作者主導作品之整體概念與情感方向，並引入 AI 作為編曲與多版本生成的協作夥伴。相較於傳統音樂製作通常涉及作詞作曲、編曲、錄音、混音與行銷包裝等多重分工，AI 的介入使創作者得以更有效整合原先需由多人完成的製作環節，進而以個人之力完成從概念發想到作品呈現的整體創作實踐。作品亦結合專輯視覺與香氛元素，使閱聽人得以透過聽覺、視覺與嗅覺進入作品所建構的情緒場域，將音樂由單純的聆聽文本延展為具有沉浸性的感官經驗。此外，本研究亦從著作權與合理使用（fair use）觀點檢視 AI協作音樂創作的作者性、原創性與使用限制。研究認為，AI協作作品不僅以最終生成結果判斷其創作價值，而應回到完整創作歷程，檢視人類創作者於概念發想、歌詞書寫、旋律構思、提示詞設計、風格版本篩選、修正與詮釋等環節中的實質投入。同時，創作者仍應留意生成內容與既有作品的相似性、使用目的之轉化性，以及可能涉及的市場替代與倫理責任等議題。本研究提出「協作而非取代」的 AI 音樂創作觀點，認為 AI 的意義不僅在於提升創作效率，更在於協助創作者拓展風格實驗、整理生命經驗，並將難以言說的情緒轉化為可被聆聽、感知與重新理解的藝術形式。期望本研究能作為未來 AI 音樂創作、合理使用實踐、女性敘事與跨感官藝術發展之參考。

Generative artificial intelligence (AI) is reshaping the production and aesthetics of contemporary art across music, image, and the creative industries. AI increasingly serves not as a mere tool but as a collaborative medium through which artists translate emotion, experiment with style, and build cross-media narratives. Through the creative work Blossom (《開花》), this study examines how a creator uses the Suno AI platform to generate multiple versions of a song, drawing on women's experiences of identity transition, emotional labor, intimacy, and self-discovery across the life stages of girl, woman, and mother. The resulting cross-disciplinary work integrates AI-collaborative music, album visual design, and a scent-based sensory experience. Using a practice-based research approach, the study develops a human–AI collaborative workflow spanning lyric writing, melodic conception, thematic and stylistic framing, prompt design, generation, version selection, revision, and interpretation. The creator directs the overall concept and emotional intent while engaging AI as a partner for arrangement and multi-version generation. Whereas conventional production divides songwriting, arrangement, recording, mixing, and packaging among many specialists, AI lets a single creator integrate these roles and realize a complete work from concept to presentation. Paired with visuals and scent, the work invites audiences into its emotional field through hearing, sight, and smell, extending music from an auditory text into an immersive sensory experience. The study further considers the authorship, originality, and usage limits of AI-collaborative music through the lens of copyright and fair use. It argues that such work should be judged not by its generated output alone but by the creator's substantive involvement throughout the process, while attending to similarity with existing works, the transformativeness of the use, potential market substitution, and ethical responsibility. Advancing a principle of "collaboration, not replacement," it holds that the value of AI lies less in improving efficiency than in helping creators expand stylistic experimentation, reorganize lived experience, and transform inarticulable emotion into a form that can be heard, felt, and newly understood. The study is offered as a reference for future work in AI music creation, fair-use practice, women's narrative, and cross-sensory art.

