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strategic management 5th
Arts Management 1st Edition Carla Walter - Solutions
Realize the value of an arts constituent relationship management system? P-968
Determine your objectives. What do you want to accomplish with social media? Story telling? Conversing? Listening? Building community? Collaborating? Educating? Data collection? Buzz generation? How will you use the information from the process to refi ne the objectives or work in conjunction with
Determine your targets. Whom do you want to connect with? Employees?Donors? Patrons? Suppliers? Which target markets? P-968
Determine your resources. How will the social media tactics be managed?What people and fi nancial resources will be available? P-968
Determine which social media tools will be used for each of the targets based on their behaviors and the objectives sought. P-968
Determine a return on engagement—that is, the cost per social interaction. P-968
Make notes of your observations of this process and keep them for your future reference. LPO98
Using the framework presented in the textbook, write a marketing research report to record the fi ndings from your research. LPO98
Go to the websites listed under Research Tools at the end of this chapter, sign up for free accounts, and gather as much data from them as you can, specifi cally geared toward your question. LPO98
Explain how you will code qualitative data, and how you will transcribe and interpret transcripts. LPO98
Outline the questions and, where appropriate, the scales that are appropriate for surveys you will use in each tool identifi ed in Question 3. LPO98
Select the secondary and primary research approaches and respective tools you will use and explain why you selected them ? LPO98
Design a marketing research approach to one of the problems or questions you raised in Question 1. LPO98
Explain three market- or industry-related problems or questions that a cultural arts fi rm may face—for example, whether to delete an arts offering, add an arts offering, or modify an existing arts offering. Alternatively, questions and problems can be related to technology and capital
Explain the differences between independent and dependent variables. Give two examples of these kinds of variables (outside of price and revenue) that would be applicable to an arts organization in an experimental design. LPO98
How do interpretive themes arise in qualitative research? LPO98
What kind of data is observational data? Where does it come from and how is it used? What are the advantages and disadvantages of using this kind of data? LPO98
Give three examples of secondary data that can be accessed without cost. What are the limitations of using such data? Is it possible to conduct a marketing research project using only secondary data? How? LPO98
What is a probability sample? When is it used? How is it designed? LPO98
Describe the differences between the theoretical approaches to marketing research. LPO98
Compare and contrast depth interviews, focus groups, conversations, observation, ethnography, and case study. LPO98
Are there gaps in the expected and perceived quality of our arts offerings? LPO98
Should we offer new cultural arts experience products? LPO98
Are we charging the correct prices for tickets? LPO98
To what extent do normative beliefs impact the arts consumer’s intent to purchase tickets to performances? LPO98
Relative to others, what is our standing on the cultural arts consumer’s perceptual map? Do we need to reposition our arts offerings and, if so, by what strategy? LPO98
In what ways can we structure our fund-raising efforts for maximum return? LPO98
Write and present a marketing research report. LPO98
Know the difference between probability and nonprobability sampling. LPO98
Utilize different survey scales. LPO98
Be conversant in the types of survey instruments available. LPO98
Conduct focus groups and in-depth interviews, and formulate case and observation studies. LPO98
Comprehend the types of errors found in marketing research. LPO98
Know where to begin looking for secondary marketing research data. LPO98
Have confi dence explaining the differences between primary and secondary research methods, and know when they are needed. LPO98
Describe the marketing research process. LPO98
Understand three different approaches to marketing research—exploratory, descriptive, and causal. LPO98
Realize the importance of marketing research for solving problems and answering questions relative to the arts organization’s objectives. LPO98
Understand the defi nition of marketing research. LPO98
Design (1) a central route and (2) a peripheral route attitude change strategy for an arts consumer in the tangible arts market who has no knowledge of the cultural fine arts but exhibits the sociocultural experiences, motivation, ability, and opportunity to participate. How are the two strategies
Does the hierarchy of effects differ from the stages of the arts adoption process?Compare and contrast them. LPO98
Using the work completed in Question 1, explain the stages in the arts adoption process. Does this model apply to the tangible arts? Why? LPO98
Explain the attitude change strategies. Using each of the strategies, sketch out a plan to change the attitudes of consumers who have no exposure to the intangible fine arts.Is it possible to use attitude change strategies for tangible fine arts markets? Why? LPO98
Is the theory of reasoned action and planned behavior different from the multiattribute model of attitudes? Explain. LPO98
What is the multi-attribute model of attitudes? How does it work and why is it used? What are its strengths and weaknesses? LPO98
Design a segmentation matrix using different segmentation variables for three different intangible and three different tangible primary and secondary cultural arts offerings. Include the appropriate segmentation variables for each offering and defend your choices. LPO98
Explain the differences between market segments and target markets. LPO98
Establish a basis for understanding arts consumer satisfaction. LPO98
Articulate and apply the purchase process in arts products and services. LPO98
Utilize the arts adoption process. LPO98
Grasp the relationship between the consumptive hierarchy of effects, the diffusion of innovations model, and the adaptations models relative to the arts consumer. LPO98
Identify the difference between high and low involvement and the impact of motivation on the arts consumptive decision process. LPO98
