My Brand Is Bigger Than Yours

;
2012
My Brand Is Bigger Than Yours:
The perceived value of music synchronisation licenses for brand advertisements
Tom Brooker
A Dissertation submitted in part fulfilment of the requirements for award of the degree of BA (Hons) Music Management of Buckinghamshire New University
5/2/2012
Acknowledgements
Special thanks must be given to David Bass, Ben Bleet and Lawrence McKay. Without their patience and generosity this study would have not have been possible.
Further thanks must be given to my parents and family who without their support and guidance would have made the past three years of my studies near impossible.
Finally, thanks must be given to my supervisor Russel Stone, whose enthusiasm and guidance helped me through this study.
Abstract
By determining the underlying constructs which formulate the perception on the value of a music synchronisation license for brand advertisements, an interpretation of what music is valuable as a consequence to its suitability to achieve a brands specific goals and objectives is found. This study analysed the underlying factors in the formation of perceived value within music synchronisation licenses for brand advertisements to conclude a logical framework to depict the compatibility and therefore the value of a music track to be used within a brand advertisement. A qualitative and analytical research method including elite interviews was taken to give a descriptive insight into Rokeachs (1973) and Peter and Olsons (1993) key studies on the abstract attributes, psychological consequences, functional consequences and end-term states of the means-end chain model and McCrackens (2005) key study on meaning transfer theory, which combined form the basis of this studies hypothesised framework. The results found subsequently gave an unprecedented insight into how a music synchronisation license is valued and added a new piece of knowledge to the body of work on music synchronisation licensing.
Table of contents
Introduction.................................................................................Page 1 Literature Review........................................................................ Page 6 Introduction.......................................................................................... Page 6 Means-End Chain Model...................................................................... Page 8 Perceived Value.................................................................................. Page 13 Measuring Perceived Value................................................................ Page 17 Trade-Off of Perceived Value............................................................. Page 20 The Acceptable Price Range............................................................... Page 24 Meaning Transfer Theory................................................................... Page 26 The Match-Up Hypothesis................................................................. Page 30 Methodology............................................................................................Page 34 Materials................................................................................................... Page 36 Participants/Sampling............................................................................... Page 37 Step-by-step Methods............................................................................... Page 38 Data analysis/Coding................................................................................. Page 40 Results........................................................................................................ Page 41 Discussion....................................................................................................Page 132 Introduction................................................................................................. Page 132 Abstract Attributes....................................................................................... Page 133 Degree of Fit................................................................................................. Page 135 Psychological Consequences.........................................................................Page 137 Functional Consequences.............................................................................Page 141 End-Term States...........................................................................................Page 143 Conclusion.........................................................................................................Page 148 Bibliography.......................................................................................................Page 152 Appendices......................................................................................................... Page 162
Introduction
The aim of this study is to determine whether there is a logical process behind the construction of perceived value within music synchronisation licenses for brand advertisements. As Godin (2009) noted a brand is the set of expectations, memories, stories and relationships that, taken together, account for a consumers decision to choose one product or service over another. (Godin, 2009, [online]) Therefore, brand advertising is about building a connection with the consumer by advertising with an emphasis on the company brand; the logo or company name. It is possible to conduct brand advertising over several different media types, but in the context of this study it will be examined under the mediums of television adverts and online campaigns as they are commonly subject to music synchronisation licenses. Therefore, hence forth, any reference to a music synchronisation license will be in the context of it being for a brand advertisement.
Music synchronisation is the process concerned with connecting the right piece of music with the right moving image, be that a television show, advertisement, film or video game. Considering this it becomes clear that synchronisation is deeply tied with both the copyright in the sound recording and the musical work, as Howard (2007) noted You cant simply grab any piece of music you want and throw it in a film.
There are a host of copyright issues surrounding synchronizations that, in large part, define the role of the music supervisor. (Howard, 2007, [Online])
1|P ag e
The music supervisor takes a disposition in two areas, they may work with the licensee or agency in finding the right piece of music for the purpose, but their main function is to mediate between the copyright holders and licensee in order to clear the synchronisation license. As Howard (2007) noted In order for a piece of music to be used in a film, the music supervisor must get approval from, typically, two parties. (Howard, 2007, [Online])
Permission must be given from both the owner of the copyright in the musical work; typically the publisher and the owner of the copyright in the sound recording; traditionally the record company. When permission is granted for the use of their copyright it forms a synchronisation license, which as Howard (2007) notes gives the music supervisor the right to synchronize your music with the directors moving images. (Howard, 2007, [Online])
As Howard (2007) discussed There is no set fee for this, its completely negotiable (Howard, 2007, [Online]) a point that was further expanded by Taylor (2004) when he noted that Fees vary widely from $0 to hundreds of thousands of dollars. (Taylor, 2004, P.62) The unpredictability of synchronisation fees is a theme that runs deep through the history of synchronisation, from its outset to the present day there seems to be little information on how to quantify the value of music in synchronisation.
2|P ag e
Synchronisation first started to come into fruition in the mid sixties when the creators of the successful television show The Monkees, Bob Rafelson and Bern Schnieder, produced the film Easy Rider. This was not the first use of popular music in alliance with visual images, the film The Graduate which predated Easy Rider by a year used compositions by Simon & Garfunkel in its making, but as Howard (2007) noted Easy Rider did it in such an emphatic way that it opened the floodgates (Howard, 2007, [Online]) it was in part responsible as Howard (2007) noted for the inspiration of influential directors and the birth of the music supervisor.
The progression of synchronisation took another step in its evolution during the 1980s when pop songs began to be used in advertisements. Before this, as Gordon (2010) noted music in television advertisements was generally limited to jingles and incidental music. (Gordon, 2010, [Online]) It was Burger Kings use of Aretha Franklins song Freeway of Love in their 1985 commercial and Nikes inclusion of The Beatles song Revolution in their 1987 advertisement which led to the practise becoming common place.
By the mid nineties the practise of synchronisation was in full flow, the inclusion of music in film and television to enhance visual elements was commonplace, as Gordon (2010) noted In 1995, audiences around the country were used to hearing some of their favorite songs in television ads (Gordon, 2010, [Online]) But despite the fact synchronisation was now a regular practise within the production of television shows, advertisements and films, there was still no consistency in the amount paid for a synchronisation license.
3|P ag e
The irregularity of prices paid for a synchronisation license is a point highlighted by Gordon (2010) when he described that despite the commonality of synchronisation by the mid nineties it still made news when Microsoft paid the Rolling Stones a rumored $9 million for the use of Start Me Up in their Windows 95 campaign. (Gordon, 2010, [Online]) This particular case emphasises the unpredictability of synchronisation fees when taking into consideration a contrasting fee paid by a similar company, Apple. As Moran and Lemonnier (2008) noted; because Apple has such leverage in breaking artists, the company paid a total of $80,000 for master and sync rights for Feist's "1234" and another $80,000 for Ms. Nairn's song. And those fees are for global rights. (Moran and Lemonnier, 2008, p.24)
This is a theme that runs true through most incidents of synchronisation fees, as Sanghera (2002) noted licensees are willing to pay phenomenal sums for a synchronisation license in one instance and in another only half or even less in another, creating a seemingly unpredictable revenue stream; Bon Jovi raked in a reported GBP500,000 for the use of "It's My Life" in a Corsa ad, BT is thought to have paid GBP1m to use Elvis's "You Are Always On My Mind" (Sanghera, 2002, p.1)
4|P ag e
Taking these aspects into consideration it becomes apparent that for this study the notion of perceived value, specifically the means-end chain model hypothesis, must first be explored, as the study aims to determine the constructs of perceived value within music synchronisation licensing for brand advertisements. Furthermore the hypothesis of the acceptable price range must also be analysed as the study involves determining what brands determine acceptable to pay for a synchronisation. Finally a review on the literature upon meaning transfer, source models and match up hypothesis is crucial, as brand advertising heavily focuses on building relationships with consumers, insinuating that the choice of artists track may be dependent on the brands target markets relation to the artist.
5|P ag e
Literature Review
Introduction
Perceived value is a topic which has been discussed by many theorists, who have conjointly contributed to form a familiar consciousness on the formulation, measurement and features of perceived value through individual hypotheses with underlying commonalities. It is important to decipher and understand the literature upon the notion of perceived value to comprehend whether the underlying concepts and themes relate to the process of how brands evaluate the worth and price they are willing to pay for a synchronisation license. Although there are some disjointed perceptions within the literature in specific areas, the underlying concept within the means-end model that attributes, consequences and end term goals help to construct perceived value resonates strongly through the majority of the literature. This common theme is of specific importance to the question at hand, as it indicates that the value within music in the context of synchronisation may emerge from the value the artist holds from the attributes they possess.
6|P ag e
For this reason, it is also important to comprehend any literature written on the topic of meaning transfer theory. As it is possible that the determination of perceived value within the context of a synchronisation license may be a direct subsequence of the value and attributes an artist holds and transcends through their music to the brands product through association, in order to achieve the licensees desired consequences and end term goals. Early literature on transferred value such as the source model thesis have a distinct weakness in their theoretical framework, as they focus too narrowly on contributing factors which need to be considered in the value transference process.
This was a point raised by McCracken (1989) who expanded upon the source models concepts and founded the meaning transfer theory, which subsequently spawned the match up hypothesis. The literature written on these two subjects is relevant to the question at hand as its expanded factor considerations allow for a more in depth analysis of how various value factors embedded within an artist may contribute to the perceived value of the music pertained within a synchronisation license.
In order to distinguish and demonstrate the commonalities within the literature it is first fundamental to examine the key Means-end chain model and the attribute, consequence and end state writings which have provided the underpinning model to collate the commonalities and review the literature and its importance to the question at hand.
7|P ag e
Means-End Chain Model
Lee and Lin (2011) depicted the purpose of the means- end chain model when they noted that In MEC theory, product attributes are a means through which consumers obtain valued ends. (Lee and Lin, 2011, p.2) As Gutman and Reynolds (1984) emphasised, consumers have an intuition to choose a product which could give rise to a desired consequence to achieve valued ends. Therefore the means-end chain model can be seen as a simple knowledge structure that links product attributes to the Consequences produced by these attributes, and, in turn, links these consequences with the values or end goals to which they lead (Gutman, 1982 and Olson and Reynolds, 1983 cited in Jantrania, 2002, p.30). As Gutman and Reynolds (1987) further explained a means-end chain seeks to explain how a customers selection of a product enables him/her to achieve desired end states. (Gutman and Reynolds, 1987 cited in Jantrania, 2002, p.30)
8|P ag e
Attributes
The means-end model and its relationship with value can be traced back to Rokeachs (1973) Interpretation of value which emphasised the notion of attributes (See Appendices A). This term was defined comprehensively by Jantrania (2002) who concluded that In traditional means-end analysis product attributes are classified as concrete attributes and abstract attributes. (Jantrania, 2002, p.84) Concrete attributes were defined by Peter and Olson (1993) as tangible, physical characteristics of a product (Peter and Olson, 1993 cited in Jantrania, 2002, p.84) and abstract attributes as intangible, subjective characteristics of a product. (Peter and Olson, 1993 cited in Jantrania, 2002, p.84) This was comparatively emphasised by Lee and Lin (2011) At the attributes level, relatively tangible product characteristics are concrete attributes and product quality is an abstract attribute (Lee and Lin, 2011, p.3)
Zeithaml (1988) gave a further insight into the classification of attributes, detailing that there were intrinsic, extrinsic, objective and perceived attributes. These insights were of specific importance to the question at hand, as the commonalities within the literature depicted that the intangible intrinsic and extrinsic values often associated with music could be interpreted within the means-end model to help analyse their impact on determining perceived value in the context of a synchronisation.
9|P ag e
Consequences
Peter & Olson (1993) stated that the meaning of an attribute is given by the consequences consumers perceive that it leads to (Peter and Olson, 1993 cited in Jantrania, 2002, p.84) this was a point similarly depicted by Bhattacharya and Singh (2008) when they precluded that fulfilment of attribute level promises by services providers shifted the evaluation criteria towards higher level categories consequences and end state. (Bhattacharya and Singh, 2008, p.67) Similarly Jantrania (2002) noted that;
Customers consider certain attributes important because of the consequences they provide. The classification of consequences used traditionally is functional consequences and psychological consequences. (Jantrania, 2002, p.84)
As Peter and Olson (1993) noted Functional consequences include the physical, tangible, performance outcomes of using a product (Peter & Olson, 1993 cited in Jantrania, 2002, p.84) and the Psychological consequences comprise both social and psychological consequences that customers associate with certain attributes. (Jantrania, 2002, p.84.) This was a point similarly emphasised by Lee and Lin (2011) when they noted that Consequences can be the functional consequences of product use, psychological consequences, or the attracting of attention. (Lee and Lin, 2011, P.3)
10 | P a g e
This literature has implicit relevance to the topic at hand. As aforementioned, the perceived value of music could be categorised within the definitions of attributes, and subsequently, as Jantrania (2002) noted the customers (Brands) may associate certain social and psychological consequences with the attributes associated with an artist and their music. This was a concept highlighted by Bhattacharya and Singh (2008) when they concluded that The attribute level elements too are linked to the consequence level in that they should be aligned to them. Also previous literature such as Flint et al (1997, 2002) supports such nomenclature. (Bhattacharya and Singh, 2008, p.68) These findings give structure to the thought that a desired consequence could contribute to the process of determining the perceived value of the synchronisation license.
11 | P a g e
End state
Based on the literature by Rokeach (1973) end states can be categorised as instrumental values, which are the desirable modes of conduct and terminal values, which are the desirable end-states of existence (Olson, 1988 cited in Jantrania, 2002, p.84) Bhattacharya and Singh (2008) highlighted the role of end states and their importance to the continuity of the means-end model;
As customers spend more time being the service users, they start seeking the endstate benefits. The challenge and the level of competition is then in providing consequence level benefits and attribute level benefits which would maximize the end-state variables for the customer. (Bhattacharya and Singh, 2008, p.67)
This quote highlights the mean-ends models reliance upon the combination and continuity of the attribute, consequence and end state aspects. This literature has relevance to the question at hand, as it raises the question of whether a brands perception on the value of a piece of music is a direct derivative of the artist and their musics aforementioned attributes and consequence levels ability to reach an end state for the Brand. Woodruffs (1997) interpretation of the model would support this possibility, as he believed that value is a customers perceived preference for and evaluation of those product attributes, attribute performances, and consequences arising from use that facilitate (or block) achieving the customers goals and purposes in use situations. (Woodruff, 1997 cited in Jantrania, 2002, p.28) Smarts (1981) and Jantranias (2002) writings give a further comparative outlook on this notion, suggesting it could be a prominent possibility in how perceived value is determined.
12 | P a g e
Perceived Value