碩博士論文
崔富堯 (2025)。生成式人工智慧生成內容之著作權定位與法律挑戰-以比較法觀點探討我國智慧財產權制度之調適。真理大學／法律學系碩士班。
彭增寧 (2025)。人工智慧生成內容之著作權法律關係探討： 侵害與保障之平衡。東吳大學／法律學系。
黃品瑄 (2024)。生成式人工智慧訓練工程之著作權侵權爭議— 以創作者權益與科技發展之兼顧為主軸。國立中央大學／產業經濟研究所。
姚凱翔 (2024)。生成式人工智慧之著作權問題研究。中信金融管理學院／法律研究所。
黃晟嘉 (2024)。人工智慧創作著作權保護之研究。國防大學／法律學系碩士班。
楊理文 (2024)。人工智慧生成音樂與著作權之問題與挑戰。東吳大學／法律學系。
書籍
陳家駿 (2025)。全球生成式AI著作權訴訟攻防戰。元照出版。
黃葳威 (2025)。AI世代傳播素養。揚智文化。
楊智傑 (2024)。AI．抄襲．智財權。暖暖書屋。
潘罡 (2022)。新審美經濟。時報文化出版。
Clifford A. Pickover (2020)。譯者林柏宏。AI之書：圖解人工智慧發展史。時報文化出版。
期刊論文
莊晏詞 (2025)。生成式 AI 作品於著作權保護要件之挑戰。台灣／生物產業科技管理叢刊／第 13 卷／71-81 頁。
毛舞雲 (2019)。人工智慧創作品之著作權保護──從繪畫機器人談起。陽明交大法學評論第5期。
網際網路
著作權法第 65 條(中華民國)。全國法規資料庫。https://law.moj.gov.tw/LawClass/LawSingle.aspx?pcode=J0070017&flno=65
陳家駿(2025)。因應生成式 AI 我國應修改著作權法嗎?——以美國、日本與歐盟模式為例。國家實驗研究院科技政策與資訊中心。科技產業資訊室(iKnow)。https://iknow.stpi.niar.org.tw/
陳家駿(2025)。全球首宗生成式AI錄音著作侵權案 -- 美國唱片業巨頭控告SUNO。https://iknow.stpi.niar.org.tw/post/Read.aspx?PostID=21565
經濟部智慧財產局(2026)。生成式 AI 與著作權議題之國際趨勢。智慧財產權月刊。 https://www.tipo.gov.tw/tw/tipo1/425-23858.html
吳健成 (2016)。完成一首高品質歌曲的成本是多少？音樂製作人面對的繁雜製程與重重挑戰。關鍵評論。https://www.thenewslens.com/article/36891

英文部分
書籍
Ahmed, S. (2004). The cultural politics of emotion. Edinburgh: Edinburgh University Press.
Boden, M. A. (2004). The creative mind: myths and mechanisms (2nd ed.). London: Routledge.
Boden, M. A. (2016). AI: its nature and future. Oxford: Oxford University Press.
Bourriaud, N. (2002). Relational aesthetics. Dijon: Les presses du réel.
Buckle, J. (2015). Clinical aromatherapy: essential oils in healthcare (3rd ed.). St. Louis, MO: Elsevier.
Butler, J. (1990). Gender trouble: feminism and the subversion of identity. New York: Routledge.
Collins, N. (2018). Introduction to computer music. Hoboken, NJ: John Wiley & Sons.
Hall, S. (1980). Encoding/decoding. London: Culture, media, language, 128–138.
Hochschild, A. R. (1983). The managed heart: commercialization of human feeling. Berkeley, CA: University of California Press.
Jenkins, H. (2006). Convergence culture: where old and new media collide. New York: New York University Press.
Katz, E., Blumler, J. G., & Gurevitch, M. (1974). Utilization of mass communication by the individual. Beverly Hills, CA: The uses of mass communications: current perspectives on gratifications research, 19–32.
Malchiodi, C. A. (2012). Handbook of art therapy (2nd ed.). New York: Guilford Press.
Murray, J. H. (1997). Hamlet on the holodeck: the future of narrative in cyberspace. Cambridge, MA: MIT Press.
Rancière, J. (2009). The emancipated spectator. London: Verso.
期刊論文
Athreya H., S., & Dash, P. (2025). Suno AI and musings of copyright: An enquiry into fair learning and infringement analysis of generative AI creation. The Journal of World Intellectual Property, 28(3), 1–15. https://doi.org/10.1111/jwip.12358
Brauneis, R. (2025). Copyright and the training of human authors and generative machines. Columbia Journal of Law and the Arts, 47, forthcoming.
Carpentier, F. R. D., Knobloch-Westerwick, S., & Zillmann, D. (2008). Sad kids, sad media? Applying mood management theory to depressed adolescents’ media use. Media Psychology, 11(1), 143–166.
Chu, S., & Downes, J. J. (2000). Odour-evoked autobiographical memories: psychological investigations of Proustian phenomena. Chemical Senses, 25(1), 111–116.
Ginsburg, J. C., & Budiardjo, L. A. (2019). Authors and machines. Berkeley Technology Law Journal, 34(2), 343–456.
Herz, R. S. (2004). A naturalistic analysis of autobiographical memories triggered by olfactory, visual and auditory stimuli. Chemical Senses, 29(3), 217–224.
