DOCSLIB.ORG

An Explorative Study on Scope of Audience, Brand Personality, And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Explorative Study on Scope of Audience, Brand Personality, And An Explorative Study on Scope of Audience, Brand Personality, and Sponsor-Music Festival Congruence Linghuan Zhang Student No.: 10860819 Faculty of Economics and Business MSc. in Business Administration – Marketing Track Supervisor: Dhr. A.C.J. Meulemans Submission Date: 1/28/2016 Statement of originality This document is written by Student Linghuan Zhang who declares to take full responsibility for the contents of this document. I declare that the text and the work presented in this document is original and that no sources other than those mentioned in the text and its references have been used in creating it. The Faculty of Economics and Business is responsible solely for the supervision of completion of the work, not for the contents. ! 2! Table of Contents Table of Contents ............................................................................................................. 3 List of figures and tables .................................................................................................. 4 1. Introduction ................................................................................................................... 6 2. Literature review ........................................................................................................... 9 2.1 Music festival ...................................................................................................................... 9 2.2 Scope of audience ............................................................................................................ 12 2.3 Brand personality .............................................................................................................. 14 2.4 Sponsorship ...................................................................................................................... 17 2.5 Congruence ...................................................................................................................... 19 2.6 Theoretical framework ...................................................................................................... 22 3. Methodology ............................................................................................................... 23 3.1 Overview ........................................................................................................................... 23 3.2 Procedure ......................................................................................................................... 23 3.2.1 Pre-test ....................................................................................................................... 23 3.2.2 Survey ........................................................................................................................ 26 3.2.3 Interview ..................................................................................................................... 26 3.3 Variables ........................................................................................................................... 27 3.3.1 Sponsor-festival congruence ...................................................................................... 27 3.3.2 Control variables ........................................................................................................ 28 4. Results ....................................................................................................................... 30 4.1 Quantitative analysis ......................................................................................................... 30 4.1.1 Descriptive ................................................................................................................. 30 4.1.2 Data preparation ........................................................................................................ 31 4.1.3 Hypothesis ................................................................................................................. 31 4.1.4 Control variables ........................................................................................................ 34 4.2 Qualitative analysis ........................................................................................................... 37 5. Discussion .................................................................................................................. 42 5.1 Findings ............................................................................................................................ 42 5.2 Contribution and implications ............................................................................................ 44 5.3 Limitation and further study .............................................................................................. 45 5.4 Conclusion ........................................................................................................................ 46 Appendix 1. Information of music festivals ..................................................................... 53 Appendix 2. Pre-test questionnaire ................................................................................ 56 Appendix 3. Questionnaire for online survey .................................................................. 60 Appendix 4. SPSS .......................................................................................................... 65 Appendix 5. Interview transcripts ................................................................................... 68 ! 3! List of figures and tables Figures Figure I The conceptual model ....................................................................................... 