Strategic Brand Management Building Measuring And Managing Brand Equity 5th Edition Kevin Lane Keller , Vanitha Swaminathan - Solutions

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Explain the difference between the spiritual and the religious. Why does arts consumption focus on this area? LOP85
In setting up an arts consumptive experience, what is required based on the view that arts consumers seek transcendence? Do you agree or disagree with the idea that the role of the arts manager or culturepreneur is to provide such experiences?Why? LOP85
Understand the overall approach to supply and demand in the fi ne tangible and intangible arts. LOP85
Be able to differentiate between demand and supply of the tangible and intangible fi ne arts. LOP85
Explain the demand and supply equations underlying the tangible and intangible fi ne arts. LOP85
Explain the differences in demand for the fi ne tangible and intangible arts. LOP85
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. LOP85
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,
Refer to the following links and discuss architecture as art—or not.• Borson, Bob. “What is art?” Life of an Architect , August 17, 2010. www.lifeofanarchitect.com/what-is-art/.• Rackard, Nicky. “Video: Vito Acconci: Is architecture art?” ArchDaily , March 22, 2013.
Have students work with developing and differentiating aesthetic attitudes and experiences. LOP85
Actively distinguish developing/making art for pay and developing/making art for play; start with determining/locating Kantian defi nitions that separate fi ne versus craft art. Push yourself to fi nd the difference and to identify the spiritual/moral in the distinction between play and pay. LOP85
Interview fi ve artists, fi ve gallery owners, and if possible several performing arts managers at a local performing arts venue. Ask them their impressions of value creating in the arts. What common themes emerge? How are the responses different? LOP85
Make note of outside art placements such as train stations, buses, business offi ces, and parks. Explain their aesthetic value. Distinguish between fi ne and contemporary arts. LOP85
Discuss at least three types of aesthetic value created within each of the preceding three exercises. LOP85
Attend a festival of fi ne arts and of performing arts at a community event, and compare these with the online and housed-in-a-building events. What are your observations? LOP85
Attend classical performing art performances live, and watch a prerecorded one.Compare and contrast them. LOP85
Attend one major and one minor museum and gallery of fi ne art and contemporary art; take virtual tours of these online. Compare and contrast. LOP85
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? LOP85
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. LOP85
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. LOP85
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? LOP85
In light of the cost disease, follow the link below. After watching and refl ecting on the premises of the cost disease, what are your thoughts on this Ted Talk?• Cameron, Ben. “The true power of the performing arts (video).” TED, February 2010. www.ted.com/talks/ben_cameron_tedxyyc. LOP85
Be conversant in the ways that arts goods, ideas, and services when consumed refl ect the self. LOP85
Comprehend the broad notion of different types of nonfi nancial value relative to the arts. LOP7
Defi ne and contextualize aesthetics as a cultural phenomenon. LOP7
Understand the ways culture and meaning are shaped. LOP7
Grasp the scope of the classical fi ne (tangible and intangible) arts to be covered in this text. LOP7
Understand contemporary visual art. LOP7
Have a working knowledge of festivals. LOP7
Recognize the iterative nature of the different platforms on which the fi ne and performing arts manifest themselves (i.e., in contemporary, popular culture, and electronic arts). LOP7
Utilize the understanding of studies in culture in framing entrepreneurial approaches to arts and cultural management and production. LOP7
What are your thoughts? Would you have bid for the violin? Why? Are there ethical considerations that need to be evaluated here? LOP7
Explain aesthetics. Develop a working defi nition of aesthetics. LOP7
Find examples of fi ne art that you would characterize as fi tting into your defi nition, and explain why. LOP7
What is the genesis of the idea of the artist? Have we always held the artist in mind as we do today? Explain. LOP7
Compare and contrast your particular art form or practice (or your favorite one if you are not a practicing culturepreneur) against three others. How are they different? Similar? Where can you fi nd a location to integrate your work with at least two other fi ne arts? LOP7
Defi ne the cost disease. Assuming you are an arts manager or culturepreneur for a classical performing arts company (not a festival), list three ways you will actively seek to provide full-length performances and at the same time not fall victim to the cost disease. LOP7
Defi ne creative and cultural arts industry; cultural arts management; cultural clusters; and the culturepreneur. p-687
Understand the current scope of the cultural industries. p-687
Give an overview of “for-profi t/not-for-profi t” organizational structures. p-687
See how consumption of arts can be viewed as fulfi lling spiritual aspects of humanity. LOP85
Know three different approaches to understanding consumer wants within an anthropological context. LOP85
Be conversant about contemporary rituals and their relation to consumption, and understand the arts as a ritual practice. LOP85
Relate consumption anthropologically to the arts. LOP85
Understand consumption broadly in an anthropological framework. LOP85
Is Apple Inc. a creative or cultural fi rm? Explain. p-687
What are the three critical ways to distinguish a cultural good or service from a creative one? Please list three distinct fi rms that produce cultural goods, and three distinct fi rms that produce creative ones (six fi rms total). Can you point to a fi rm that produces both? p-687
Is it necessary to cultivate consumer demand for the cultural arts? Why? What are your viewpoints on this? p-687
Explain the economic context in which today’s cultural enterprise resides. How does this contrast with an art-for-art’s-sake positionality? Is there ever a time when an art should be produced without regard for demand? Supply several examples that support your response while refuting the belief
Explain, in detail, the differences between the cultural and creative industries. Do you think there is a need to distinguish between them in organizing and running the arts organization? Why or why not? Support your answer with examples. p-687