Herz, R. S. (2009). Aromatherapy facts and fictions: a scientific analysis of olfactory effects on mood, physiology and behavior. International Journal of Neuroscience, 119(2), 263–290.
Lonsdale, A. J., & North, A. C. (2011). Why do we listen to music? A uses and gratifications analysis. British Journal of Psychology, 102(1), 108–134.
Ruggiero, T. E. (2000). Uses and gratifications theory in the 21st century. Mass Communication & Society, 3(1), 3–37.
Saarikallio, S. (2011). Music as emotional self-regulation throughout adulthood. Psychology of Music, 39(3), 307–327.
Samuelson, P. (2023). Generative AI and copyright. Communications of the ACM, 66(6), 34–36.
Sundar, S. S., & Limperos, A. M. (2013). Uses and gratifications 2.0: new gratifications for new media. Journal of Broadcasting & Electronic Media, 57(4), 504–525.
Universal Music Group. (2025, November 20). Music technology company KLAY signs first-of-its-kind AI licensing deals.
van der Kolk, B. (2014). The body keeps the score: Brain, mind, and body in the healing of trauma. Viking.
World Health Organization. (2013). Global and regional estimates of violence against women: Prevalence and health effects of intimate partner violence and non-partner sexual violence. WHO.
World Intellectual Property Organization. (2022). WIPO conversation on intellectual property and artificial intelligence. World Intellectual Property Organization.
World Intellectual Property Organization. (2025). US Copyright Office on AI: Human creativity still matters legally. World Intellectual Property Organization.
The Guardian. (2021, October 6). “I sculpt the air” – what does scent artist Anicka Yi have in store for Tate’s Turbine Hall?
The Verge. (2025). Warner Music Group partners with Suno.
Time. (2024, July 25). teamLab Borderless: MORI Building Digital Art Museum.
U.S. Copyright Office. (2023). Copyright registration guidance: Works containing material generated by artificial intelligence.
U.S. Copyright Office. (2023a). Copyright and artificial intelligence.
U.S. Copyright Office. (2025, May 6). Copyright and artificial intelligence, Part 3: Generative AI training (Pre-publication version).
Yu, J., Wu, S., Lu, G., Li, Z., Zhou, L., & Zhang, K. (2024). Suno: Potential, prospects, and trends. Frontiers of Information Technology & Electronic Engineering, 25(7), 1025–1030.
法院判例
Andy Warhol Foundation for the Visual Arts, Inc. v. Goldsmith, 598 U.S. 508 (2023).
Bartz v. Anthropic PBC, 787 F. Supp. 3d 1007 (N.D. Cal. 2025).
Kadrey v. Meta Platforms, Inc., 788 F. Supp. 3d 1026 (N.D. Cal. 2025).
Thomson Reuters Enterprise Centre GmbH v. Ross Intelligence Inc., No. 1:20-cv-00613-SB (D. Del. Feb. 11, 2025).
UMG Recordings, Inc. et al. v. Suno, Inc., No. 1:24-cv-11611 (D. Mass. June 24, 2024).
UMG Recordings, Inc. et al. v. Uncharted Labs, Inc., No. 1:24-cv-04777 (S.D.N.Y. June 24, 2024).
政策文件
Congressional Research Service. (2025). Generative artificial intelligence and copyright law (LSB10922). Congress.gov.
Electronic Frontier Foundation. (2026, January 24). Search engines, AI, and the long fight over fair use.
Recording Industry Association of America. (2024, June 24). Record companies bring landmark cases for responsible AI against Suno and Udio.
U.S. Department of Justice, Antitrust Division. (2020). Competition in licensing music public performance rights: Transcript of proceedings at the public workshop (July 28–29, 2020).