With a grasp gained upon perceived values relation to the means-end chain model through this literature, it is possible to collate the commonalities within other literature on perceived value within the framework of the means-end chain model. Parasuraman and Grewal (2000) conceptualised perceived value as a construct consisting of four value types: acquisition value, transaction value, in use value and redemption value. They define acquisition value as the benefits received for the monetary price given; this definition could be interpreted to concur to the attribute section of the means-end chain model, as it refers to the first measurement of benefits within the product; the attributes it obtains.
Furthermore the transaction value is described as the pleasure the consumer receives for getting a good deal and the in-use value as the utility derived from utilisation of the product or service. This could comply with the consequence section of the model, as the pleasure could be seen as a psychological consequence that Jantrania (2002) relates to, and the utility could relate to the functional consequence of using the product as Peter and Olson (1993) describe arises from the successful choice of attributes. Finally the redemption value is defined as the residual benefit received at the time of trade-in or end of life. This definition could fit within the confines of the end state section of the model, as much like Olson (1988) noted this could be seen as the customers desired benefit at the end or expiration of the product or service.
13 | P a g e
Furthermore Mills (1848) conception of perceived value could also be deemed to portray aspects of the means-end chain model. Mill (1848) believed that the value of an object is in its use and in its capacity to satisfy a desire or to serve a purpose (Mill, 1848 cited in Jantrania, 2002, p.13) his reference towards the notion of satisfying a desire could be seen as a psychological consequence that Jantrania (2002) relates to in the consequence section of the means-end chain model. Moliners (2007) literature upon perceived value again shows commonalities with the means-end chain model. His study conceived that perceived value was a construct formed of two dimensions, functional factors (quality, price) and affective factors (feelings and social impact).
Moliner (2007) noted that the functional dimension refers to the economic utility derived from the attributes of the products and services. (Moliner, 2007, p.1397) and the affective factors referred to the value associated with the feelings or affective states generated by the products and services (Moliner, 2007, p.1397.) Moliners functional dimension bares commonalities to the functional consequences derived from use as described by Peter and Olson (1993) and the affective factors show similarities to the psychological consequences depicted by Jantrania (2002) and Lee and Lin (2011) in the means-end chain model literature.
14 | P a g e
Several authors have emphasised a similar conception of perceived value to Moliner (2007) (Sheth et al, 1991; Anderson and Narus, 1990; Gassenheimer et al, 1998; Lapierre, 2000; Sweeney and Soutar, 2001; Palmer and Ponsonby, 2002; Snchez et al, 2006). Sheths et al. (1991) study was a key piece of literature in this common conceptualisation of perceived value, as he was the first to acknowledge the five dimensions which other theorists would commonly refer to in the conception of perceived value. Sheth et al (1991) believed there were five dimensions of perceived value social, emotional, functional, epistemic and conditional, which Sweeney and Soutar (2001) further defined in their study by distilling the five dimensions to three; functional, social and emotional.
The connection between this literature and the means-end chain model becomes clear when comparing these dimensions to the models aspects. The notion of a functional dimension is comparatively noted by Moliner (2007) and emphasised in the means-end chain model as a consequence dimension by Peter and Olson (1993). Likewise, the social and emotional dimension show connections to the means-end chain model literature when considering Jantranias (2002) and Lee and Lins (2011) portrayal of the possible inclusion of social elements and psychological factors within Psychological consequences related to attributes.
15 | P a g e
Although these pieces of literature on perceived value can be easily interpreted within the means-end chain model, other studies are harder to conceptualise within this context. Zeithaml (1988) identified four diverse meanings of value commonly used by other theorists which exemplify this: value is low price, value is whatever one wants in a product, value is the quality that the consumer receives for the price paid and value is what the consumer gets for what they give. As Petrick (2002) noted The majority of past research on perceived value has focused on the fourth definition (Petrick, 2002, p.121)
Many theorists have covered the incarnation that value is what the consumer gets for what they give, from notions of perception of what is received and what is given and the ratio of perceived benefits relative to perceived sacrifice (See Appendices B). Although no direct link from these studies to the means-end chain model literature is evident, there are implications of underlying notions which could relate to the model. But to contextualise these connections, it is first important to review the literature upon measuring perceived value and depict its relevancy to the meansend chain model and the question at hand.
16 | P a g e
Measuring Perceived Value
As Gale (1994) noted Perceived value is most commonly measured by using a selfreported, unidimensional measure asking respondents to rate the value they received for their purchase (Gale, 1994 cited in Petrick, 2002, p.128.) This inclination can be problematic as it suggests there is a shared meaning of value, which the literature earlier discussed in this review indicates is false. Consequentially as Woodruff and Gardial (1996) depicted it has been argued that one-dimensional measures of perceived value lack validity (Woodruff & Gardial, 1996 cited in Petrick, 2002, p.128.)
Berry and Yadavs (1996) study provided a key measurement theory which allows literature upon multi dimensional measurements of perceived value to be contextualised within the means-end chain model. Berry and Yadav (1996) believed that;
Services differ from goods in the degree to which they possess search, experience, and credence attributes [...]Those that can be evaluated before purchase and use have search attributes, those that can be evaluated only after they have been used have experience attributes, and those that cannot be fully evaluated even after use have credence attributes. In general, tangible products are more likely to possess search attributes, whereas services tend to be higher in experience and credence attributes. (Berry and Yadav, 1996, p.48)
17 | P a g e
Berry and Yadevs (1996) reference to attributes provides a link between the meansend chain model and their study. The notion that attributes can be categorised into measurement classifications provides a method for analysing literature upon measuring perceived value in the context of the means-end chain model.
This is emphasised in Kantamneni and Coulsons (1996) identification of the distinct factors of societal value, experiential value, functional value and market value. (Kantamneni and Coulson, 1996 cited in Petrick, 2002, p.129) Although the societal and experiential dimensions role in the measurement of perceived value, also noted by other theorists (Sweeney, Soutar and Johnson, 1998; Petrick, 2002; Havlena and Holbrook, 1986; Bolton and Drew, 1991) (See Appendices C), shows connections to the means-end chain model literature when considering Jantranias (2002) and Lee and Lins (2011) portrayal of the possible inclusion of social elements and psychological factors within Psychological consequences. The functional value was related to whether the product was reliable and safe, which is subsequent to credence and experience attributes, as a product needs to be tried and tested to determine this outcome. Therefore it could be seen that the functional value measurement of perceived value fits within the attribute notion of the means-end chain model.
18 | P a g e
Furthermore Kantamneni and Coulsons (1996) notation of market value being the products worth regarding price for value (Kantamneni and Coulson, 1996 cited in Petrick, 2002, p.129) shows commonalities with a vast amount of literature upon the measurement of value in context of a give and return trade off. As Moliner (2007) noted perceived value is understood as a construct configured by two parts, one of benefits received by the customer (economic, social and relationship) and another of sacrifices made (price, time, effort, risk and convenience) (Dodds et al, 1991; Rapp and Collins, 1991, 1996; Grewal et al. , 1998; Cronin et al. , 1997, 2000; Bign et al. , 2001; Oh, 2003) (Moliner, 2007, p.1393)
19 | P a g e
Trade-off of perceived value It is important to understand that economic factors are not the only price indicators relevant in the trade off for perceived value. As Snoj and Mumel (2004) depicted Non-monetary aspects of price are noted by a great number of authors in the marketing field (See Zeithaml, 1988; Monroe, 1990; Dodds et al., 1991; Gale, 1994; Nessim and Dodge, 1995; Christopher, 1996; Woodruff and Gardial, 1996; Woodruff, 1997; Grewal et al., 1998; Naumann and Jackson, 1999; Snoj in Zavrsnik and Male, 1999; Skater and Narver, 2000). (Snoj and Mumel, 2004, p.160) These authors and others have all noted on other contributing factors which play a role in the give and receive notions of the trade off for measuring perceived value. Although these conceptions seem to differ in absolute identifications of universally recognised factors which play a role in the trade off, each of the theorists suggested factors bare commonalities in context of the means-end chain model literature.
As Oliver and DeSarbo (1988) acknowledged these concepts are rooted in equity theory, which Bolton and Lemon (1999) similarly noted derives the measurement of perceived value from the customer evaluation of what is fair, right, or deserved for the perceived cost of the offering (Bolton and Lemon, 1999 cited in Yang and Peterson, 2004, p.811). As Zeithaml (1988) depicted the perceived value is the perceptions of what is received and what is given. (Zeithaml, 1988, p.14) In Li and Greens (2011) interpretation of the trade off Quality is received and coupled with monetary and non-monetary sacrifices are given, such as quality, price, and convenience (Li and Green, 2011, p.6) this perception is shared by Kotler (1972) who commented that things-of-value need not be limited to goods, services, and money; they include other resources such as time, energy, and feelings. (Kotler, 1972, p.48) Its through these apprehensions that the link between this literature and the means-end chain model becomes apparent.
20 | P a g e
The social and relationship benefits referred to by Moliner (2007) could once again be seen to adhere to the consequence dimension of the means-end chain model when considering Jantranias (2002) and Lee and Lins (2011) portrayal of the possible inclusion of social elements and psychological factors within Psychological consequences. Additionally the economic benefits Moliner (2007) refers to show similarities to Helfert (1966) and Hendriksens (1970) belief that Expected earning power is considered a key source of value for both tangibles and intangibles (Hendriksen, 1970 cited in Jantrania, 2002, p.18).These perceptions could be perceived to comply to an end state desire within the means-end chain model, as the benefit of earning a financial gain could be deemed as the desirable end-states of existence. (Olson, 1988 cited in Jantrania, 2002, p.84)
Furthermore, Li and Greens (2011), Kotlers (1972) and other theorists previously noted reference towards the non monetary aspects of the perceived value trade off (See Appendices D) shows commonalities with the attribute hypothesis within the means-end chain model. Kotlers (1972) comprehension of time, energy and feelings playing a role in the perceived value, among other theorists insinuations of intangible factors inside the trade off bares relevance to Berry and Yadavs (1996), Jantrania (2002), Peter and Olson (1993) and Lin and Lees (2011) interpretations of attributes. The notion of time and energy could be subject to Berry and Yadavs (1996) search and experience attributes, as they can be measured within the context of previous experience with a similar process or reference, notation or information from others available from researching, allowing them to be evaluated before purchasing.
21 | P a g e
The reference to feelings in this comprehension could be seen to take on search, experience and credence attributes as it is possible to have an emotional response to a product instantaneously, however it is most likely the emotional response is one built from experience which could subsist and alter irrationally, portraying the characteristics of credence attributes.
Additionally, when reviewing the non monetary aspects discussed and investigated within the perceived value trade off (See Appendices D) it is clear to see a link between the intangibility of these factors and the abstract attributes referred to within the means-end chain model literature. Although some factors such as texture constitute as tangible aspects, they too can be seen as concrete attributes referred to in the means-end chain model literature.
A second stream of research, which builds on the work of Baur (1960), implies that consumers use these extrinsic cues to form perceptions of risks, which, in turn, lead them to form perceptions of value (Bearden and Shimp, 1982 cited in Agarwal and Teas, 2001, p.8). As Agarwal and Teas (2001) noted, consumers often pay premiums for branded products because brands are perceived to stand for quality and reduce the risk of failure. Likewise, higher store name image or reputation (Leavitt 1967; Hisrich, Dornoff, and Kernan 1972; Kelley 1958) (Agarwal and Teas, 2001, p.11). These conceptions give rise to the implication that that the stronger and more beneficial the attributes are compared to the sacrifices made helps distinguish the perceived value of a product or service. This theory is depicted by several theorists (See Appendices E) and is of importance to the question at hand.
22 | P a g e
Firstly, these studies give rise to an indication that a balance must be found between the attributes within the artist and the music and the sacrifices given by the brand to obtain it, as the literature indicates that the success or failure of this affects the perceived value of the product or service. The intangible abstract attributes could be seen as the reputation, chart position, success, lyrical and musical content of the artist and track, which must be beneficial enough to reduce the risk factor and sacrifices to increase the perceived value. This theory has been depicted in many studies and is commonly referred to as the acceptable price range.
23 | P a g e
The Acceptable Price Range
As Sherif (1963) noted the concept of the acceptable price range is rooted in social judgement theory and assimilation-contrast effects (Sherif, 1963 cited in Rao and Sieben, 1992, p.257). The acceptable price range is believed to have upper and lower price limits or endpoints as noted by Schiffman and Kanuk (2003), Assael (1995) (See Appendices F). Assael (1995) defined these limits within his study; The higher end of the acceptable price range is known as the reservation price and is the upper limit above which an article would be judged too expensive. The lower end of the acceptable price range is the lower limit below which the quality of the item would be suspect. (Assael, 1995, p.215)
Dodds et al. (1991) expanded on this concept when he precluded that as price increases beyond the acceptable range, the perceptions of value (will) decline (and) thus, the relationship between price and perceived value should also be curvilinear (Dodds et al, 1991, p.308.) This perception was a modification of Monroes (1973) study (See Appendices G) and implied inclinations of specific importance to the question at hand. These theories indicate that the higher the level of attributes an artist or track contains which instigate greater consequences and end term states, the higher the perceived value of the synchronisation license will be. As a curvilinear concept it also implies that if the sacrifices given outweigh the benefits received (attributes, consequences and end term states) the synchronisation license could decrease in perceived value.
24 | P a g e
Assael (1995) gave an insight in to how this balance may be found when he referred to the notion of a reference price. He defined the concept as a standard or frame of reference by which consumers compare prices for alternative brands. (Assael, 1995, p.215) This denotation was further construed by Gabor and Granger (1966) and Olander (1970) who concluded that a buyer will probably decide to purchase if the products price falls within an acceptable price range whose limits are related to prevailing market prices and the price of the product normally purchased. (Gabor and Granger, 1966 cited in Monroe, 1973, p.77) and that a buyers price judgement is influenced by his perception of prevailing market prices and his perception of the price most frequently charged.(Olander, 1970 cited in Monroe, 1973, p.77).
These studies are of significant importance to the question at hand as they indicate that there may be an industry standard that brands use to determine the acceptable price and perceived value of a synchronisation license. Furthermore the study indicates there may be a reference to previous fees paid in the market for similar licenses which help establish the perceived value of the synchronisation license. Once again a link can be found to the means-end chain model when considering that the reference price will be constructed from previous knowledge (experience attributes) or research into the market (search attributes).
25 | P a g e
Meaning Transfer Theory
As a connection has been made between the literature on perceived value in the context of the means-end chain model and the characteristics of the artists and their music, it is important to review the literature upon meaning transfer to comprehend the role of these characteristics on perceived value. McCrackens (2005) study was a key piece of research which defined the meaning transfer theory, allowing for similar studies to be interpreted. McCracken (2005) noted that the attractiveness of celebrities as endorsers stems from the cultural meanings with which they are endowed. The model shows how meanings pass from celebrity to product and from product to consumer. (McCracken, 2005, p.97) He believed that meaning subsisted within the cultural, physical and social world which was constituted by the principles of the prevailing culture.
McCracken (2005) conspired that Advertising serves as an instrument of meaning transfer (McCracken, 2005, p.104) and when the advertiser decides what they want the product to say, they survey the culturally constituted world for the objects, persons and contexts that already contain these elements to allow for the transfer of value from the celebrity to the product (See Appendices I). McCracken (2005) depicted that this process had three stages; The dramatic roles of the celebrity comes, in stage 1, to reside in the celebrities themselves. In stage 2, the meaning is transferred when the celebrity enters into an advertisement with a product [...] in the final stage, the meaning moves from the product to the consumer. (McCracken, 2005, p.105)
26 | P a g e
McCrackens (2005) acknowledgement that when they enter the endorsement process, they make these meanings available in material form to the consumer (McCracken, 2005, p.110) and further emphasise on their effectiveness through the example of how rock stars invent and reinvent the possibilities of the adolescent self (McCracken, 2005, p.111) demonstrates the power of a successful meaning match through the attributes held by the celebrity in the customers perception of the product. This study is of specific importance to the question at hand because it raises the question to whether brands select artists and their music due to the cultural meanings and associations endowed upon them, in order to transfer that meaning to their products to market more effectively. The cultural meaning aspect can be linked back to the means-end chain model as it could be seen as both an intangible attribute and psychological social consequence and subsequently it could play a role in the determination of perceived value.