Comprehend why understanding consumers and managing the demand for the arts is important. p-687
Explain generally how public policy considerations are related to historical cultural arts economic contexts. p-687
Situate demand for the arts historically. p-687
Recognize the economic context for managing the arts. p-687
What is culture? How do people fi nd meaning in works of art? How can you differentiate between culture and meaning? List three reasons why you will need to understand these concepts as an arts manager. LOP7
Recognize the multidimensionality of brand equity and the importance of multiple methods to measure it.
Contrast different comparative methods to assess brand equity.
Explain the basic logic of how conjoint analysis works.
Review different holistic methods for valuing brand equity.
Describe the relationship between branding and finance.
Can you identify any other advantages or disadvantages of the comparative methods?
Pick a brand and conduct an analysis similar to that done with the Planters brand. What do you learn about its extendibility as a result?
Go to Interbrand’s Web site (www.interbrand.com). Compare the top 10 brands from the current year to the list from the previous year. What brands entered the top 10, and which ones left the top 10? What contributed to these shifts in brand value? Which brands showed the most increases or
Select a brand from Interbrand’s top 100 brand names (one which you know is publicly traded on a stock exchange). Go to a finance Web site (e.g., Google Finance or Yahoo Finance) and locate its market capitalization. Determine how much of the brand’s value is as a percentage of its market
Identify some of the new perspectives and developments in marketing.
Describe how marketers enhance product experience.
Explain the rationale for value pricing.
List some of the direct and indirect channel options.
Summarize the reasons for the growth in private labels.
Have you had any experience with a brand that has done a great job in relationship marketing, permission marketing, experiential marketing, or one-to-one marketing? What did the brand do? Why was it effective? Could others learn from that?
Think about the products you own. Assess their product design. Critique their aftermarketing efforts. Are you aware of all the products’ capabilities? Identify a product whose benefits you may not be fully capitalizing on. What improvements would you suggest?
Visit a department store and evaluate the in-store marketing effort. Which categories or brands seem to be receiving the biggest in-store push? What unique in-store merchandising efforts do you see?
Take a trip to a supermarket and observe the extent of private-label brands. In which categories do you believe private labels might be successful? Why?
Describe changes in marketing and consumer behavior in a digital era.
Define brand engagement and understand the brand engagement pyramid and key drivers of brand engagement.
Understand digital communications and the various options available.
Understand the role of e-mail marketing and Web site optimization as important components of digital marketing strategy.
Evaluate the pros and cons of various social media channels (e.g., Facebook and Twitter) as digital marketing tools.
Understand ongoing developments within mobile marketing.
Develop a broad understanding of influencer marketing approaches and how word-of-mouth and social influence occurs and can be managed.
Describe content marketing and its role in creating brand awareness and engagement.
Describe changes in brand management organizational structure.
Select a brand. Conduct an online audit to see how many different channels the brand has a presence in. What are the pros and cons of each of these social media channels for strengthening brand engagement for the brand?
This question tests your familiarity with three key concepts that were discussed in the context of search and display advertising: click-through rates (CTR), cost-per-click (CPC), and cost-per-thousand (CPM).• Assume a company launched a search advertising campaign that generated 10,000
Highlight some of the issues associated with brand marketers losing control over brand meaning.Are there any benefits to firms intervening to control the conversations taking place in social media? Why or why not?
How can brands develop systems to ensure that dynamic information coming in from social media is acted upon quickly? What would this imply for the brand management function?
Provide a summary of pros and cons associated with the following: (1) mobile advertising and (2) content marketing. What are some brands that appear to utilize these channels in an effective manner?
The growth of digital marketing and social media has ushered in a new era with many distinct trends. These trends portend changes that need to be made in how marketers organize their efforts and deliver value to their customers. The wide variety of communication options and the availability of data
Understand the role of a regional marketing strategy with a focus on marketing based on geodemographics, ethnicity, and age.
Understand the rationale for developing a global brand.
Outline the main advantages and disadvantages of developing a global marketing program.
Define a global brand and describe the strategic steps in developing a global brand positioning.
Describe how to tailor different marketing mix elements to global markets.
Describe some of the unique characteristics of brand building in emerging growth markets such as China.
Pick a product category. How are different leading brands targeting different geodemographic market segments? How are brands targeting different ethnic groups with their advertising?
Pick a brand marketed in more than one country. Assess the extent to which the brand is marketed on a standardized versus customized basis. (Note: An excellent resource to identify global brands is the annual global brand survey from Interbrand, accessed via www.interbrand.com).
Pick a product category. Consider the strategies of market leaders in different countries. How are they the same, and how are they different?
Identify how consumers’ usage of social media and digital marketing channels varies across markets. How can a brand manager utilize this information to improve their brand presence in different global markets?
Identify the different types of brand elements.

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Strategic Brand Management Building Measuring And Managing Brand Equity 5th Edition Kevin Lane Keller , Vanitha Swaminathan - Solutions

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