22 Figure II The congruence level of each brand-festival combination ............................... 33 Figure III The congruence level comparison of different region groups ......................... 36 Tables Table I Brand personality scales from Aaker (1997) ...................................................... 15 Table II Basic information about Glastonbury and Hellfest festival ................................ 24 Table III Perceived brand personality mean value ......................................................... 25 Table IV Summary of sponsor-festival linkages presented to subjects .......................... 25 Table V Characteristics of study participants ................................................................. 30 Table VI Independent samples t-test of mainstream and niche festival groups ............. 32 Table VII Independent samples t-test of beverage and technology brand groups ......... 33 Table VIII Independent samples t-test of two age groups .............................................. 34 Table IX The congruence level of different age groups .................................................. 35 Table X Independent t-test of different gender groups ................................................... 35 Table XI Perceived brand personality and fit of sponsor brands and festivals ............... 40 ! 4! Abstract Music festival is becoming an important field for major brands to make sponsorship choices. But the study on scope of audience and brand personality’s influence on sponsor-festival congruence is scarce. The objective of this study is to explore the relationship between scope of audience and sponsor-festival congruence, and how brand personality intervenes in it. This study mainly based on Roy and Cornwell (2003) and Leenders, van Telgen, Gemser & van der Wurff (2005)’s theory. To answer the research question and test the hypotheses, both quantitative and qualitative methods were used in this study. A survey to 143 participants and a followed up interview to 8 interviewees were done. Three main findings were found in this study. First, scope of audience is not an important influencer to congruence. Second, Industry was found influential in sponsor- festival congruence. It was because the chosen beverage brands’ personalities have better match with the chosen festivals’ brand personalities. Third, age, gender and region have no significant effects on congruence. At last, management suggestions for music festival sponsorship and future research directions are discussed. ! 5! 1. Introduction Music festival, which has been an effective method in reaching target audiences for quite a long time, is becoming more important for major brands to make sponsorship choices (Rowley & Williams, 2008), and its fast developing has been a new trend of music industry. Over the past decades, music festival as an entertaining activity, is increasingly popular among young people all over the world. Nowadays festival organizers are facing a lot of challenges and threats, such as fierce competition, new technology, and globalization (Leenders, 2010) which are forcing organizers to quick adapt to changes and develop new strategies. In the past 10 years the music festival market seems to become more saturated (Leenders, van Telgen, Gemser & van der Wurff, 2005). For most of the festival organizers, it seems to be increasingly important to seek for sufficient budget, government subsidies, and suitable artists (Leenders, 2010). For festivals, without government funding, it is not an easy task to fund themselves by raising money purely from ticket sells. Therefore, music festival organizers are seeking other ways to fund themselves in order to survive. When trying to fill the gap of festival budgets, sponsorship as a marketing communication tool is playing a significant role for festival organizers (Harvey, 2001). This trend made
Load more

Recommended publications
  • V&A Acquires the Glastonbury Festival Archive
    V&A acquires the Glastonbury Festival Archive The V&A is delighted to announce a collaboration with Glastonbury Festival to create an archive reflecting more than 40 years of diverse and creative performance. Glastonbury Festival is the longest-running popular music and performing arts festival in the world. Set up in 1970 by Michael Eavis on Worthy Farm in Pilton, Somerset – the Eavis’s family farm for four generations - the Festival is now attended by around 175,000 people annually. It has a long and unique history of hosting music, dance, comedy, theatre, circus, cabaret and other arts and collaborating with artists, set designers and craftspeople. Many distinguished names have performed at the summer festival over the last four decades including Beyoncé, Bjork, Blondie, Marc Bolan, Coldplay, The Cure, Jay-Z, Paul McCartney, Van Morrison, New Order, Oasis, Radiohead, The Rolling Stones, Toots and the Maytals, Velvet Underground and Amy Winehouse. This eclectic archive includes a range of material, from programmes and posters from every festival since 1970, designs for the Festival identity, interviews, unseen film and photographs, correspondence, t-shirts, tickets and other memorabilia. Personal accounts and documents trace the origins of the Festival and festival maps reveal how it has grown and developed within the landscape. Press cuttings document the relationship of the Festival with the local community and stories that captured the nation. The working processes of the Festival will be captured in the archive with original backstage passes, photographs and performers’ set-lists. The archive also includes photographs that reveal the evolution of the legendary Pyramid stage since its creation in 1971 to a permanent stage – also briefly used as a cattle shed in 1981.