Explain important complexities related to consumer behavior influences. LPO98
Identify segmentation strategies for arts markets. LPO98
Define markets, market segments, and target markets. LPO98
Develop a perceptual map for the symphonies in the international market, as well as a perceptual map for art galleries in your city. Use the price and quality relationship to establish the axes to position each of the fi rms. Suppose you enter the industry of international symphonies within the
Sketch out a business plan for an institute of fi ne arts. Part of the fi rm will be for profi t and another part will be set up in a nonprofi t structure. Make sure you fi rst do an opportunity assessment. Then, set up the business plan and marketing strategy, the goals and objectives, and the
Explain the relationship between the arts product service life cycle, the diffusion of innovations, and the BCG Matrix. What information is available to the culturepreneur or arts manager using these tools to evaluate the market relative to the arts organization’s offerings? LPO98
Is positioning the most important aspect of marketing? Why? LPO98
Explain the elements of a business plan. How is the business plan different from the opportunity assessment? LPO98
What is an opportunity? How does one go about assessing an opportunity? LPO98
Explain succinctly the difference between culturepreneurs and entrepreneurs.Defi ne the culturpreneurial creative process. How is that related to the cultural creative process? LPO98
Have the tools needed to begin developing a business plan. LPO98
Establish a process of evaluating whether you have achieved your goals in deciding to pursue an opportunity. LPO98
Recognize the product or service life cycle and the need to manage it. LPO98
Differentiate between the business strategy of a pioneer or a follower into a market. LPO98
Follow a systematic set of steps to generate a position in the market. LPO98
Generate attributes that facilitate perceptual maps. LPO98
Comprehend positioning. LPO98
Have an overview of a business plan to enable you to develop one for the arts. LPO98
Easily articulate how to defi ne an opportunity and whether to pursue it. LPO98
Know the relationship between the creative process of the artist and that of the culturepreneur. LPO98
Explore ways to increase idea generation. LPO98
Understand the culturepreneurial creative process. LPO98
Recognize the process for determining price elasticity of demand? LPO98
Have a working conception of pricing and elasticity relative to tangible and intangible fi ne arts service products. LPO98
Understand the concepts of services relative to the tangible and intangible fi ne arts. LPO98
Explain the demand and supply equations underlying the tangible and intangible fi ne arts. LPO98
Understand the economics of cultural creativity that underlies the supply of arts goods, ideas, and services. LPO98
Be able to differentiate between demand and supply of the tangible and intangible fi ne arts. LPO98
Understand the overall approach to supply and demand in the fi ne tangible and intangible arts. LPO98
Examine three websites of art auction houses. Evaluate upcoming auctions and gather information about the work, identifying the reserve prices for each. Then, participate in an online arts auction or, if the auction is near your location, participate in person. What are your observations? Can you
Explore three different providers of yield management software for the intangible fi ne arts. Compare and contrast them. Would you employ one or more of them?Why? LPO98
Go to the websites of two major intangible fi ne arts organizations and download their annual reports. What are the fi xed costs? Variable costs? Identify earned and unearned revenues. LPO98
What are the fi xed costs of your organization and the variable costs of offering an intangible fi ne arts service product? Calculate the break-event point. LPO98
Outline the purchase decision process for the tangible and intangible arts consumer. How does information availability impact this process in the tangible and intangible arts marketplaces? LPO98
How would you price a painting by an emerging tangible fi ne arts professional in the primary market? Does pricing differ in that case from that for an established individual in the primary tangible arts market? Make an accounting of the costs that would constitute the reserve price for each,
What is price elasticity of demand? Why is it important for the intangible arts?Does this concept apply to the tangible fi ne arts? Explain. LPO98
Explain the differences in demand for the fi ne tangible and intangible arts. LPO98
Consider the arts as a service product. What are the aspects of quality that are important to this rendering of the fi ne arts? LPO98
Understand the economics of cultural creativity that underlies the supply of arts goods, ideas, and services. LOP85
Consider the arts as a service product. What are the aspects of quality that are important to this rendering of the fi ne arts? LOP85
Recognize the process for determining price elasticity of demand. LOP85
Have a working conception of pricing and elasticity relative to tangible and intangible fi ne arts service products. LOP85
Understand the concepts of services relative to the tangible and intangible fi ne arts. LOP85
Come to understand the idea of the arts consumptive experience that arts managers attempt to create for their consumers. LOP85
Consider the differences between needs and wants. Make some notes about what they are, and how they are situated within categorical locations hierarchically, functionally, or systemically. Should the arts manager or culturepreneur care about distinguishing between needs and wants? Why? LOP85
Consider each of the following events: an evening at the opera in Sydney, Australia;a Sotheby’s arts auction in Paris; participation at a local arts festival; and attendance at a matinee of The Nutcracker performed by the Bolshoi Ballet on tour in New York. Describe the going-out ritual that
Using the three theories of needs covered in Question 1, explain what needs are fulfi lled by attending and participating in the arts offerings in Question 2. Please clarify which theory of needs your answers apply to. LOP85
Discuss meaning transfer and self-identity construction through cultural arts consumption. How does this work? LOP85
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