The inclinations within this theory are similarly discussed by Seno and Lukas (2007) who noted that a celebrity has the potential to affect the brand equity of the endorsed product through augmenting the products brand image (Seno and Lukas, 2007, p124) This concept was further developed similar to other theorists (see Kamins and Gupta, 1994; Misra and Beatty, 1990; Halonen-Knight and Hurmerinta, 2010; Smith, 2004) through the depiction that Consequently, information that is linked to the celebrity can be better integrated with information linked to the endorsed product by consumers. (Seno and Lukas, 2007, p127.)
27 | P a g e
As Bryne, Whitehead and Breen (2003) discussed Celebrity endorsement has become one of the communication strategies employed by marketers in an attempt to build a congruent image between the brand and the consumer. (Bryne et al, 2003, p. 292) This process is made possible due to the fact discussed by Schiffman and Kanuk (2003) that It is possible to alter attitudes toward products, services and brands by pointing out their relationships to particular social groups, events, or causes. (Schiffman and Kanuk, 2003, p.273)
There have been several studies into which factors are influential in the successful integration of meaning within which some similarities can be found. Seno and Lukas (2007) believed that celebrity credibility, the extent to which a celebrity possesses expertise relevant to the topic to give an objective opinion to provide notions of trust is a key factor (See Appendices J). The ability to connect characteristics between product and celebrity to achieve an effective brand image was later discussed by Seno and Lukas (2007) (See Appendices K) before an insight into the celebrity activations role in meaning transfer. This practise involves singling out celebrities activities and achievements including socially desirable behavioural conduct, lifechanging events, or changes in fortune (Seno and Lukas, 2007, p.128) to communicate the brands association and enhance their image.
28 | P a g e
As Schiffman and Kanuk (2003) noted these activities could be seen as attitude change strategies which can sometimes resolve actual or potential conflict between two attitudes. Specifically, if consumers can be made to see that their negative attitude toward a product, a specific brand, or its attributes is really not in conflict with another attitude, they may be induced to change their evaluation of the brand. (Schiffman and Kanuk, 2003, p.273) From a theoretical perspective, therefore, celebrities are effective endorsers because of their symbolic aspirational reference group associations (Bryne et al, 2003, p.291).
These concepts are of specific importance to the question at hand, as they show indications of similarities to the means-end chain model literatures factors. The notion of a brand associating with an artist who has specific standing in credibility, social groups, events and causes as well as participating in socially desirable behaviour and changing fortunes once again relates to an intangible attribute and psychological social consequence which subsequently could play a role in the determination of perceived value. Furthermore the conception that these actions are undertaken to change attitudes towards the brand could be seen as a psychological consequence to reach a desired end state.
29 | P a g e
The Match-Up Hypothesis
The match-up hypothesis took these concepts further and precluded that celebrity endorsement is more effective when the images or characteristics of the celebrity are well matched with the endorsed product (Choi, Wei-Na and Hee-Jung, 2005, p.86) This notion was shared by many theorists (See Kahle and Homer 1985; Kamins 1990; Kamins and Gupta 1994; Till and Busier 2000) and highlighted the importance of cultural meanings of celebrities in the match-up process. As Schlecht (2003) discussed, these strategies enable advertisers to project a credible image in terms of expertise, persuasiveness, trustworthiness, and objectiveness (Schlecht, 2003, p.5) because celebrities add value to the image transfer process by offering meanings of extra depth and power, what is complemented by their lifestyles and personalities. (Schlecht, 2003, p.5)
Kelman (1961) identified three key attributes that are fundamental to successful transference: credibility, attractiveness and power. The notion of credibility has been previously explained in this review and the concept of power was deemed to only be of relevance to spokespersons. However it is important to analyse the factor of attractiveness to determine its relevance to the question at hand. Attractiveness includes similarity, familiarity and likeability (See Byrne et al, 2003; Triandis, 1971; Belch and Belch, 1995; Baker and Churchill, 1977; Debevec and Kernan, 1984; Kahle and Homer, 1985) which Byrne et al (2003) further defined;
30 | P a g e
Similarity is the supposed resemblance between the source and the receiver; familiarity arises through knowledge of the source via repeated exposure. Likeability occurs from affection for the source due to their physical appearance, behaviour or other personal characteristics (Byrne et al, 2003, p.292)
Bryne et al (2003) believed that Source attractiveness leads to persuasion through a process of identification - the receiver is motivated to seek a relationship with the source and adopts a similar position in terms of beliefs, attitudes, preferences or behaviour(Byrne et al, 2003, p.292) This concept was emphasised by Till and Busler (1998) in their study when they noted that Special attention should also be paid to employ celebrities who have a direct connection with their endorsed product and who are perceived to be experts by the target audiences. (Till and Busler, 1998 cited in Byrne et al, 2003, p.292) Theoretical literature has already indicated that this process is implicated within real life practices (See Erdogan, Baker, and Tagg 2001; Miciak and Shanklin 1994). Choi et al (2005) also portrayed this in their study;
professionals at advertising agencies [...] cited celebrity attributes such as image, trustworthiness, and familiarity, as well as the fit between the celebrity and the product, as important factors for choosing the appropriate endorsers (Choi et al, 2005, P.86)
Some contend that consumer demands and tastes have become similar on a global scale (Levitt 1983; Taylor and Johnson 2002) and that using celebrities with worldwide recognition in advertising is an effective means of overcoming cultural difficulties (Erdogan 1999; Kaikati 1987; La Ferla 2001). (Choi et al, 2005, P.86)
31 | P a g e
These studies are once again of specific importance to the question at hand, as they show similarities to the means-end chain model and subsequently could play a role within the determination of perceived value. The literatures reference to personalities and characteristics could be seen as an intangible attribute and psychological social consequence which subsequently could play a role in the determination of perceived value. Additionally the literatures indication that these processes are already implicated in industries suggests that the celebrities with matching attributes and consequences are selected to reach a desired end-state. This raises the question to whether brands specifically select artists with these intangible attributes to achieve a social consequence and desired end-state, and if their ability to do so affects the perceived value of the synchronisation license.
Finally it is important to comprehend literature which has insinuated the importance of brand reputation and perceived expense in the context of perceived value. As Granlund and Grenros (2009) noted low perceived expense could have a negative effect on high-reputation brands as consumers expect more from them. (Granlund and Grenros, 2009, p.158) From this construct it becomes apparent to see that low perceived expense can actually lead to perceptions of inequitable exchange, where consumers feel that the marketer gives little in return for their participation in the advertising exchange. (Granlund and Grenros, 2009, p.158) This can have an overwhelming impact on perceived value as managing consumer-perceived value is crucial to marketers, as marketing efforts that increase perceived value automatically generate higher intentions to buy and recommend the brand to others. (Granlund and Grenros, 2009, p.158)
32 | P a g e
This study has relevance to the question at hand; as it raises the question to whether brands consider the factor of choosing an artist or track they perceive to have a similar reputation to them. Subsequently, does a prestigious company look for an established and successful act for their project and pay the price they do as a signifier to their target audience that they are still prestigious? And is it important for them so their consumers will generate higher intentions to buy and recommend the brand to others to build their reputation? Once again these factors could be seen in relation to the means-end chain model as intangible attributes and social consequences to reach a desired end state.
33 | P a g e
Methodology
The term research has been defined by several experts with the commonality of incurring an original contribution to the stock of knowledge making for its advancement. It is the pursuit of truth with the help of study, observation, comparison and experiment. (Kumar, 2008, p.2) The purpose of research is to discover new answers to questions through procedures and to reveal the hidden truth of which has not been discovered so far.
The aim of researching within this study is to analyse and depict the underlying aspects which determine the perceived value of a synchronisation license within brand advertisements, and to which degree they do so. Achieving this research will lead to an unprecedented insight into one of the largest growing sectors of the music industry, allowing for industry professionals and brands to further understand the conceptualisation of synchronisation license fees.
To gain this insight it is fundamental to obtain the knowledge of experienced professionals within the practice, who mediate between brands and copyright owners to secure synchronisation license deals through a synchronisation agency institute. Although any interview based research must comprehend the unpredictability of human nature as a distinct challenge, the research method, sampling and data analysis were specifically engineered to counteract this issue and obtain the most reliable results.
34 | P a g e
A qualitative research method of interviews was used in this study as the topic requires in depth linguistic portrayal of matters of social interaction and human behaviour. As Punch (2009) qualitative research is best suited for this as It too is a way of thinking, or an approach, that similarly involves a collection or cluster of methods, as well as data in non-numerical or qualitative form (Punch, 2009, p3) This concept is taken further by Merriam (2009) with the depiction that Qualitative researchers are interested in understanding how people interpret their experiences , how they construct their worlds, and what meaning they attribute to their experiences. (Merriam, 2009, p.5) These research method aspects are crucial for the question at hand, as unlike quantitative research methods which generate numerical data or data that can be converted into numbers, qualitative research methods allow the subjects being studied to give much richer answers on beliefs, experiences, attitudes, behaviour and interactions, which are vital elements of the subject matter.
In-depth interviewing was chosen as the data collection method for this study, as it is best suited to the paradigm-driven approach developed within this work which implies conversation with the elite is needed to obtain the most valid data. A paradigm-driven approach was taken in the formulation of questions, as much like Punch (2009) depicted the questions were developed from the articulation of the literature upon perceived value and meaning transfer within an ontological, epistemological and methodological context (See Appendices L). Qualitative in-depth interviews allow these questions to be validly answered and richly discussed within the social interactive and human behavioural context, as they help uncover the participants views but otherwise respect how the participant frames and structures the responses.
35 | P a g e
Materials
As Fontana and Frey (2005) noted interviews can be divided into three categories: structured interview, semi-structured interview, and unstructured interview. A semistructured interview format was chosen due to the interpretivism; concentrates on the meanings people bring to situations and behaviour, and which they use to understand their world (ODonoghue, 2007, p.16) and Constructivism; realities are local, specific and constructed; they are socially and experientially based, and depend on the individuals or groups holding them (Guba and Lincoln, 1994, p.109) aspects of the questions. As Hesse-Biber and Leavy (2011) depicted, a semistructured interview relies on a set of questions to guide the interview whilst simultaneously allowing individual respondents some latitude and freedom to talk about what is of interest to them. (Hesse-Biber and Leavy, 2011, p.102) This is vastly important within a study based upon experience, expertise and social constructs within a specific field, to obtain the most valid data for the study.
As the researcher is the key tool within the interview process it was critical to bracket off any personal experience from working inside the industry in question and the experience of the interviewees. This is referred to as the epoche process and allows the researcher to gain clarity form personal preconceptions and the data from the interviewees. This is a vital process within the construction of the questions to ensure they provoked emic; the participants views, rather than etic; the researchers views from the interview. These procedures were necessary as the study relies heavily upon the experiences, attitudes, beliefs and interactions of subject experts.
36 | P a g e
Participants/Sampling
Elite interviews
As Cohen, Manion and Morrison (2007) noted, the quality of a piece of research relies heavily on the suitability of the sampling strategy. Questions of sampling arise directly out of the issue of defining the population on which the research will focus. (Cohen et al, 2007, P.100) The researcher must be able to obtain data from a smaller group or subset of the total population in such a way that the knowledge gained is representative of the total population (however defined) under study [...] this smaller group or subset is the sample. (Cohen et al, 2007, P.100)
For this study, three elites were selected for in-depth semi structured interviews. In this context the word elite refers to industry professionals at a hierarchical level within the field being researched; Music synchronisation licensing for brand advertisements. These participants were selected in order to maximise the flow of valid, reliable information while minimizing distortions of what the respondent knows. (Gorden, 1987 cited in Silverman, 2004, p.141) As Cohen et al (2007) noted the correct sample size depends on the purpose of the study and the nature of the population under scrutiny (Cohen et al, 2007, P.101) for this reason three elites were chosen from the field of study (See appendices M), in order to give a highly knowledgeable insight into the population of music synchronisation agency workers.
37 | P a g e
Step-by-step methods
The interview questions were constructed from a paradigm-driven approach encompassing the themes of the literature in an open ended form (See Appendices N). These questions were asked in identical numerical order to each elite participant over the phone and recorded on a software program. The interviews were conducted over a mobile phone whilst the participants were in a neutral area at a pre arranged time in order to obtain the most valid data. As McDowell (1998), Richards (1996), Aberbach and Rockman (2002) and Zuckerman (1972) noted; When corresponding with elite members, researchers should in most cases ask when it would be most convenient to speak with them (Zuckerman, 1972, p.162).
Within the workplace, for example, respondents may be less willing to disclose confidential information or provide additional time, for fear of being overheard or because their colleagues expect them to be performing other duties. (McDowell, 1998, p.2140)
A recording device also provides a verbatim script of the interview and the interviewer can focus more on engaging with the respondent. (Richards, 1996, p.201)
It is generally agreed that elite subjects prefer not to be asked closedended questions (Aberbach and Rockman, 2002, p. 674).
38 | P a g e
The interviews were then transcribed (See Appendices O), with the most important findings being depicted and grouped within the results section. The depiction of the key elements within the interview was undertaken to allow for a better correlation of similar concepts to be analysed and discussed.
39 | P a g e
Data analysis/Coding
Bogdan and Biklen (1982) defined qualitative data analysis as working with data, organizing it, breaking it into manageable units, synthesizing it, searching for patterns, discovering what is important and what is to be learned, and deciding what you will tell others (Bogdan and Biklen, 1982, p.145) which is contrary to quantitative data analysis which is the process of presenting and interpreting numerical data. This study used an inductive analysis of data, which Patton (1990) emphasised allows the critical themes to emerge out of the data. The challenge of this analysis is often to categorise the raw data into logical sections, examine them in a holistic manner and communicate the findings.
The analysis starts with an identification of themes and concepts emerging from the raw data, this is referred to as open coding (Strauss and Corbin, 1990, p.62.) During this process the conceptual categories of the interviews on perceived value within music synchronisation licensing were identified, to create multi-dimensional categories for a framework of analysis. As this data was preliminarily organised an audit-trail was devised, to identify the data according to the speaker and context (See, Brown, 1996; Duffee and Aikenhead, 1992; and Sours, 1997). A further re examination was then conducted on the categories to distinguish how they are linked, this process is referred to as axial coding (Straus and Corbin, 1990, p.97.) The categories identified within open coding were combined and compared and quantitatively analysed through descriptive statistics to translate the conceptual model into an account that closely approximates the reality it represents (Strauss and Corbin, 1990, p. 57) through a written analysis.
40 | P a g e
Results
David Bass
Question: 1. When considering which music is best suited to the project, what aspects do you consider and how do they alter the value of what a client might pay?
David Bass Key points of answer: We dont choose its down to the client, theyll provide us with recommendations and well present the tracks from our educated recommendation. Sometimes they know what track they want, well get a creative brief which outlines their considerations such as a lyrical theme or a reference from other tracks, genre, style wise; they might just want a folk piece with yellow in the lyrics, this limits your job if its that specific. We consider the brand, if the artist is suited to the brand. For example you wouldnt put forward a track from a known alcoholic for a beer brand, because it will bite them in the bum. If its a cool brand, like a 02 brand, you might go for up and coming, cool just signed or unsigned artist. First you have to talk to the creatives and discuss if they care and is it important if theyve got an up and coming band or is it just there for background music, some music is just there to serve a purpose. Sometimes they might be far more up front, theyll want to break a band, we want this to become the o2 song theyll want people to hear the music and think this is the o2 song, depends on the creative brief and the brand and what the client wants to achieve, sometimes brands want to release tracks as singles of the back of ads other times theyll just want to license the cheapest piece of music and forget about it. It depends on what everyones goals are, as a general rule we always try to push cool new music and big back catalogue tracks.
41 | P a g e
Result 1
David Bass Grouped Answer from Question One