    [Show full text]
  • Birmingham Cover
    Online Worcester Cover.qxp_Worcestershire 30/04/2015 09:35 Page 1 WORCESTERSHIRE WHAT’S WORCESTERSHIRE ON WHAT’S THE MIDLANDS ULTIMATE ENTERTAINMENT GUIDE WORCESTERSHIRE ISSUE 353 MAY 2015 MAY www.whatsonlive.co.uk ISSUE 353 MAY 2015 MARK BENTON INTERVIEW INSIDE INSIDE PART OF MIDLANDS WHAT’S ON MAGAZINE GROUP PUBLICATIONS GROUP MAGAZINE ON WHAT’S MIDLANDS OF PART Vicky Entwistle leaves the cobbled stones of Coronation Street behind her... interview inside Joshua Jenkins on playing the lead in The Curious Incident of The Dog In The Night-Time interview inside INSIDE: @WHATSONWORCS WWW.WHATSONLIVE.CO.UK @WHATSONWORCS FILM COMEDY MARK THEATRE LIVE MUSIC VISUAL ARTS ROCK LEGEND AT GENTING ARENA EVENTS KNOPFLER FOOD & DRINK & MUCH MORE! The Drum F/P May 15.qxp_Layout 1 27/04/2015 20:45 Page 1 Contents May Region 1.qxp_Layout 1 27/04/2015 19:20 Page 1 May 2015 Editor: Davina Evans INSIDE: [email protected] 01743 281708 Editorial Assistants: Mark Benton Brian O’Faolain [email protected] talks crime on the French 01743 281701 Riviera p6 Lauren Foster [email protected] 01743 281707 Adrian Parker [email protected] 01743 281714 Jamie Ryan [email protected] 01743 281720 Sales & Marketing: Lei Woodhouse [email protected] 01743 281703 Chris Horton [email protected] 01743 281704 The Rise And Fall Subscriptions: Adrian Parker Of Little Voice [email protected] 01743 281714 Vicky Entwistle and Chris Managing Director: Gascoyne in Brum p31 Paul Oliver [email protected] 01743 281711 Publisher and CEO: Martin Monahan [email protected] 01743 281710 Graphic Designers: Lisa Wassell Joshua Jenkins talks about playing the lead in the National Theatre’s Chris Atherton The Curious Incident Of The Dog In The Night-Time.
    [Show full text]
  • ANDERTON Music Festival Capitalism
    1 Music Festival Capitalism Chris Anderton Abstract: This chapter adds to a growing subfield of music festival studies by examining the business practices and cultures of the commercial outdoor sector, with a particular focus on rock, pop and dance music events. The events of this sector require substantial financial and other capital in order to be staged and achieve success, yet the market is highly volatile, with relatively few festivals managing to attain longevity. It is argued that these events must balance their commercial needs with the socio-cultural expectations of their audiences for hedonistic, carnivalesque experiences that draw on countercultural understanding of festival culture (the countercultural carnivalesque). This balancing act has come into increased focus as corporate promoters, brand sponsors and venture capitalists have sought to dominate the market in the neoliberal era of late capitalism. The chapter examines the riskiness and volatility of the sector before examining contemporary economic strategies for risk management and audience development, and critiques of these corporatizing and mainstreaming processes. Keywords: music festival; carnivalesque; counterculture; risk management; cool capitalism A popular music festival may be defined as a live event consisting of multiple musical performances, held over one or more days (Shuker, 2017, 131), though the connotations of 2 the word “festival” extend much further than this, as I will discuss below. For the purposes of this chapter, “popular music” is conceived as music that is produced by contemporary artists, has commercial appeal, and does not rely on public subsidies to exist, hence typically ranges from rock and pop through to rap and electronic dance music, but excludes most classical music and opera (Connolly and Krueger 2006, 667).
    [Show full text]
  • Organization of a Large Scale Music Event: Planning and Production
    Organization of a large scale music event: planning and production Tatiana Caciur Thesis MUBBA 2012 Abstract 17.1.2012 MUBBA Author or authors Group or year of Tatiana Caciur entry 2008 Title of report Number of Organization of a large scale music event: planning and pages and production. appendices 54 + 4 Teacher/s or supervisor/s Heta-Liisa Malkavaara Live entertainment is currently one of the few vital components of the music industry as it struggles to survive in the XXI century and conform to the drastic changes on the music market. Music events occur in great amount on a daily basis and it is important to plan and produce them in the right manner in order to stay relevant and secure one‟s place on the market. This report introduces various crucial matters that require attention during event organization process, such as marketing and strategic planning, communication and promotion, risk management, event programming and capacity management, to name a few. The 5-phase project management model is applied as the base on which this thesis is built. The research is conducted by comparing the theoretical and practical approach used in the music event business. The practical approach is based on examinations and interviews with the world market leader in live entertainment – Live Nation. An additional analysis of practices used in other large and successful music events in Europe and USA is also conducted. As this thesis shows, the practical approach is often easier and less rigorous than the theory. Some of the steps in this process may be simply omitted due to being considered of little relevance by the management team, many other are outsourced to professional agencies depending on requirements (security, catering).
