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- Creators: Department of Finance
Description
Private labels command a growing share of food retailers' shelf space. In this dissertation, I explain this phenomenon as resulting from "umbrella branding," or the ability of a single brand to reach across categories. Conceptually, I define umbrella branding as a behavioral attribute that describes a shopper's tendency to ascribe a performance bond to a brand, or to associate certain performance characteristics to a private label brand, across multiple categories. In the second chapter, I describe the performance bond theory in detail, and then test this theory using scanner data in the chapter that follows. Because secondary data has limitations for testing behavioral theories, however, I test the performance bond theory of umbrella branding using a laboratory experiment in the fourth chapter. In this chapter, I find that households tend to transfer their perception of private label performance across categories, or that a manifestation of umbrella branding behavior can indeed explain private labels' success. In the fifth chapter, I extend this theory to compare umbrella branding in international markets, and find that performance transference takes its roots in consumers' cultural backgrounds. Taken together, my results suggest that umbrella branding is an important behavioral mechanism, and one that can be further exploited by retailers across any consumer good category with strong credence attributes.
ContributorsTheron, Sophie (Author) / Richards, Timothy J. (Thesis advisor) / Grebitus, Carola (Committee member) / Hughner, Renee (Committee member) / Arizona State University (Publisher)
Created2014
Description
In this paper I seek to understand how consumers value music today by investigating what consumers are willing to pay for digitally downloaded songs (such as the ones available on the iTunes or Amazon music stores) and the variety of factors that influence their willingness to pay. I conducted a survey and received over 500 responses regarding willingness to pay for single-song downloads, consumer sentiment on whether music should be free, streaming service use, and other information pertaining to music consumption behavior. Through this research I found that paid-streamers are willing to pay more for songs than those who do not pay to stream, all else being equal. Further, Free-streamers are not willing to pay significantly more or less than non-streamers. This finding is additional information to other research that suggests streaming acts as a substitute for sales. I also found that most consumers are in the middle when it comes to the debate for whether music should always be free or always be purchased. Where someone aligns on the spectrum is a statistically significant contributing factor to what that person is willing to pay for a song. My findings also suggest that consumer preferences distinguish between benefit derived from music ownership and benefit derived from the ability to listen to music. This information sheds more light on the reason behind the declining digital download market.
ContributorsRodriguez, Stefan Daniel (Author) / Mandel, Naomi (Thesis director) / Veramendi, Gregory (Committee member) / Department of Economics (Contributor) / Department of Finance (Contributor) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Personal branding within the music industry has long fallen under the supervision of profit-centric major record labels, whose control extended throughout artist’s music, copyrights, merchandising, and fair-use compensation. This paper explores how artists’ branding has evolved within the recording industry alongside the development of emerging technologies and the discovery of certain patterns in consumer behavior. Starting with an overarching exploration of the origins of commercialized music, this paper iterates how certain record labels ascended the corporate hierarchy to influence consumers’ accessible listening options. This understanding leads to an analysis of the inception of illegal file-sharing websites as an outlet for music distribution, as well as its long-lasting effects on industry distribution tactics and music streaming platforms. This paper then narrows to the origins of the rap industry, delving into the traditionally-rooted experiential celebrations that birthed such an impactful genre. Following an understanding of the history of the recording and rap industries, this paper identifies the modern music listener’s behaviors and choices, supplemented by an examination of how consumer social technologies have motivated these changes. To best understand the role of these evolving perceptions, this paper evaluates four successful rap artists - Chance the Rapper, Tekashi 6ix9ine, Lil Nas X, and Travis Scott - and determines the strategies employed by these individuals and their branding teams. Finally, in determining these strategies, this paper outlines the essential takeaways from this research that would aid in the advancement of an artist’s personal branding today.
ContributorsBoyle, Jared Devin (Co-author) / Schneider, Garrett (Co-author) / Giles, Charles (Thesis director) / Lisjak, Monika (Committee member) / School of Music (Contributor) / Department of Marketing (Contributor) / Department of Finance (Contributor) / Barrett, The Honors College (Contributor)
Created2019-12