Concrete Attributes Abstract Attributes
We dont choose its down to the client, theyll provide us with recommendations and well present the tracks from our educated recommendation Sometimes they know what track they want, well get a creative brief which outlines their considerations such as a lyrical theme or a reference from other tracks, genre, style wise; they might just want a folk piece with yellow in the lyrics We consider the brand, if the artist is suited to the brand. For example you wouldnt put forward a track from a known alcoholic for a beer brand, because it will bite them in the bum. If its a cool brand, like a 02 brand, you might go for up and coming, cool just signed or unsigned artist
Attributes
42 | P a g e
Means-end chain model
Functional Consequences
First you have to talk to the creatives and discuss if they care and is it important if theyve got an up and coming band or is it just there for background music, some music is just there to serve a purpose.
Consequences End Term State
Psychological Consequences Social and Psychological

If its a cool brand, like a 02 brand, you might go for up and coming, cool just signed or unsigned artist We consider the brand, if the artist is suited to the brand. For example you wouldnt put forward a track from a known alcoholic for a beer brand, because it will bite them in the bum.
Sometimes they might be far more up front, theyll want to break a band, we want this to become the o2 song theyll want people to hear the music and think this is the o2 song, depends on the creative brief and the brand and what the client wants to achieve, sometimes brands want to release tracks as singles of the back of ads other times theyll just want to license the cheapest piece of music and forget about it. It depends on what everyones goals are
Ben Bleet Question: 1. When considering which music is best suited to the project, what aspects do you consider and how do they alter the value of what a client might pay?
Ben Bleet Key points of answer
I think the key one is the status of the artist, it could be someone like lady gaga and the higher priced stuff is the popular music. That is when a budget comes up, the stereotypical model is that a client will ask for a well known track because thats what they know and then we say you havent got it within your budget and then you work within the styles which are in that sort of place but are much more affordable.
43 | P a g e
Result 2
Ben Bleet Grouped Answer from Question One

Attributes
44 | P a g e
Psychological Consequences Social and Psychological

Lawrence McKay
Lawrence McKay Key points of answer:
It will depend on number one the client and number two on the brief, what they ask for depends on what you give. Youre not so much working to their brief, but more to what the want of the client might be. If it is a big popular brand theyre more likely to go for popular music in the charts, where as if its a smaller brand theyre going to go for something quirky and different, if thats the creative aim of the actual project.
45 | P a g e
Result 3
Lawrence McKay Grouped Answer from Question One

Youre not so much working to their brief, but more to what the want of the client might be. If it is a big popular brand theyre more likely to go for popular music in the charts, where as if its a smaller brand theyre going to go for something quirky and different, if thats the creative aim of the actual project.
Attributes
46 | P a g e
Functional Consequences Psychological Consequences Social and Psychological

Question one commonalities
Responses found abstract attributes and psychological consequences highly influential within this question topic, artist status is commonly referenced. Responses found end-term states influential in some circumstances within this question topic, aims and goals commonly referenced.
47 | P a g e
David Bass
Question 2. How much of a role does the characteristics, image and persona of an artist specifically what they represent pay a part in the consideration of what music is suitable for the project?
David Bass Key points of answer:
Its a big part, for example Ive been working for a fast food brand brief and they wanted a hip hop artist, but one of the criterias was that no one could have a criminal record. And also we have to think about that there was one artist we put forward that done a demo which we then found a youtube video of him talking about really disgusting things, and they were glad that they didnt select that artist because it would of really looked bad on them. There is a responsibility on us to do a bit of background research and not put forward people who are alcoholics for beer brands and so on and so forth. But at the same time it is also the responsibility of the agency and the client to do that as well, we cant really do background checks on every artist, for one pitch we might put forward eighty tracks and we cant be expected to do a background check on everyone. But however if we know that a particular singer is an alcoholic we will let it be known to the client, to tell them well this guy is a drug addict or whatever. So yeah i think it does, if you think about if your pitching something to do with kids, pitching for mothercare, youre not going to put forward Gary Glitter. You need a bit of common sense I think.
48 | P a g e
Result 4
David Bass Grouped Answer from Question Two

Concrete Attributes Attributes
Abstract Attributes
Its a big part, for example Ive been working for a fast food brand brief and they wanted a hip hop artist, but one of the criterias was that no one could have a criminal record. If you think about if your pitching something to do with kids, pitching for Mothercare, youre not going to put forward Gary Glitter. You need a bit of common sense I think. If we know that a particular singer is an alcoholic we will let it be known to the client, to tell them well this guy is a drug addict or whatever one artist we put forward that done a demo which we then found a YouTube video of him talking about really disgusting things, and they were glad that they didnt select that artist because it would of really looked bad on them.
49 | P a g e
Psychological Consequences
Social and Psychological
Its a big part, for example Ive been working for a fast food brand brief and they wanted a hip hop artist, but one of the criterias was that no one could have a criminal record. one artist we put forward that done a demo which we then found a YouTube video of him talking about really disgusting things, and they were glad that they didnt select that artist because it would of really looked bad on them. If you think about if your pitching something to do with kids, pitching for Mothercare, youre not going to put forward Gary Glitter. You need a bit of common sense I think.
Ben Bleet
It depends on what the project, if its online content for a drinks brand a lot of people want to just put something up to flagship what theyve done and no one really watches it, so if its something like that the artists characteristics will have no impact at all. If its a vodka brand theyll want some cool club music and they wont care where it comes from. But if its obviously a Beyonce track and they spent a fortune on a global campaign then the artists profile and their characteristics are very important, so it really depends on that. Fred Perry does a really good job of spotting new talent and associating them with their clothes and thats obviously really important to them. Interestingly on the other side of that at the moment theres a clothing company thats released a Pete Doherty range and you think okay so the man that may or may not of pushed someone out of a balcony and doing smack but at the end of the day i think some people just see that as rock and roll and cool. So it really depends.
50 | P a g e
Result 5
Ben Bleet Grouped Answer from Question Two

It depends on what the project, if its online content for a drinks brand a lot of people want to just put something up to flagship what theyve done and no one really watches it, so if its something like that the artists characteristics will have no impact at all. If its a vodka brand theyll want some cool club music and they wont care where it comes from. But if its obviously a Beyonce track and they spent a fortune on a global campaign then the artists profile and their characteristics are very important, so it really depends on that. Fred Perry does a really good job of spotting new talent and associating them with their clothes and thats obviously really important to them. Interestingly on the other side of that at the moment theres a clothing company thats released a Pete Doherty range and you think okay so the man that may or may not of pushed someone out of a balcony and doing smack but at the end of the day i think some people just see that as rock and roll and cool.
Attributes
51 | P a g e
Consequences

It depends on what the project, if its online content for a drinks brand a lot of people want to just put something up to flagship what theyve done and no one really watches it, so if its something like that the artists characteristics will have no impact at all. If its a vodka brand theyll want some cool club music and they wont care where it comes from. But if its obviously a Beyonce track and they spent a fortune on a global campaign then the artists profile and their characteristics are very important, so it really depends on that. Fred Perry does a really good job of spotting new talent and associating them with their clothes and thats obviously really important to them. Interestingly on the other side of that at the moment theres a clothing company thats released a Pete Doherty range and you think okay so the man that may or may not of pushed someone out of a balcony and doing smack but at the end of the day I think some people just see that as rock and roll and cool.
End Term State
52 | P a g e
Lawrence McKay
Question
How much of a role does the characteristics, image and persona of an artist specifically what they represent pay a part in the consideration of what music is suitable for the project?
It completely depends on the brand; say if youre doing a beer brand theyre going to be looking for something thats different and fun and cool. But another brand who is trying to go for a comical advert will go for something that is quite out of the blue. A brand we worked with went for something from the forties instead of something thats hip and now because of the comical aspect with the visuals, where as fosters will go and use something comical. But makeup adverts will often go for something like composed pieces.
53 | P a g e
Result 6
Lawrence McKay Grouped Answer from Question Two

Attributes
54 | P a g e

Question Two Commonalities
Responses found abstract attributes and psychological consequences highly influential within this question topic, artist characteristics and reputation are commonly referenced.
55 | P a g e
David Bass
Question 3. How much of a role does the lyrical content and message portrayed in a song pay a part in the choice of music for the project?
Okay, that completely depends on the brief, if its a brief to find an instrumental track then it doesnt play any part, if its a brief to find a vocal track quite often will ask the creatives which lyrics, what do you want the song to be talking about, is there any particular lyrical themes or words that you want and will do a search based on that. Likewise if we are just doing a generic search well just think if the ads about driving around town, well think of lyrical things that we can do a search around that would work for that, for example bright lights big city. Again its just common sense and what weve been asked to do.
56 | P a g e
Result 7
David Bass Grouped Answer from Question Three

Abstract Attributes
57 | P a g e
Ben Bleet
Specifically for TV adverts, they might want something with lyrics that portrays unity and happiness. We might get a pitch that they want back tomorrow and theyve got to think of something around a word the key search comes in handy and it must of been used a few times and sometimes theyll just search key words inside iTunes and just find a track, so lyrical content if its derogatory to minority groups then its obviously not going to be suggested. Again traditionally you dont want anything with swear words or anything like that because its not going to be used.
58 | P a g e
Result 8
Ben Bleet Grouped Answer from Question Three

Specifically for TV adverts, they might want something with lyrics that portrays unity and happiness. We might get a pitch that they want back tomorrow and theyve got to think of something around a word the key search comes in handy and it must of been used a few times and sometimes theyll just search key words inside iTunes and just find a track. So lyrical content if its derogatory to minority groups then its obviously not going to be suggested. Again traditionally you dont want anything with swear words or anything like that because its not going to be used.
Attributes
59 | P a g e

Specifically for TV adverts, they might want something with lyrics that portrays unity and happiness. We might get a pitch that they want back tomorrow and theyve got to think of something around a word the key search comes in handy and it must of been used a few times and sometimes theyll just search key words inside iTunes and just find a track So lyrical content if its derogatory to minority groups then its obviously not going to be suggested. Again traditionally you dont want anything with swear words or anything like that because its not going to be used.
Specifically for TV adverts, they might want something with lyrics that portrays unity and happiness. We might get a pitch that they want back tomorrow and theyve got to think of something around a word the key search comes in handy and it must have been used a few times and sometimes theyll just search key words inside iTunes and just find a track.
Lawrence McKay
Question
How much of a role does the lyrical content and message portrayed in a song pay a part in the choice of music for the project?
Generally, it is a massive amount depending on what they are trying to portray, going back to the lynx advert the whole worlds falling to pieces because people cant stop being attracted to each other and the music called something psychological and all the lyrics are about the attraction between men and women and how she loves a new boy shes met and the lyrics fit the visuals absolutely perfectly. Whereas generally something like a twinnings adverts where shes rowing across the ocean to the calling wherever you may go it doesnt make sense to the story of the product.
60 | P a g e
Result 9
Lawrence McKay Grouped Answer from Question Three

Attributes
61 | P a g e
Consequences
End Term State
62 | P a g e
Question Three Commonalities
Responses found abstract attributes and end term states highly influential within this question topic, degree of fit and completion of brief commonly referenced. Responses found functional Consequences and Psychological consequences influential within this question topic, degree of fit and social behaviour are referenced.
63 | P a g e
David Bass
Question 4. How much of a role does the success and the social reputation of an artist play on the price paid and choice for the use of the music?
I think this touches on two things, youve got borrowed equity, so youve got times where a brand might spend shit loads of money on licensing a Beyonce track, but then having Beyonce on that brands advert gives the brand more credibility and almost borrowing the equity from Beyonce and passing it over. At the same time for us we dont ever feel like a label is doing us a favour for letting us use their track on our advert. The labels might affect their prices for an advert, so for example, an apple advert, everyone wants to be on an apple advert, its cool, its massive, apple doesnt pay for music. So in that case any band or artist would be stupid to turn down an apple advert, purely because of the reach it has and how many people hear it and think the tracks cool and you sell shit loads of singles on iTunes. But at the same time weve had situations were VW have said well you should give us a price drop because were putting your song on our advert and its going to be seen by millions of people, that wont work, because at the end of the day right owners and artists dont give a shit about the advert, they care about the money. Some care about the creative but ultimately its about the money. So, I think it depends but generally no, the publisher will set a price but theres always negotiation you know in between that. But at the same time if it was a Beyonce track, the price would go up because it is a Beyonce track. So it goes hand in hand with the pricing anyway. Any huge artist like lady gaga it will be millions; it will be loads of money because theyre huge right now. An unknown artist or unsigned artist is going to be a hell of a lot cheaper, but ultimately its down to how the publisher values that piece of music. So if Im only offering ten grand for it, theyll probably think well if we done the deal it probably wont get used for the next two years so were going to hold out for a bigger deal if they know its a great track. The weird thing with licensing is there are no rules and there is no set way things happen, back in the day when i worked for a label brands used to come to me and ask how much for this and youd just pluck a number out of the air that you think you can get away with and brands would pay it because they dont understand the value of music, which is why they need people like us to sit here and say why are you paying that much, this band is nothing and their last album flopped, they really need a bit of a hand.
64 | P a g e
Result 10
David Bass Grouped Answer from Question Four

Youve got borrowed equity, so youve got times where a brand might spend shit loads of money on licensing a Beyonce track, but then having Beyonce on that brands advert gives the brand more credibility and almost borrowing the equity from Beyonce and passing it over. The labels might affect their prices for an advert, so for example, an apple advert, everyone wants to be on an apple advert, its cool, its massive, apple doesnt pay for music. So in that case any band or artist would be stupid to turn down an apple advert, purely because of the reach it has and how many people hear it and think the tracks cool and you sell shit loads of singles on iTunes. But at the same time weve had situations were VW have said well you should give us a price drop because were putting your song on our advert and its going to be seen by millions of people. But at the same time if it was a Beyonce track, the price would go up because it is a Beyonce track. So it goes hand in hand with the pricing anyway. Any huge artist like lady gaga it will be millions; it will be loads of money because theyre huge right now. An unknown artist or unsigned artist is going to be a hell of a lot cheaper, but ultimately its down to how the publisher values that piece of music. So if Im only offering ten grand for it, theyll probably think well if we done the deal it probably wont get used for the next two years so were going to hold out for a bigger deal if they know its a great track.
Attributes
65 | P a g e