    [Show full text]
  • VIPNEWSPREMIUM > VOLUME 169 > JUNE 2014
    4 10 3 19 8 15 VIPNEWS PREMIUM > VOLUME 169 > JUNE 2014 16 4 3 13 7 6 19 12 2 VIPNEWS > JUNE 2014 McGowan’s Musings So – that’s England out of the World Cup very much in the running, and as for Ronni the sector is worth $2.5 billion. It now shows then…who to support now? As far as the VIP Didriksen, I’m not sure what the situation is that the live sector accounts for 34,131 em- team are concerned Peter Briggs is of course with Denmark. I’m usually able to hedge my ployees. This is greater than the 20,439 peo- English, a football fan, and I presume obvious- bets as I also have Irish citizenship and my ple employed in film and video as their main ly devastated at this poor showing; Manfred parents were born in Scotland, but as neither job. Apart from these figures being a great en- Tari, a Dortmund supporter, still has Germany country qualified it would be a bit pointless couragement to the live industry everywhere, to start to shout for either, so it’s all a bit of LPA’s Evelyn Richardson commented that the a quandary (another word I rarely get to use, live performance industry also generated less so that’s one advantage at least!). There’s a tangible benefits such as improved social co- McGowan playing for Australia, but having hesion, lifestyle improvement, diversity and never been there I feel little connection – apart increased creativity, not reflected in economic from friends such as Alia Dann of ILMC fame metrics.
    [Show full text]
  • The Political Economy of Informal Events, 2030
    The Political Economy Of Informal Events, The Political 2030 Economy of Informal Events, 2030 Written and edited by James Woudhuysen AAAW_03.19_001_Cover.indd All Pages 17/05/2019 11:29 The Political Economy Of Informal Events, 2030 AAAW_03.19_002-009_Chapter Zero.indd 2 17/05/2019 11:21 Written and edited by James Woudhuysen Visiting professor, forecasting & innovation, London South Bank University Foreword by Julian Agostini, Mash Media Alan Miller, Night Time Industries Association Nick Morgan, We Are The Fair Published by Access All Areas, in association with the Night Time Industries Association and We Are The Fair Access All Areas, 2nd Floor Applemarket House, 17 Union Street, Kingston-Upon-Thames KT1 1RR Advisory team Tom Hall and Paul Colston Graphic design Sean Wyatt-Livesley, Emma Hart, Oscar Spinks, Kateryna Smirnova ISBN 2019: 978-0-9576478-7-9 Please note: Except for the Foreword, and where individuals are quoted at length, the views in this paper – and the errors – are those of the author alone. He thanks everyone who is quoted; Andy Grimsey, solicitor with Poppleston Allen, for help with the legal intricacies of licensing, and Michael Kill, CEO of the NTIA, for work on how the music festival season and particular music festivals relate to UK recorded crime, both national and local. © Copyright Mash Media. All material in this publication is copyright and remains the property of the publishers. They neither necessarily agree with the views expressed by interviewees, nor accept any responsibility for any errors of interpretation in the subject matter of this publication. No part of this publication may be copied or reproduced, stored in a retrieval system, or be transmitted in any form by any means – electronic, mechanical, photocopying, recording or otherwise – without the prior permission of the publishers.
    [Show full text]
  • Beyond the Black Are Most Certainly That. You're in Doubt?
    Lost in Forever - LIVE Stratospheric? Beyond The Black are most certainly that. You’re in doubt? Let’s explain… …Only two years ago, dynamic frontwoman and world-class vocalist Jennifer Haben and her band colleagues celebrated their live debut on stage at the legendary Wacken Open Air 2014. A few months later they were supporting the legendary SAXON on their UK tour. On February 13th 2015 the band released their debut full-length album Songs of Love and Death, which hit the German top 20 album charts, and which was produced by melodic metal maestro Sascha Paeth (Avantasia, Edguy, Epica, Kamelot, Rhapsody). You’ve probably already guessed that the album was royally received throughout Europe, with Haben establishing herself as one of the leading voices in hard rock and metal music. Beyond The Black continued to conquer the road. They played their own headliner tour in spring and autumn 2015, and featured at several of Germany’s biggest rock & metal- festivals. Momentum is beautiful thing; Beyond The Black supported Queensrÿche in Holland and Within Temptation in Switzerland, and their incredible ascent culminated in them receiving the “Best Debut Album 2015” Metal Hammer Award. MANAGEMENT: BOOKING WORLDWIDE: MPS Hanseatic UG International Talent Booking Thomas Jensen & Leo Loers Olivia Sime Neuer Kamp 32 6th Floor | 9 Kingsway 20357 Hamburg London | WC2B 6XF | UK Mail: [email protected] Mail: [email protected] Enough for the year? Hardly. Because between all that stuff, they were working on their second full-length album “Lost in Forever”, which was released in February 2016 (G/A/S), entered the German charts at #4 and will soon enjoy a worldwide release.