網際網路
59 Productions. (n.d.). David Hockney: Bigger & Closer. Retrieved May 6, 2026, from https://59.studio/project/david-hockney-bigger-closer/
ARTECHOUSE. (n.d.). Twilight Zone: Hidden wonders of the ocean. Retrieved May 6, 2026, from https://www.artechouse.com/program/twilight-zone-hidden-wonders-of-the-ocean/
Copyright Alliance. (n.d.). AI copyright lawsuit developments in 2025: A year in review. Retrieved January 8, 2026, from https://copyrightalliance.org/ai-copyright-lawsuit-developments-2025/
Digital Music News. (2025, December 22). Suno previews 2026 changes under Warner Music deal. https://www.digitalmusicnews.com/2025/12/22/suno-warner-music-deal-changes/
Frameless. (n.d.-a). The experience. Retrieved May 6, 2026, from https://frameless.com/the-experience/
Frameless. (n.d.-b). Frameless: London’s favourite immersive art experience. Retrieved May 6, 2026, from https://frameless.com/
Huang, W. (2024). Suno AI: Language learning with AI songwriting. The FLTMAG. https://doi.org/10.69732/ITFV6200
Hook Genius. (n.d.). Suno AI legal guide (2026): Do you own your songs? https://hookgenius.app/learn/suno-legal-guide/
Lightroom. (n.d.). David Hockney: Bigger & Closer (not smaller & further away). Retrieved May 6, 2026, from https://lightroom.uk/whats-on/david-hockney/
Meow Wolf. (n.d.-a). The Real Unreal credits. Retrieved May 6, 2026, from https://credits.meowwolf.com/the-real-unreal/
Meow Wolf. (n.d.-b). The Real Unreal. Retrieved May 6, 2026, from https://meowwolf.com/visit/grapevine
Mercer Labs. (n.d.-a). Location & hours. Retrieved May 6, 2026, from https://mercerlabs.com/museum-info
Mercer Labs. (n.d.-b). Mercer Labs: Museum of Art and Technology. Retrieved May 6, 2026, from https://mercerlabs.com/
Music Business Worldwide. (2025, November 25). Warner Music Group settles with Suno, strikes first-of-its-kind deal with AI song generator. https://www.musicbusinessworldwide.com/warner-music-group-settles-with-suno-strikes-first-of-its-kind-deal-with-ai-song-generator/
New Industry Focus. (n.d.). Suno begins updating policies under agreement with WMG. https://newindustryfocus.com/articles/suno-begins-updating-policies-under-agreement-with-wmg
Superblue. (n.d.). Superblue Miami. Retrieved May 6, 2026, from https://www.superblue.com/
teamLab. (n.d.). teamLab Borderless Tokyo, Azabudai Hills. Retrieved May 6, 2026, from https://www.teamlab.art/e/tokyo/
TechCrunch. (2025, November 25). Warner Music signs deal with AI music startup Suno, settles lawsuit. https://techcrunch.com/2025/11/25/warner-music-signs-deal-with-ai-music-startup-suno-settles-lawsuit/
The Guardian. (2024, July 15). Artists should exploit AI’s capabilities, say creators of new Tate Modern show. https://www.theguardian.com/artanddesign/article/2024/jul/15/artists-ai-new-tate-modern-exhibition-electric-dreams
The Guardian. (2024, December 1). Electric Dreams: Art and Technology Before the Internet review—Charmingly archaic and constantly prophetic. https://www.theguardian.com/artanddesign/2024/dec/01/electric-dreams-art-and-technology-before-the-internet-tate-modern-london-review-prophetic-and-unexpectedly-poignant
Time. (2024, July 25). teamLab Borderless: MORI Building Digital Art Museum. https://time.com/6992362/teamlab-borderless-digital-art-museum-2/
TopHit. (n.d.). Suno AI copyright ownership policy update. https://tophit.com/news/pro/14283
U.S. Copyright Office. (2025, May 6). Copyright and artificial intelligence, Part 3: Generative AI training (Pre-publication version). https://www.copyright.gov/ai/
VoteMyAI. (n.d.). Suno relaunch 2026: New licensed models and platform changes. https://www.votemyai.com/blog/suno-relaunch-2026.html
Winbuzzer. (2026, April 9). Suno licensing talks with labels stall over AI music downloads. https://winbuzzer.com/2026/04/09/suno-licensing-talks-with-labels-stall-over-ai-music-downloa-xcxwbn/
Woods Hole Oceanographic Institution. (n.d.). Hidden wonders of the ocean. Retrieved May 6, 2026, from https://twilightzone.whoi.edu/hidden-wonders-of-the-ocean/
Zillmann, D. (2000). Mood management in the context of selective exposure theory. In M. E. Roloff (Ed.), Communication yearbook (Vol. 23, pp. 103–123). Sage. https://doi.org/10.1080/23808985.2000.11678971