Functional Consequences Consequences
So in that case any band or artist would be stupid to turn down an apple advert, purely because of the reach it has and how many people hear it and think the tracks cool and you sell shit loads of singles on ITunes.
youve got borrowed equity, so youve got times where a brand might spend shit loads of money on licensing a Beyonce track, but then having Beyonce on that brands advert gives the brand more credibility and almost borrowing the equity from Beyonce and passing it over. But at the same time weve had situations were VW have said well you should give us a price drop because were putting your song on our advert and its going to be seen by millions of people, that wont work, because at the end of the day right owners and artists dont give a shit about the advert, they care about the money But at the same time if it was a Beyonce track, the price would go up because it is a Beyonce track. So it goes hand in hand with the pricing anyway. Any huge artist like lady gaga it will be millions; it will be loads of money because theyre huge right now. An unknown artist or unsigned artist is going to be a hell of a lot cheaper, but ultimately its down to how the publisher values that piece of music.
So in that case any band or artist would be stupid to turn down an apple advert, purely because of the reach it has and how many people hear it and think the tracks cool and you sell shit loads of singles on iTunes At the end of the day right owners and artists dont give a shit about the advert, they care about the money
End Term State
66 | P a g e
Ben Bleet
Question
How much of a role does the success and the social reputation of an artist play on the price paid and choice for the use of the music?
Definitely, i think its linked to the first question. I think the interesting thing which a lot of people still dont get their heads round is that you talk about the artist needs promotion, say you went to a bigger artist who is just about to release their second album you could do a deal with them you could say well pay you x amount for this but then youre going to get this many eyeballs on you as well so its kind of a strategic partnership. So I think definitely it works on both sided, its what the record companies and publishers want for that artist and its also what the brand wants. And the other thing is as well that say for example a high profile artist a client might say well hang on the market rates are this but in the clients head they dont know this artist and they think it will be a lot cheaper.
67 | P a g e
Result 11
Ben Bleet Grouped Answer from Question Four

I think the interesting thing which a lot of people still dont get their heads round is that you talk about the artist needs promotion, say you went to a bigger artist who is just about to release their second album you could do a deal with them you could say well pay you x amount for this but then youre going to get this many eyeballs on you as well so its kind of a strategic partnership. And the other thing is as well that say for example a high profile artist a client might say well hang on the market rates are this but in the clients head they dont know this artist and they think it will be a lot cheaper.
Attributes
68 | P a g e
I think the interesting thing which a lot of people still dont get their heads round is that you talk about the artist needs promotion, say you went to a bigger artist who is just about to release their second album you could do a deal with them you could say well pay you x amount for this but then youre going to get this many eyeballs on you as well so its kind of a strategic partnership.
Lawrence McKay
Question
4 How much of a role does the success and the social reputation of an artist play on the price paid and choice for the use of the music?
It plays a phenomenal role, you may go and work with one brand that will go and give you a twelve month term with all media and theyll pay you thirty grand all in. Whereas if you go and pick someone like the Foo fighters or the black keys youre looking at adding a zero to that figure just because of the social standing, its an elitist thing, theyll say well if you want our record breaking music to portray your visuals and your product you better be willing to pay through the teeth for it. Its more exploitation than social standing, its like saying our brand can afford to use the Foo fighters where as you can only afford someone no one has ever heard of.
69 | P a g e
Result 12 Lawrence McKay Grouped Answer from Question Four

It plays a phenomenal role, you may go and work with one brand that will go and give you a twelve month term with all media and theyll pay you thirty grand all in. Whereas if you go and pick someone like the Foo fighters or the black keys youre looking at adding a zero to that figure just because of the social standing, its an elitist thing, theyll say well if you want our record breaking music to portray your visuals and your product you better be willing to pay through the teeth for it. Its more exploitation than social standing, its like saying our brand can afford to use the Foo Fighters where as you can only afford someone no one has ever heard of.
Attributes
70 | P a g e

It plays a phenomenal role, you may go and work with one brand that will go and give you a twelve month term with all media and theyll pay you thirty grand all in. Whereas if you go and pick someone like the Foo fighters or the black keys youre looking at adding a zero to that figure just because of the social standing, its an elitist thing, theyll say well if you want our record breaking music to portray your visuals and your product you better be willing to pay through the teeth for it. Its more exploitation than social standing, its like saying our brand can afford to use the Foo Fighters where as you can only afford someone no one has ever heard of.
Its like saying our brand can afford to use the Foo Fighters where as you can only afford someone no one has ever heard of.
Question Four Commonalities
Responses found abstract attributes, psychological consequences and end-term states are highly influential within this question topic, reputation, partnerships and social standing are commonly referenced. Responses found functional consequences are influential within this question topic, partnerships are commonly referenced.
71 | P a g e
David Bass
Question
5. How much of a role do different options, types of use and lengths in the contract for the use of a piece of music play a role on the price range paid for a piece of music?
Thats completely decided by the client. So Ill say we want this for a year we want this for six months, we want an option to extend for a further six months or we dont. So the terms are pretty much what the client wants, so every contract is different and every time we get a pitch, what do you want to clear, do you want it for a year, do you want it for UK, do you want it for TV, do you want it just for online and anything else. So it completely depends, but well always try and get options in because retrospectively licensing is very expensive. It absolutely depends on territories because the UK has however million people and then worldwide is obviously a much bigger territory. So obviously the world is going to be more expensive and the cheapest is going to be like Malta, so it does go up in a scale, depending on which territories. Really the more territories, the more media and the longer you want to license something for the more expensive it becomes.
72 | P a g e
Result 13
David Bass Grouped Answer from Question Five

Abstract Attributes
73 | P a g e
It absolutely depends on territories because the UK has however million people and then worldwide is obviously a much bigger territory. So obviously the world is going to be more expensive and the cheapest is going to be like Malta, so it does go up in a scale, depending on which territories. Really the more territories, the more media and the longer you want to license something for the more expensive it becomes.
Ben Bleet
Question
How much of a role do different options, types of use and lengths in the contract for the use of a piece of music play a role on the price range paid for a piece of music?
I think, what i always advise people to do is to put in options to extend the contract. I think that people expect that the more countries there are included the more expensive it would be.
74 | P a g e
Result 14
Ben Bleet Grouped Answer from Question Five

Because it conveys so many more emotions than pictures and lyrics can, Its always tremendously important to people what the music is.
Attributes
75 | P a g e
I think, what I always advise people to do is to put in options to extend the contract. I think that people expect that the more countries there are included the more expensive it would be.

Because it conveys so many more emotions than pictures and lyrics can, Its always tremendously important to people what the music is
Lawrence McKay
Question
How much of a role do different options, types of use and lengths in the contract for the use of a piece of music play a role on the price range paid for a piece of music?
Well if you go for a twelve month all in all media youre looking at a lot, but if you say you want it for four months and its only ever going to be shown when were at shows advertising our product it will be less. Its more about the audience youre reaching, if youre reaching five million with your advert or your piece of music then the price is going to be higher, whereas if youre doing it to a small audience the price is going to be very low. If you go for a sixty month deal all in youre looking at the high end of six figures, maybe even seven figures. But generally it all depends on options , the same as record deals.
76 | P a g e
Result 15
Lawrence McKay Grouped Answer from Question Five

Concrete Attributes Abstract Attributes Attributes
Well if you go for a twelve month all in all media youre looking at a lot, but if you say you want it for four months and its only ever going to be shown when were at shows advertising our product it will be less. Its more about the audience youre reaching, if youre reaching five million with your advert or your piece of music then the price is going to be higher, whereas if youre doing it to a small audience the price is going to be very low. If you go for a sixty month deal all in youre looking at the high end of six figures, maybe even seven figures. But generally it all depends on options, the same as record deals.
77 | P a g e
Question Five Commonalities
Responses found end-term states to be highly influential within this question topic, option price ranges are commonly referenced. Responses found functional consequences to be influential, within this question topic, option price ranges are commonly referenced.
78 | P a g e
David Bass
Question
6. How important is the choice of music to a client in order to complete what they want their project to convey and achieve?
Ill tell you something interesting, they say that music is half of the advert; its fifty percent of the advert. I think it is incredibly important, music is something that shapes the tone of an ad, engages with the audience, it can engage with a new audience, it can change peoples feelings, I think music is incredibly important.
79 | P a g e
Result 16
David Bass Grouped Answer from Question Six

Abstract Attributes
80 | P a g e
Ben Bleet
Question
How important is the choice of music to a client in order to complete what they want their project to convey and achieve?
It depends on what they are trying to achieve, there is a number that ive heard people apply before and they say that music is eighty percent of the ad. Because it conveys so many more emotions than pictures and lyrics can, its always tremendously important to people what the music is. It depends on who the client is, some others are far more mechanical about how they go about their business, and other people see the bigger picture. There are brands that will just come in to put music on an advert and then there are brands that come in and are deemed venture brands so it depends, Ive dealt with many companies that take both approaches. We always try to get behind the artist and tell them to do stuff with social media. Like when an artist had a big track through a Hyundai advert we were trying to push her to do stuff on social media bearing in mind her page was very untouched.
81 | P a g e
Result 17
Ben Bleet Grouped Answer from Question Six

There are brands that will just come in to put music on an advert and then there are brands that come in and are deemed venture brands so it depends, Ive dealt with many companies that take both approaches.
Attributes
82 | P a g e
It depends on what they are trying to achieve, there is a number that Ive heard people apply before and they say that music is eighty percent of the ad. There are brands that will just come in to put music on an advert and then there are brands that come in and are deemed venture brands so it depends, Ive dealt with many companies that take both approaches.
It depends on what they are trying to achieve, there is a number that Ive heard people apply
before and they say that music is eighty percent of the ad.
Lawrence McKay
Question
How important is the choice of music to a client in order to complete what they want their project to convey and achieve?
It completely depends on how shallow the client is and if theyre just going to throw money at it. I worked on an advert before when they asked for something really different that represented their product and we found the perfect piece and it was within their thirty thousand pound budget and then that was the initial brief but in the end they ended up going for a completely different mainstream pop music and ended up paying one hundred and twenty grand, so that was completely different from the whole we really want something that relates to our product on a national level because were really proud of it and then they just went for American commercial music. But if a brand wants an artist, which we see a lot with alcohol companies, to be seen as their band, which Smirnoff do quite a lot with DJs, its more like an endorsement kind of thing.
83 | P a g e
Result 18
Lawrence McKay Grouped Answer from Question Six

I worked on an advert before when they asked for something really different that represented their product and we found the perfect piece and it was within their thirty thousand pound budget and then that was the initial brief but in the end they ended up going for a completely different mainstream pop music and ended up paying one hundred and twenty grand, so that was completely different from the whole we really want something that relates to our product on a national level because were really proud of it and then they just went for American commercial music. But if a brand wants an artist, which we see a lot with alcohol companies, to be seen as their band, which Smirnoff do quite a lot with DJs, its more like an endorsement kind of thing.
Attributes
84 | P a g e

I worked on an advert before when they asked for something really different that represented their product and we found the perfect piece and it was within their thirty thousand pound budget and then that was the initial brief but in the end they ended up going for a completely different mainstream pop music and ended up paying one hundred and twenty grand, so that was completely different from the whole we really want something that relates to our product on a national level because were really proud of it and then they just went for American commercial music. But if a brand wants an artist, which we see a lot with alcohol companies, to be seen as their band, which Smirnoff do quite a lot with DJs, its more like an endorsement kind of thing.
Consequences
I worked on an advert before when they asked for something really different that represented their product and we found the perfect piece and it was within their thirty thousand pound budget and then that was the initial brief but in the end they ended up going for a completely different mainstream pop music and ended up paying one hundred and twenty grand, so that was completely different from the whole we really want something that relates to our product on a national level because were really proud of it and then they just went for American commercial music.
End Term State
But if a brand wants an artist, which we see a lot with alcohol companies, to be seen as their band, which Smirnoff do quite a lot with DJs, its more like an endorsement kind of thing.
85 | P a g e
Question Six Commonalities
Responses found end-term states and abstract attributes to be highly influential within this question topic, representation and engagement were commonly referenced. Responses found psychological and functional consequences to be influential within this question topic, reputation, engagement and importance of music to projects were commonly referenced.
86 | P a g e
David Bass
Question
7. How varied are the fees paid between a prestige act and a lesser known artist?
It can be anything, most of the time its what the client has in the budget. If the client only has five grand in the budget it doesnt matter if you think its worth it. If you cant get it for five grand then youll go and find something that you can clear for five grand.
87 | P a g e
Result 19
David Bass Grouped Answer from Question Seven

Abstract Attributes
88 | P a g e
Ben Bleet
Question
How varied are the fees paid between a prestige act and a lesser known artist?
It depends what people are willing to pay, offer and accept really. You never know so there is definitely disparity but again someone who hasnt had a lot of luck on radio one compared to someone who has, it depends on whether they are on the same level, it really depends.
89 | P a g e
Result 20
Ben Bleet Grouped Answer from Question Seven

Attributes
90 | P a g e

Lawrence McKay
Question
How varied are the fees paid between a prestige act and a lesser known artist?
I think they can be very elitist, it just depends because if you pick the perfect piece of music and its from a band that youve just signed and no one knows who they are and a big brand comes out and Sais this is our budget we want something that will blow our minds what have you got? And you come back with some little band and it suits them perfectly then theyll go brilliant and give you the money.
91 | P a g e
Result 21
Lawrence McKay Grouped Answer from Question Seven

Attributes
92 | P a g e

Question Seven Commonalities
Responses found abstract attributes to be highly influential within this question topic, broadcasting levels and worth are referenced. Responses found Psychological consequences to be influential within this question topic, broadcasting levels and degree of fit are referenced.
93 | P a g e
David Bass
Question
If a client wants to reach a specific market or portray a message do they use the choice of music to achieve this and does it affect the price theyre willing to pay?
Yeah, for example O2 licensed foster the people last year for their priority moments ad in the UK, that was because they wanted to tap into the cool kind of east London kids. And they knew that those kids were into foster the people at that time and they would engage with that and probably use o2 priority moments.
94 | P a g e
Result 22
David Bass Grouped Answer from Question Eight

Abstract Attributes
95 | P a g e
Ben Bleet
Question
They can do, its interesting because a lot of brands still havent gone to the trouble of being knowledgeable. But i hope it does happen because its a big opportunity having hyper local targeting music, so looking up the up and coming bands in Cardiff and reading and in Liverpool and then potentially working with them on some kind of level. Some people do look at styles, interestingly everyone is obsessed with the youth market because they are tomorrows customers but a lot of the time they ignore the older market. A part from the holiday market its not about being cool but they still love music so it might be classical, it really depends on what they are trying to achieve. Id always dont choose one style of music choose four because everyones got such a wide range of taste because in the old days you used to be into rock or hip hop or you might be a punk and you just liked those niche things because that was your identity. But then now your identity is more about music you like rather being in one tribe, sometimes you will see these brands using more radio two or radio three artists if they can but it depends on how strategic they are about it.
96 | P a g e
Result 23
Ben Bleet Grouped Answer from Question Eight