    [Show full text]
  • Using Green Man Festival As a Case Study
    An Investigation to identify how festivals promotional techniques have developed over the years – using Green Man Festival as a case study Victoria Curran BA (hons) Events Management Cardiff Metropolitan University April 2018 i Declaration “I declare that this Dissertation has not already been accepted in substance for any degree and is not concurrently submitted in candidature for any degree. It is the result of my own independent research except where otherwise stated.” Name: Victoria Curran Signed: ii Abstract This research study was carried out in order to explore the different methods of marketing that Green Man Festival utilises, to discover how successful they are, and whether they have changed and developed throughout the years. The study intended to critically review the literature surrounding festivals and festival marketing theories, in order to provide conclusions supported by theory when evaluating the effectiveness of the promotional strategies. It aimed to discover how modern or digital marketing affected Green Man’s promotional techniques, to assess any identified promotional techniques and identify any connections with marketing theory, to investigate how they promote the festival towards their target market, and to finally provide recommendations for futuristic methods of promotion. The dissertation was presented coherently, consisting of five chapters. The first chapter was the introduction, providing a basic insight into the topics involved. The second contains a critical literature review where key themes were identified; the third chapter discussed the methodology used whilst the fourth chapter presents the results that were discovered, providing an analysis and discussion. The final chapter summarises the study, giving recommendations and identifying any limitations of the study.
    [Show full text]
  • Living Blues 2021 Festival Guide
    Compiled by Melanie Young Specific dates are provided where possible. However, some festivals had not set their 2021 dates at press time. Due to COVID-19, some dates are tentative. Please contact the festivals directly for the latest information. You can also view this list year-round at www.LivingBlues.com. Living Blues Festival Guide ALABAMA Foley BBQ & Blues Cook-Off March 13, 2021 Blues, Bikes & BBQ Festival Juneau Jazz & Classics Heritage Park TBA TBA Foley, Alabama Alabama International Dragway Juneau, Alaska 251.943.5590 2021Steele, Alabama 907.463.3378 www.foleybbqandblues.net www.bluesbikesbbqfestival.eventbrite.com jazzandclassics.org W.C. Handy Music Festival Johnny Shines Blues Festival Spenard Jazz Fest July 16-27, 2021 TBA TBA Florence, Alabama McAbee Activity Center Anchorage, Alaska 256.766.7642 Tuscaloosa, Alabama spenardjazzfest.org wchandymusicfestival.com 205.887.6859 23rd Annual Gulf Coast Ethnic & Heritage Jazz Black Belt Folk Roots Festival ARIZONA Festival TBA Chandler Jazz Festival July 30-August 1, 2021 Historic Greene County Courthouse Square Mobile, Alabama April 8-10, 2021 Eutaw, Alabama Chandler, Arizona 251.478.4027 205.372.0525 gcehjazzfest.org 480.782.2000 blackbeltfolkrootsfestival.weebly.com chandleraz.gov/special-events Spring Fling Cruise 2021 Alabama Blues Week October 3-10, 2021 Woodystock Blues Festival TBA May 8-9, 2021 Carnival Glory Cruise from New Orleans, Louisiana Tuscaloosa, Alabama to Montego Bay, Jamaica, Grand Cayman Islands, Davis Camp Park 205.752.6263 Bullhead City, Arizona and Cozumel,
    [Show full text]
  • Canal Convergence Events
    Item 23 CITY COUNCIl REPORT Meeting Date: June 27, 2017 General Plan Element: Economic Vitality General Plan Goal: Sustain Scottsdale as a tourist destination ACTION Adopt Resolution No. 10821 authorizing a FY 2017/18 Tourism Development Fund operating contingency transfer in the amount of $650,000 to the Tourism and Events Department operating budget for use in supporting the 2018 Canal Convergence events. BACKGROUND It started as an idea, a conversation, a meeting and grew into a partnership between the City of Scottsdale, Scottsdale Public Art and Salt River Project. Many others have since joined, all of whom share in the belief that Public Space conceived upon the nature of what supports us, what keeps us here, what inspires our creativity and enables our growth is the reflection of all that is important for sustaining life in this desert city. Canal Convergence is this idea. Since 2012 it has been a place of engagement, a place where international and local artists come together to celebrate a one of a kind community environment and immersive art experience for all, and a new point of pride for Scottsdale residents and businesses. As Canal Convergence began taking shape, the Tourism Strategic Plan adopted by City Council in 2013 outlined the importance of creating a destination event during the tourism industry's shoulder season (May through December). Through the Council appointed Tourism Advisory Task Force (TATF) and Request for Proposal (RFP) process, the city contracted with Webb Management Services to complete a three-phased destination event study. The goal of the study (Webb Report) was to identify events that would: 1.