Some people do look at styles, interestingly everyone is obsessed with the youth market because they are tomorrows customers but a lot of the time they ignore the older market. A part from the holiday market its not about being cool but they still love music so it might be classical, it really depends on what they are trying to achieve. In the old days you used to be into rock or hip hop or you might be a punk and you just liked those niche things because that was your identity. But then now your identity is more about music you like rather being in one tribe, sometimes you will see these brands using more radio two or radio three artists if they can but it depends on how strategic they are about it.
Attributes
97 | P a g e

Some people do look at styles, interestingly everyone is obsessed with the youth market because they are tomorrows customers but a lot of the time they ignore the older market. A part from the holiday market its not about being cool but they still love music so it might be classical, it really depends on what they are trying to achieve. In the old days you used to be into rock or hip hop or you might be a punk and you just liked those niche things because that was your identity. But then now your identity is more about music you like rather being in one tribe, sometimes you will see these brands using more radio two or radio three artists if they can but it depends on how strategic they are about it. Some people do look at styles, interestingly everyone is obsessed with the youth market because they are tomorrows customers but a lot of the time they ignore the older market. A part from the holiday market its not about being cool but they still love music so it might be classical, it really depends on what they are trying to achieve.
Lawrence McKay
Question
8. If a client wants to reach a specific market or portray a message do they use the choice of music to achieve this and does it affect the price theyre willing to pay?
Yeah its very much like a demographic study, if youre aiming a new toy at 13-15 year olds; youre going to use what is hip right now to 13-15 year olds. Youre not going to use bands like the black keys and the Foo fighters because they wont be in to that as much as something like the Jonas brothers, its choosing your market and spending correctly. There is no point in spending a hundred thousand pounds for something unknown to those minors; youre going to be using something like Taylor Swift.
98 | P a g e
Result 24
Lawrence McKay Grouped Answer from Question Eight

Attributes
99 | P a g e

Commonalities in Question eight
Responses found end-term states, psychological consequences and abstract attributes to be highly influential within this question topic, markets, cool and hip references were commonly mentioned.
100 | P a g e
David Bass
Question
How much of a role does the cool factor; whats considered cool play on the choice of music and what is paid for the music do they want to be unique, individualised, prestigious?
Some brands have the cool factor and some brands dont. Pedigree will never use cool music where as brands like o2, Budweiser and carling you can tell that invest a lot more in music. Most of the smaller brands for example Pantene, surf and Cif, most of the music they use is composed and pretty generic. Its the bigger brands and the cooler brands that are spending the bigger money on the trexs and the Elvis Presley tracks and whatever else. They want to be seen as cool, theyve got something to live up to. As soon as Budweiser put like Jedward on their ad everyones going to be like Budweiser is shit.
101 | P a g e
Result 25
David Bass Grouped Answer from Question Nine

Abstract Attributes
Some brands have the cool factor and some brands dont. Pedigree will never use cool music where as brands like o2, Budweiser and carling you can tell that invest a lot more in music. Most of the smaller brands for example Pantene, surf and Cif; most of the music they use is composed and pretty generic. Its the bigger brands and the cooler brands that are spending the bigger money on the T-rexs and the Elvis Presley tracks and whatever else. They want to be seen as cool, theyve got something to live up to. As soon as Budweiser put like Jedward on their ad everyones going to be like Budweiser is shit.
102 | P a g e

Most of the smaller brands for example Pantene, surf and Cif, most of the music they use is composed and pretty generic. Its the bigger brands and the cooler brands that are spending the bigger money on the trexs and the Elvis Presley tracks and whatever else. They want to be seen as cool, theyve got something to live up to. As soon as Budweiser put like Jedward on their ad everyones going to be like Budweiser is shit.
Most of the smaller brands for example Pantene, surf and Cif; most of the music they use is composed and pretty generic. Its the bigger brands and the cooler brands that are spending the bigger money on the T-rexs and the Elvis Presley tracks and whatever else. They want to be seen as cool, theyve got something to live up to. As soon as Budweiser put like Jedward on their ad everyones going to be like Budweiser is shit.
Ben Bleet
Question
9. How much of a role does the cool factor; whats considered cool play on the choice of music and what is paid for the music do they want to be unique, individualised, prestigious?
Id put it into the status thing, Carl Barat got used by orbit and wells fashion brand and modelled their range and he would never of got that if he wasnt part of the libertines, he was like the clean option. Sometimes if you are from the right label and that it will help you and at the end of the day if people see you in the right light and youre in the right places theyll want to use you.
103 | P a g e
Result 26
Ben Bleet Grouped Answer from Question Nine

Attributes
104 | P a g e

Lawrence McKay
Question
It depends, if you have a brand that is trying to re design themselves they want music that is going to make them stand out. The number one people who do that are banks, the banks dont have peoples trust so theyll do a new advertising campaign and theyll want the music to stand out such as Lloyds TSB with the advert on the train and the weird bespoke music and nationwide theyve got the piano, they do it so they catch you. Whereas if youre advertising something fun and exciting youre going to want to go for something black keys or white stripes kind of music because its really cool and edgy rather than your bespoke you want something thats like yeah its rock its fun its cool rather than something thats like oh I remember that song because its the annoying nationwide song. But loads of people when they need something like car insurance theyll think of the go compare song, so it works.
105 | P a g e
Result 27
Lawrence McKay Grouped Answer from Question Nine

It depends, if you have a brand that is trying to re design themselves they want music that is going to make them stand out. The number one people who do that are banks, the banks dont have peoples trust so theyll do a new advertising campaign and theyll want the music to stand out such as Lloyds TSB with the advert on the train and the weird bespoke music and nationwide theyve got the piano, they do it so they catch you. Whereas if youre advertising something fun and exciting youre going to want to go for something black keys or white stripes kind of music because its really cool and edgy rather than your bespoke you want something thats like yeah its rock its fun its cool rather than something thats like oh i remember that song because its the annoying nationwide song. But loads of people when they need something like car insurance theyll think of the go compare song, so it works.
Attributes
106 | P a g e

It depends, if you have a brand that is trying to re design themselves they want music that is going to make them stand out. The number one people who do that are banks, the banks dont have peoples trust so theyll do a new advertising campaign and theyll want the music to stand out such as Lloyds TSB with the advert on the train and the weird bespoke music and nationwide theyve got the piano, they do it so they catch you. Whereas if youre advertising something fun and exciting youre going to want to go for something black keys or white stripes kind of music because its really cool and edgy rather than your bespoke you want something thats like yeah its rock its fun its cool rather than something thats like oh i remember that song because its the annoying nationwide song. But loads of people when they need something like car insurance theyll think of the go compare song, so it works.
Consequences
It depends, if you have a brand that is trying to re design themselves they want music that is going to make them stand out. The number one people who do that are banks, the banks dont have peoples trust so theyll do a new advertising campaign and theyll want the music to stand out such as Lloyds TSB with the advert on the train and the weird bespoke music and nationwide theyve got the piano, they do it so they catch you.
End Term State
107 | P a g e
Commonalities in Question Nine
Responses found that psychological consequences and abstract attributes are highly influential within this question topic; social standing, reputation and social behaviour are referenced. Responses found that end term states are influential within this question topic, re design and standards were referenced.
108 | P a g e
David Bass
Question
10. How much does the price paid for a similar synchronisation effect the price a client willing to pay for a piece of music, do they use past fees or market standards as a precedent?
Yeah i would say if Muller paid x amount for their advert last year they would expect to pay the same amount this year. So I think clients do use fees for precedents and so do we, when were talking to publishers and labels well say, well look last year you quoted us this for this so how could you be quoting us this for this? So we use it to our advantage, not when its not to our advantage, so thats all part of the negotiating process. So a lot of the time when youll get really good deals from publishers and labels theyll say look this is on a non precedent basis, so that you cant use that next time. But ultimately every track is negotiable and these days because sync is so important and such an important revenue stream youll find any publisher will be willing to talk on fees.
109 | P a g e
Result 28
David Bass Grouped Answer from Question Ten

Yeah I would say there is, so if Muller paid x amount for their advert last year they would expect to pay the same amount this year. So i think clients do use fees for precedents and so do we, when were talking to publishers and labels well say, well look last year you quoted us this for this so how could you be quoting us this for this? So we use it to our advantage, not when its not to our advantage, so thats all part of the negotiating process. So a lot of the time when youll get really good deals from publishers and labels theyll say look this is on a non precedent basis, so that you cant use that next time. But ultimately every track is negotiable and these days because sync is so important and such an important revenue stream youll find any publisher will be willing to talk on fees.
Attributes
110 | P a g e

Yeah I would say there is, so if Muller paid x amount for their advert last year they would expect to pay the same amount this year. So I think clients do use fees for precedents and so do we, when were talking to publishers and labels well say, well look last year you quoted us this for this so how could you be quoting us this for this? So we use it to our advantage, not when its not to our advantage, so thats all part of the negotiating process. So a lot of the time when youll get really good deals from publishers and labels theyll say look this is on a non precedent basis, so that you cant use that next time. But ultimately every track is negotiable and these days because sync is so important and such an important revenue stream youll find any publisher will be willing to talk on fees.
Consequences
Yeah I would say there is, so if Muller paid x amount for their advert last year they would expect to pay the same amount this year. So i think clients do use fees for precedents and so do we, when were talking to publishers and labels well say, well look last year you quoted us this for this so how could you be quoting us this for this? So we use it to our advantage, not when its not to our advantage, so thats all part of the negotiating process. So a lot of the time when youll get really good deals from publishers and labels theyll say look this is on a non precedent basis, so that you cant use that next time. But ultimately every track is negotiable and these days because sync is so important and such an important revenue stream youll find any publisher will be willing to talk on fees.
End Term State
111 | P a g e
Ben Bleet
Question
10 How much does the price paid for a similar synchronisation effect the price a client willing to pay for a piece of music, do they use past fees or market standards as a precedent?
It depends on the paradigm, a general thing for Saatchi and Saatchi was that every year they would reduce their music budget and be asking if they could get this for this. The budget will be set by the creative and the agency will argue it but the publisher will always say so and so got this for that and they paid this much, thats always the conversation really. So its a stereotypical brand versus record company conversation.
112 | P a g e
Result 29
Ben Bleet Grouped Answer from Question Ten

Attributes
113 | P a g e

Lawrence McKay
Question
It depends on how much money the brand has, if you get some completely unknown brand saying I want your music but I want it for a year all media and a thirty second clip but we only have ten thousand pounds, whereas you could get a company like McDonalds who come in and say we want all of that then were not going to clear it for that because were going to say it will be say forty grand for you because you have that much, it all depends on the company behind it. Quite often youll get a brief that will say its for a client who doesnt wish to be named or they just say its a fast food client or a supermarket client. But that can range anywhere from co-op to Asda or it can be the local kebab shop or McDonalds. They have every right to do that because why should they have to pay four times the amount someone else would but at the same time why shouldnt you exploit someone else when theyre trying to exploit you at the same time.
114 | P a g e
Result 30
Lawrence McKay Grouped Answer from Question Ten

It depends on how much money the brand has, if you get some completely unknown brand saying I want your music but I want it for a year all media and a thirty second clip but we only have ten thousand pounds, whereas you could get a company like McDonalds who come in and say we want all of that then were not going to clear it for that because were going to say it will be say forty grand for you because you have that much, it all depends on the company behind it.
Attributes
115 | P a g e
why should they have to pay four times the amount someone else would but at the same time why shouldnt you exploit someone else when theyre trying to exploit you at the same time.
Question ten commonalities
Responses found that abstract attributes are highly influential within this question topic, reputation and market prices were commonly referred to. Responses found that psychological consequences were influential within this question topic, precedents were commonly referred to.
116 | P a g e
David Bass
Question
11. What effect does a clients budget have on the price willing to be agreed for the use of a piece of music?
Sometimes a client will say weve got twenty grand, you find a track and its James Brown and you know its going to cost eighty grand. Theres nothing you can do about the price because the publisher knows its a massive track and theyre not going to let it go for less and the client loves it so much they suddenly find an extra sixty grand in the budget, it happens all the time. If it works so well on the creative the client would rather spend the money and have the best advert they can have rather than make do and just find a cheaper track. But it depends because some clients will just go for the cheaper track.
117 | P a g e
Result 31
David Bass Grouped Answer from Question Eleven

Sometimes a client will say weve got twenty grand, you find a track and its James Brown and you know its going to cost eighty grand. Theres nothing you can do about the price because the publisher knows its a massive track and theyre not going to let it go for less and the client loves it so much they suddenly find an extra sixty grand in the budget, it happens all the time
Attributes
118 | P a g e
If it works so well on the creative the client would rather spend the money and have the best advert they can have rather than make do and just find a cheaper track. But it depends because some clients will just go for the cheaper track.

Sometimes a client will say weve got twenty grand, you find a track and its James Brown and you know its going to cost eighty grand. Theres nothing you can do about the price because the publisher knows its a massive track and theyre not going to let it go for less and the client loves it so much they suddenly find an extra sixty grand in the budget, it happens all the time
If it works so well on the creative the client would rather spend the money and have the best advert they can have rather than make do and just find a cheaper track. But it depends because some clients will just go for the cheaper track.
Ben Bleet
Question
11 What effect does a clients budget have on the price willing to be agreed for the use of a piece of music?
It really depends on what they want to do with that artist, if they want that artist then theyll put a lot more money into the campaign, into the budget. I think generally 5-10% is a fair amount of the music budget for the campaign but that can vary massively. There are so many people still that dont think about the music until its too late, a while ago a big brand spent a huge amount of money on a huge live event, the DJs were getting paid a lot of money and they filmed it and wanted to use a track and they didnt have a budget for it. I had to call up the guy and try and get it for five hundred quid and the guy told me to stick in where the sun dont shine and rightly so. They asked well how much did they pay for that, how much did they get paid for that and you cant really argue with that. So a lot of people have the psychology that eventually theyll find something that is affordable or that they can get for nothing.
119 | P a g e
Result 32
Ben Bleet Grouped Answer from Question Eleven

I had to call up the guy and try and get it for five hundred quid and the guy told me to stick in where the sun dont shine and rightly so. They asked how much was paid for that, how much did they get paid for that and you cant really argue with that.
Attributes
120 | P a g e

I had to call up the guy and try and get it for five hundred quid and the guy told me to stick in where the sun dont shine and rightly so. They asked how much was paid for that, how much did they get paid for that and you cant really argue with that.
It really depends on what they want to do with that artist, if they want that artist then theyll put a lot more money into the campaign, into the budget. I think generally 5-10% is a fair amount of the music budget for the campaign but that can vary massively. So a lot of people have the psychology that eventually theyll find something that is affordable or that they can get for nothing.
Lawrence McKay
Question
11 What effect does a clients budget have on the price willing to be agreed for the use of a piece of music?
Lawrence McKay Key points of answer: It depends who youre working with, if you send that brief to someone like universal and say you want someone big then theyre not going to pitch it to you because if you send a pitch to universal, universal are going to send you back all the new signings and none of the good stuff. If you want a catalogue or relatively known artist who are of a workable standard of music then obviously its going to work better and if youre going to offer ten grand then quite a lot of people will take that ten grand because its ten grand.
121 | P a g e
Result 33
Lawrence McKay Grouped Answer from Question Eleven

It depends who youre working with, if you send that brief to someone like universal and say you want someone big then theyre not going to pitch it to you because if you send a pitch to universal, universal are going to send you back all the new signings and none of the good stuff. If you want a catalogue or relatively known artist who are of a workable standard of music then obviously its going to work better and if youre going to offer ten grand then quite a lot of people will take that ten grand because its ten grand.
Attributes
122 | P a g e
Commonalities in question eleven
Responses found that abstract attributes, psychological consequences and end-term states are highly influential within this question topic, reputation, targets and social standings are commonly referenced.
123 | P a g e
David Bass
Question
12 Does the prestige or reputation of the record company or publisher of the artist have an effect on what music is chosen by a client and the price they would pay and why?
No, with music supervisors it does because were all musos and into it, but i dont think clients care really. But i think sometimes the coolness of a label can work against them, for example XL who are very cool and hard, theyre less easy to work with because theyve got great tracks and they dont need the money and whatever else, it can almost put you off wanting to license from them.
124 | P a g e
Result 34
David Bass Grouped Answer from Question Twelve

But i think sometimes the coolness of a label can work against them, for example XL who are very cool and hard, theyre less easy to work with because theyve got great tracks and they dont need the money and whatever else, it can almost put you off wanting to license from them.
Attributes
125 | P a g e

But I think sometimes the coolness of a label can work against them, for example XL who are very cool and hard, theyre less easy to work with because theyve got great tracks and they dont need the money and whatever else, it can almost put you off wanting to license from them.
Ben Bleet
Question
12 Does the prestige or reputation of the record company or publisher of the artist have an effect on what music is chosen by a client and the price they would pay and why?
I think most of the time no, most of the time its about the artist. If its for a campaign, i mean Moshi Moshi is a good one because they have a lot of new talent. When I created some content for Guinness i basically worked for a guy called James who done a cover song and him being on Moshi Moshi was a really good way to sell it to the client because we could say, this artist is signed to Moshi Moshi the label that discovered bloc party, hot chip, dance machine and that was brilliant. So there are times when using certain labels is to your benefit and i only went there when we got sent back four times on the creative direction. As soon as you put that on the table the reputation helps. When you deal with pr and social media companies the reputation of a label can play a part.
126 | P a g e
Result 35
Ben Bleet Grouped Answer from Question Twelve

I think most of the time no, most of the time its about the artist. If its for a campaign, I mean Moshi Moshi is a good one because they have a lot of new talent. When I created some content for Guinness i basically worked for a guy called James who done a cover song and him being on Moshi Moshi was a really good way to sell it to the client because we could say, this artist is signed to Moshi Moshi the label that discovered bloc party, hot chip, dance machine and that was brilliant. So there are times when using certain labels is to your benefit and i only went there when we got sent back four times on the creative direction. As soon as you put that on the table the reputation helps. When you deal with pr and social media companies the reputation of a label can play a part.
Attributes
127 | P a g e

I think most of the time no, most of the time its about the artist. If its for a campaign, I mean Moshi Moshi is a good one because they have a lot of new talent. When I created some content for Guinness i basically worked for a guy called James who done a cover song and him being on Moshi Moshi was a really good way to sell it to the client because we could say, this artist is signed to Moshi Moshi the label that discovered bloc party, hot chip, dance machine and that was brilliant. So there are times when using certain labels is to your benefit and i only went there when we got sent back four times on the creative direction. As soon as you put that on the table the reputation helps. When you deal with pr and social media companies the reputation of a label can play a part.
Lawrence McKay
Question
12. Does the prestige or reputation of the record company or publisher of the artist have an effect on what music is chosen by a client and the price they would pay and why?
The most is artist, because we may have an artist that sounds exactly like black keys but if they can actually get the black keys then everyone is going to say its black keys, its brilliant. Not so much for the record label or the publisher, you dont see it as prestige when you say oh theyre signed to BMG they say fuck, its more of a ball ache having to go to a major rather than an indie, because majors are just massive dickheads really and they make life so much harder. They have massive overheads so they expect a huge income and their terms and contracts are so hard to work with rather than saying yep done, where is our modestly priced cheque.
128 | P a g e
Result 36
Lawrence McKay Grouped Answer from Question Twelve

Attributes
129 | P a g e
Commonalities in question twelve
Responses found that abstract attributes and psychological consequences are highly influential within this question topic, reputation was commonly referenced.
130 | P a g e
Overall Commonalities of all questions
Responses heavily reference abstract attributes from all elites within 92% of questions, with 64 % of those responses commonly mentioning themes of artist status, characteristics and reputation. Responses again heavily reference psychological consequences from all elites within 58% of questions and are again referenced by two elites in a further 33% of questions with 64% of those responses commonly mentioning artist status, characteristics and reputation. End-term state references are referred to by all elites within 50% of questions and referenced to by two elites in 17% of questions. Responses also commonly referenced functional consequences from two elites within 33% of questions
131 | P a g e
Discussion
Introduction The results of this study have given rise to several conclusive interpretations into the prominent factors which contribute to the formulation of perceived value within music synchronisation. As depicted within the literature review, perceived value, meaning transfer and match up hypothesis studies can be interpreted within the means-end chain model to link commonalities in the literature. By obtaining results within the context of the means-end chain model sections it is now possible to decipher and interpret the findings in comparison to the underlying themes and constructs within the literature to conclude the significance and wider implications of this study.
132 | P a g e
Abstract Attributes (when referred to results see abstract attribute section)
The most crucial findings of this study stem from the importance of noneconomic, abstract attributes within the construction of perceived value in music synchronisation licenses for brand advertisements. As the abstract attributes sections of the grouped results show (See Results), there is a phenomenal emphasis on artist status, artist characteristics and artist reputation within the determination of perceived value in music synchronisation licenses for brand advertisements. As these factors are intangible, subjective characteristics of a product (Peter and Olson, 1993 cited in Jantrania, 2002, p.84) with the product being the music chosen for the synchronisation, they can be defined as abstract attributes and prove likewise to the studies of Li and Green (2011), Kotler (1972) and others (See Zeithaml, 1988; Monroe, 1990; Dodds et al., 1991; Gale, 1994; Nessim and Dodge, 1995; Christopher, 1996; Woodruff and Gardial, 1996; Woodruff, 1997; Grewal et al., 1998; Naumann and Jackson, 1999; Snoj in Zavrsnik and Male, 1999; Skater and Narver, 2000) that non-economic factors play a significant role in the determination of perceived value within music synchronisation licenses for brand advertisements.
133 | P a g e
The grouped abstract attributes results show the most influential non-economic factors within the perceived value of music synchronisation are artist status, artist characteristics and artist reputation (See Overall Commonalities of all questions in results). These results draw importance upon measurements and meaning transfer within the construction of perceived value in the context of music synchronisation licenses for brand advertisements. The elites references to cool brands being matched with cool artists (See Result 1) higher priced synchronisations being popular music (See Results 2 and 31) and popular brands going for popular music (See Result 3) conveys likewise to McCrackens (2005) study that meaning subsists within the cultural, physical and social world which is constituted by the principles of the prevailing culture and when the advertiser decides what they want the product to say, they survey the culturally constituted world for the objects, persons and contexts that already contain these elements to allow for the transfer of value from the celebrity to the product (See Appendices I).
As the results indicate artists characteristics, specifically their behaviour, can have an impact on the perceived value of the music synchronisation license for a brand advertisement. The elites emphasised the importance of artist behaviour in the context of YouTube (See Result 4) and in the context of Pete Doherty and clothing brands (See Result 5), interestingly they referenced Pete Dohertys behaviour to be rock and roll and cool (See Result 5) which likewise to McCrackens (2005) Study demonstrates rock stars invent and reinvent the possibilities of the adolescent self (McCracken, 2005, p.111). These results indicate that Likewise to Seno and Lukas (2007) literature on the celebrity activation role, brands single out celebrities activities and achievements including socially desirable behavioural conduct, lifechanging events, or changes in fortune (Seno and Lukas, 2007, p.128) to communicate the brands association and enhance their image.
134 | P a g e
Degree of fit (when referred to results see abstract attributes section)
These findings are further emphasised by the elites reference to not putting a known alcoholic forward for a drinks brand (See Result 1), not using Gary Glitter for a Childrens brand (See Result 2) and O2 licensing an artist due to their popularity with their target audience (See Result 22), which likewise to the match up hypothesis literature, specifically of Choi et al (2005) indicates that a synchronisation is more effective and therefore higher in perceived value when the images or characteristics of the celebrity are well matched with the endorsed product. (Choi, Wei-Na and Hee-Jung, 2005, p.86)
This hypothesis is again emphasised by the O2 and foster the people reference (See result 22) which similarly to Schiffman and Kanuks (2003) study indicates It is possible to alter attitudes toward products, services and brands by pointing out their relationships to particular social groups.(Schiffman and Kanuk, 2003, p.273) Pointing out the relationship allows, as McCrackens (2005) hypothesis demonstrates, the value to transfer from the artist to the product. These results therefore indicate that the greater the artists status, characteristics and cultural reputation in context to the degree of fit to the brand and their campaign, the higher the perceived value of the synchronisation license.
135 | P a g e
Conclusively these results indicate that as the popular music with the cultural reputation has the greatest value, the perceived value of music synchronisation licenses for brand advertisements is subject to Parasuraman and Grewals (2000) acquisition value; the benefits received for the monetary price given. These results indicate that in the context of music synchronisation licenses, these benefits are direct derivatives of the cultural reputation instilled upon the artist which can be transferred to the product. Therefore likewise to Sheth et al (1991) and Sweeney and Soutars (2001) hypothesiss the perceived value of music synchronisation licenses for brand advertisements has a fundamental reliance upon social factors and subsequently likewise to Kantamneni and Coulsons (1996) studies depict, is subject to societal value. As these benefits have to be sought for and understood, the results indicate that likewise to Berry and Yadavs (1996) research the perceived value of a music synchronisation license is subject to search and experience attributes.
136 | P a g e
Psychological Consequences (When referred to results see Psychological Consequence section)
Likewise to the study of Peter & Olson (1993) the results of this study indicate that the meaning of an attribute is given by the consequences Consumers perceive that it leads to (Peter and Olson, 1993 cited in Jantrania, 2002, p.84).The elites substantial emphasis on artist status characteristics, and reputation within the psychological consequence section of the grouped results (See Overall Commonalities of all questions in results) portrays the interconnection between the attributes desired by brands and the subsequent consequences they wish to achieve. As the results indicate that brands perceive the value of a music synchronisation license for advertisements to be the extent at which they can transfer the highest amount of relevant cultural reputation and value endowed upon an artist to their product, in order to reach and engage their target market more effectively.
As the elites reference to borrowing equity from an artist to give the brand more credibility (See Result 10), partnership promotion (See Result 11) and brands showing they can afford more established artists (See Result 12) demonstrate, the societal value and social factors are valued by brands due to their ability to consequently enhance their image and reputation within those social groups, which portrays that brands most valued consequences are psychological consequences; those social and psychological consequences associated with certain attributes. This is a key finding as it indicates that likewise to Bhattacharya and Singhs (2008) study The attribute level elements too are linked to the consequence level in that they should be aligned to them (Bhattacharya and Singh, 2008, p.68) and subsequently allow brands to, as Lee and Lin (2011) note, attract attention.
137 | P a g e
This hypothesis is further indicated by the elites reference to music engaging with an audience and changing peoples feelings (See Result 16), music representing products (See Result 18), brands wanting bands to be seen as their band (See result 18) and O2 selecting an artist popular with a target market they wish to engage with (See Result 22). These results indicate that the perceived value of a music synchronisation license for brand advertisements stems from the aforementioned ability of transferring cultural meaning and societal value from the artist into the product to change or enhance targeted societal groups feelings, views and opinions on their product. Likewise to Seno and Lukass (2007) study, a brands perceived value of an artists track for a synchronisation license can be succinct to their ability to affect the brand equity of the endorsed product through augmenting the products brand image (Seno and Lukas, 2007, p124)
The importance of obtaining this psychological consequence of enhancing the brands image within targeted social groups is a point once again emphasised by the elites in their reference towards bigger cooler brands spending more money on bigger artists with more cultural reputation to be seen as cool and living up to their reputation (See Result 25), the effect of ill matched synchronisations in the context of Budweiser and Jedward (See Result 25) and the ability to use music to re design a brands image (See Result 27) in the results. These results once again indicate that brands perceive the value of a music synchronisation license for advertisements to be the extent at which they can transfer the highest amount of relevant cultural reputation and value endowed upon an artist to their product, in order to reach and engage their target market more effectively.
138 | P a g e
The wrong choice of artists track for a brand such as demonstrated in the results (See Result 27) could transfer the wrong cultural reputation and damage the brands image within the social group they wish to engage with. As Granlund and Grenros (2009) noted low perceived expense could have a negative effect on highreputation brands as consumers expect more from them. (Granlund and Grenros, 2009, p.158) this can actually lead to perceptions of inequitable exchange, where consumers feel that the marketer gives little in return for their participation in the advertising exchange. (Granlund and Grenros, 2009, p.158).
Therefore the brands perception of value on a music synchronisation license depends on the degree of fit the cultural reputation of the artist has with the brand and their product. This can have an overwhelming impact on perceived value as managing consumer-perceived value is crucial to marketers, as marketing efforts that increase perceived value automatically generate higher intentions to buy and recommend the brand to others. (Granlund and Grenros, 2009, p.158)
139 | P a g e
Likewise to the indications of the study by Bryne et al (2003) the perceived value of a music synchronisation license for brand advertisements comes from the artists ability to persuade the targeted social group of the brand that their cultural reputation is succinct to the brands through a process of identification. The receiver is then motivated to seek a relationship with the source and adopts a similar position in terms of beliefs, attitudes, preferences or behaviour (Byrne et al, 2003, p.292). These results therefore indicate that likewise to Till and Buslers (1998) conceptions, brands play special attention to select artists who have a direct connection with their endorsed product and who are perceived to be experts by the target audiences. (Till and Busler, 1998 cited in Byrne et al, 2003, p.292) Indicating that the more connected and considered as experts to the brands target social group the artist is, the greater the perceived value of the synchronisation license of a track from that artist is to the brand.
As the elites reference to the ability of music to help re design damaged brands (See Result 27) indicates, likewise to Schiffman and Kanuks (2003) study of attitude change strategies, brands can use the successful persuasion of succinct cultural reputation to resolve negative attitudes towards their brand. These results indicate that the better the degree of fit of the artists track to the brand and the higher the level of cultural reputation they manage to persuade the targeted social group is succinct with the brand, the higher the perceived value of the music synchronisation license for the brand advertisement will be.
140 | P a g e
Functional Consequences (when referred to results see Functional Consequences section)
The results of this study indicate that the perceived value of a music synchronisation license for brand advertisements is subject to functional consequences interconnected with the desired psychological consequences. As aforementioned the perceived value of a music synchronisation license relies upon the ability of an artists relevant cultural reputation to be transferred to the brand in order to persuade the targeted social group to adopt the brand as part of their own attitudes, preferences and behaviours. However the results of this study also indicate that the ability to reach the maximum amount of the targeted social group also has an overbearing impact on the perceived value of a music synchronisation license for brand advertisements. As the elites references to the curvilinear effect between the amount of people reach and the price paid for the synchronisation license (See Results 10, 11, 14 and 15) indicates the media format, territories and length of contract can impact on the perceived value of the synchronisation license.
Furthering from this, the elites reference to the successful fit between a brand and an artist leading to the raising of awareness and promotion of sales (See Results 9 and 10) indicates that the strategic partnership between a brand and an artist leading to mutual beneficiaries outside of the synchronisation license can impact on the perceived value of the synchronisation license. This is emphasised by the elites reference to Apple not paying for music synchronisation licenses (See Result 10) and gives rise to the conception that a brands cultural reputation can also be transferred back to the artist, with the functional consequences of promoting sales for the artist impacting on the perceived value of the synchronisation license.
141 | P a g e
This is an important indication as likewise to Parasuraman and Grewals (2000) study, these results announce that a brands perceived value of a synchronisation license is subject to in use value, as it can be reliant upon the functional consequences of using the product, which Peter and Olson (1993) describe arises from the successful choice of attributes. These consequences have an impact on the perceived value of the music synchronisation license as likewise to Hendriksens (1970) belief portrays Expected earning power is considered a key source of value for both tangibles and intangibles (Hendriksen, 1970 cited in Jantrania, 2002, p.18)
Additionally the elites reference to the importance of music in completing an affective advertisement (See Results 1, 16 and 17) indicates that the perceived value of a synchronisation license is partially manifested from its ability to complete a brands advertisement and therefore is subject to Moliners (2007) functional dimension of perceived value as it is a subsequence of the economic utility derived from the attributes of the products and services. (Moliner, 2007, p.1397) But as the elites reference to the clients wants for the advert indicates (See Result 31) the effect of the perceived value being lowered or raised is dependent on the desired end-term states of the brand.
142 | P a g e
End-Term State (When referred to results see end -term states section)
As Reynolds and Gutman (1984) emphasised, consumers have an intuition to choose a product which could give rise to a desired consequence to achieve valued ends. Likewise to this, the results of this study show a brands perceived value of a music synchronisation license is established through a structure that links product attributes to the Consequences produced by these attributes, and, in turn, links these consequences with the values or end goals to which they lead (Gutman, 1982 and Olson and Reynolds, 1983 cited in Jantrania, 2002, p.30). Therefore, much like woodruffs (1997) hypothesis conveyed, the perceived value of a music synchronisation license in the context of brand advertisements is a brands perceived preference for and evaluation of those product attributes, attribute performances, and consequences arising from use that facilitate (or block) achieving the customers goals and purposes in use situations. (Woodruff, 1997 cited in Jantrania, 2002, p.28)
143 | P a g e
The elites references towards the importance of the brands budget or price willing to be paid (See Results 19, 30, 32 and 33) on the perceived value of a synchronisation license gives indication to the link between their desired consequences and desired end-term states, implying that the brands perceived value determination process is succinct with the means-end chain model. The elites reference to spending more money on bigger tracks because theyre cooler and the brand needs to live up to their reputation (See Result 25), spending more money on a track that works with the creative aim (See Result 31) and correspondingly not spending money on something the targeted social group cant relate to (See Result 24), indicates that likewise to the hypothesis of Moliner (2007) and others (See Dodds et al, 1991; Rapp and Collins, 1991, 1996; Grewal et al. , 1998; Cronin et al. , 1997, 2000; Bign et al. , 2001; Oh, 2003) perceived value is a construct configured of two dimensions, what is given for what is sacrificed.
These results indicate that in the context of a brands conception of the perceived value of a music synchronisation license, the higher the level and amount of succinct cultural reputation that is able to be transferred from the artist to the brand and the amount of the targeted social group they can reach and persuade to alter their behaviours, views and opinions on a brand; the societal factors and affective factors aforementioned in the psychological consequence sub section (what is given), the higher the value of the track for the synchronisation license is perceived to be, justifying a higher price to be paid; Moliners (2007) Functional factors of price exchanged for quality.
144 | P a g e
This indication is a key finding as it demonstrates that a brands desired end state, the extent at which they want to instil a desired amount of cultural reputation or alter perceptions on their brand by transferring the reputation from the artist and persuading the target social group that is succinct with their brand, in order to alter their behaviours, views and opinions as aforementioned is interconnected and partially curvilinear with the price paid. These results indicate that likewise to Agarwal and Teass (2001) and others (See Leavitt 1967; Hisrich, Dornoff, and Kernan 1972; Kelley 1958) studies which indicated consumers pay premiums for recognised products because they stand for quality, brands pay premiums for recognised artists within their desired target social group because of their ability to reduce the risk of failure; not persuading the targeted social group that their brands cultural reputation is succinct with the artists to alter their behaviour, views and interaction with their brand.
Furthering from this the elites reference to record labels not pitching artists of higher prestige for low budgets set by brands (See Result 33) indicates that much like the literature on perceived value discusses, the construct of the acceptable price range plays a role in the brands perceived value of a synchronisation license. As Dodds et al. (1991) indicated as price increases beyond the acceptable range, the perceptions of value (will) decline (and) thus, the relationship between price and perceived value should also be curvilinear. (Dodds et al, 1991, p.308.) It is evident to see that the aforementioned results which indicate the curvilinear affect of what is given for what is received on perceived value convey aspects of the acceptable price range. As they insinuate that the greater the perceived benefits received from the synchronisation license, the greater the perceived value instilled upon it. And likewise, as Result 33 indicates, lower benefits will incur lower perceived value.
145 | P a g e
As the literature suggests, any instances of the price being greater than the benefits of the synchronisation license received would diminish the perceived value of the license. This was highlighted in the results (See Results 28 and 30), which indicated likewise to the hypothesis of Olander (1970) the judgement upon this is based on recent market prices as a buyers price judgement is influenced by his perception of prevailing market prices and his perception of the price most frequently charged.(Olander, 1970 cited in Monroe, 1973, p.77) This hypothesis conveys that likewise to Bolton and Lemons (1999) study, the perceived value within music synchronisation licensing for brand advertisements is subject to the brands evaluation of what is fair, right, or deserved for the perceived cost of the offering (Bolton and Lemon, 1999 cited in Yang and Peterson, 2004, p.811).
The final consideration to discuss is the results indication of the impact of the timescale of obtaining a license on the perceived value of a synchronisation license for brand advertisements (See Result 8). This result indicates that much like Li and Greens (2011) and Kotlers (1972) studies conclude consideration and time can play a role in perceived value. Therefore its possible to hypothesise that timescale aims can be influential on the perceived value of the synchronisation license to a brand, dependant on their desired end-term states.
146 | P a g e
Conclusively these results are of significant importance to this study, as they prove the hypothesis that the perceived value of a music synchronisation license for a brand advertisement can be logically determined through the means-end chain model. By interpreting these results in light of past research on perceived value and meaning transfer literature, it was possible to acknowledge the active components and the extent of their effect on the construction of perceived value in the context of a music synchronisation license for brand advertisements.
However, the results of this study raise wider implications on the relationship between perceived value, meaning transfer and synchronisation licensing. To what extent specific artist status bearings, characteristics and behaviours impact on the perceived value of a synchronisation license for brand advertisements, or further, any synchronisation license is a topic to be further studied. As the specificity of this study in comparison to the overall synchronisation market is a limitation on how far the conclusions of this study can be interpreted, widening the synchronisation sections to be studied would be an improvement on this research.
147 | P a g e
Conclusion
In conclusion this study has achieved its aim by determining that there is a logical process behind the construction of perceived value within music synchronisation licenses for brand advertisements. By interpreting and collating commonalities within literature upon perceived value, the acceptable price range, meaning transfer theory and match up hypothesis into the means-end chain model, it was possible to form interview questions to distinguish the underlying constructs from which the perceived value of a music synchronisation license for a brand advertisement is formed. These questions were put to industry elites who conjointly contributed to distinguishing the factors which could be grouped as attributes, consequences and end term states in order to determine the process of concluding the perceived value of a music synchronisation license for a brand advertisement.
The results obtained from this study indicate that there is a means-end chain model framework which can be followed in order to better apprehend the perceived value of a music synchronisation license for a brand advertisement. The hypothesis concluded dictates that brands seek out abstract attributes of an artist; the artists status, characteristics and reputation alongside the level of their connection and expertise within the context of the degree of fit to the target social group the brand is targeting in the first step of the framework.
148 | P a g e
The brands do this in order to achieve specific psychological consequences; to reach and engage their target social group more effectively, to enhance their image and reputation within those social groups and to transfer cultural meaning and societal value from the artist into the brand to change or enhance the targeted societal groups feelings, views and opinions on their product. These consequences coupled by the desired functional consequences; to reach the maximum amount of the targeted social group, raise awareness and promote sales, to complete the advertisement and enhance earning power, constitute as the second step in the framework and are desired in order to reach a desired end-state.
The third step of the framework is a direct derivative of the abstract attributes, psychological and functional consequences desired by the brand, which the brand selects in order to achieve a desired end-term state; to obtain desired consequences for the price paid (maintain budget within prevailing market prices) and to complete an advertisement within a timescale. To emphasise this framework, a demonstration has been provided below on both the formulation of a low and high perceived value synchronisation license for a brand advertisement.
149 | P a g e
High perceived value for music synchronisation License