    [Show full text]
  • PK 2 Hamburg Beatles History.Pdf (253.4
    MEDIA INFORMATION NO HAMBURG, NO BEATLES: THE HISTORY OF THE FAB FOUR IN HAMBURG From the evolution of the Hamburg Sound to today’s club scene On 17 August 1960, John Lennon, Paul McCartney, George Harrison, Stuart Sutcliffe and Pete Best played their first gig at the Indra Club in the legendary St Pauli district of Hamburg. Mark Lewisohn, the acclaimed Beatles author, aptly commented “No Hamburg, no Beatles”. The Beatles, some of whom were still minors in the beginning, spent two years in Hamburg, with only a few breaks in between. Here, they laid the foundations for their global career. Following their debut in 1960, the Beatles played in Hamburg more often than anywhere else in the world – with 300 concerts, five contracts with four different music clubs, and about 1,200 hours spent on Hamburg stages. John Lennon once said “I grew up in Liverpool but I came of age in Hamburg”, and this is arguably the story of the Beatles in Hamburg in a nutshell. It all began with a shock. When The Beatles got their first engagement in Hamburg on the 17th of August 1960, they where full of anticipation. The Hanseatic City was considered to be the perfect place to make good money by giging. And the Reeperbahn was the incarnation of adventure for those naive from Liverpool. Where nowadays countless cutting-edge music clubs line the neon bright streets, back in the day, the audience craved for all night entertainment – especially for exciting music, such as Rock‘n‘Roll and it‘s British exports.
    [Show full text]
  • Families Celebrate the Beginning of Springtime News
    Thursday, March 29, 2018 Volume 11, Issue 12 Published for members of the SHAPE/Chièvres, Brussels and Schinnen communities Benelux News Briefs American Festival The city of Chièvres and USAG Benelux are co-organizing the American Festival on June 16 and 17. The organizers are looking for American vendors who are interested in selling food, drinks, clothes, accessories or other products. To find out more about how to manage a booth, call the Public Affairs Office at DSN 361-5694 or +32 (0)68-275694. Motorcycle Course The next Motorcycle Safety Foundation Basic Rider Course 2 (MSF BRC II training) will be held in Schinnen on April 11 and May 3. The training is for service members only. If you want to sign-up, contact the Benelux Safety Office in Schinnen at DSN 360-7242 or +31 (0)46-4437242. Easter Observed The U.S. Army Garrison Benelux Religious Support Office is conducting services for Good Friday, Holy Saturday and Easter. Visit the USAG Benelux website at http://www.usagbenelux.eur. army.mil/org-rso.html for the full schedule. Table of Contents Families celebrate the beginning of springtime News..............................2-6 A little boy opens eggs he grabbed during the egg hunt to see what treats are inside during Child, Youth Inside the Gate.............7-10 and School Services’ Eggstravaganza event March 24 on Chièvres Air Base, Belgium. The event was an opportunity for the U.S. Army Garrison Benelux and SHAPE communities to celebrate the beginning of Outside the Gate..........11-14 springtime and Easter. (U.S. Army photo by Jessica Ryan) See Page 6 March 29, 2018 Don’t hesitate to report suspicious activity By U.S.
    [Show full text]