Abstract Attributes
Artist has high status and is a recognised figure Artist has desirable characteristics brand wishes to convey Artist has a good reputation and is considered to have expertise and connection with the product and target social group Artist has high degree of fit with brand and advertisement Reaches and engages target social group more effectively Enhances brand image and reputation within target social group Cultural meaning and Societal value are successfully transferred from the artist to the brand and change or enhance the targeted societal groups feelings, views and opinions on the product
Low perceived value for music synchronisation License

Artist is not a well recognised figure Artist has undesirable characteristics which the brand does not wish to convey Artist has a bad reputation and is not considered to have expertise or a high connection with the product and target social group
Degree of fit Psychological Consequences
Artist has low or no degree of fit with brand and advertisement Fails to reach and engage target social group Damages brand image and reputation within target social group Unwanted cultural meaning and societal value is transferred from the artist to the brand and fails to enhance or change the targeted societal groups feelings, views and opinions on the product
Reaches large amount of targeted social group Raises awareness and promotes sales Successfully completes the advertisement Enhances earning power obtain desired consequences for the price paid (maintain budget within prevailing market prices) complete advertisement within desired timescale
Reaches a low amount or none of the targeted social group Fails to raise awareness and promote sales Fails to complete the advertisements Does not enhance earning power Do not obtain desired consequences for the price paid (fail to maintain budget within prevailing market prices) Fail to complete advert within desired timescale
End-Term State
150 | P a g e
Using a qualitative research method within this study enabled for the clearest and most accurate results to be determined. By conducting elite interviews the most relevant and informed knowledge was able to be obtained and analysed for the purpose of the study. The semi structured format of interviews allowed for the elites to add additional in depth knowledge on the subject matter which a fully structured interview may have restricted. Furthermore the use of open coding, axial coding and quantitative descriptive statistics allowed for the results to be grouped and interpreted and subsequently analysed and concluded in the most effective manner.
This study brings to life further implications to be researched, specifically To what extent specific artist status bearings, characteristics and behaviours impact on the perceived value of a synchronisation license for brand advertisements, or further, any synchronisation license is a topic to be further studied. The results of this study and the further research recommended would have an impact on the real world situations of synchronisation licensing; allowing for both the licensor and licensee to better conceive the value of a synchronisation license and make detailed informed decisions on the choice of music to directly impact the success of their project.
The next step in this research would be to further examine the extent of the factors specifics on the perceived value of a synchronisation license in both brand advertising and the other stems of music synchronisation licensing; this would lead to a broader understanding of the perceived value of music synchronisation licenses. This research is of specific importance to brands, record companies, publishers and music supervisors within creative agencies, as the results are specific indications on the basis of their trade. Therefore these results will be made available to these companies and industry professionals to further enhance the knowledge upon the perceived value of music synchronisation licenses for brand advertisements.
151 | P a g e
Bibliography
Aberbach, J. And Rockman, B. (2002) Conducting and Coding Elite Interviews. Political Science and Politics, 4 (35), 673676.
Agarwal, S. and Teas, R. (2001) Perceived value: Mediating role of perceived risk. Journal of Marketing Theory and Practice, 9 (4), 1-14.
Anderson, J. And Narus, J. (1990) A model of distributor firm and manufacturer firm working partnerships. Journal of Marketing, 54 (1), 42-58.
Anderson, E. And Sullivan, M. (1993) The antecedents and consequences of customer satisfaction for the firms. Marketing Science, 12 (1), 125143.
Appadurai, A. (1986) The Social Life of things. Cambridge: Cambridge University Press.
Assael, H. (1995) Consumer Behaviour and Marketing Action. 5th ed. Ohio: South Western College Publishing.
Baker, M. And Churchill, G. (1977) The Impact if Physically Attractive Models on Advertising Evaluations, Journal of Marketing Research, 14 (11), 538-555.
Belch, G. And Belch, M. (1995) Introduction to advertising and promotion: An integrated marketing communications perspective. 3rd ed. Chicago: Irwin.
152 | P a g e
Berry, L. and Yadav, M. (1996) Capture and Communicate Value in the Pricing of Services. MIT Sloan Management Review, 37 (4), 41-51.
Benz, M. (2002) Musics silver lining: Publishing. Billboard. 114 (46), 94-100.
Bearden, W. And Shimp, T. (1982) The Use of Extrinsic Cues to Product Adoption. Journal of Marketing Research, 19 (2), 229-240
Bhattacharya, S. and Singh, D. (2008) The Emergence of Hierarchy in Customer Perceived Value for Services: A Grounded Analysis. Journal of American Academy of Business, Cambridge, 13 (1), 65-71.
Bogdan, R. and Biklen, S. (1982) Qualitative research for education: An introduction to theory and methods. Boston: Allyn and Bacon Inc.
Bolton, R. And Lemon, K. (1999) A dynamic model of customers' usage of services: Usage as an antecedent and consequence of satisfaction. Journal of Marketing Research, 36 (2), 171186.
Byrne, A., Whitehead, M. and Breen, S. (2003) The naked truth of celebrity endorsement. British Food Journal, 105 (4), 288-296.
Chi, H. K., Yeh, H. R., & Huang, M. W. (2009) The Influences of advertising endorser, brand image, brand equity, price promotion on purchase intention: The mediating effect of advertising endorser. The Journal of Global Business Management, 5 (1), 224-233.
Chi, H., Yeh, H.R. and Tsai, Y.C. (2011) The Influences of Perceived Value on Consumer Purchase Intention: The Moderating Effect of Advertising Endorser. Journal of International Management Studies, 6 (1), 1-6.
153 | P a g e
Choi, S.M., Wei-Na, L. and Hee-Jung, K. (2005) Lessons from the rich and famous: A Cross-Cultural Comparison of Celebrity Endorsement in Advertising. Journal of Advertising, 34 (2), 85-98.
Cohen, L., Manion, L. And Morrison, K. (2007) Research Methods in Education. 6th ed. New York: Routledge.
Couldwell, C. (2004) The Pros & Cons of Music, Dvd & Videos. Incentive Business, 1 (4), 51-51.
Debevec, K. and Jerome, K. (1984) More Evidence on the Effects of a Presenter's Physical Attractiveness: Some Cognitive, Affective, and Behavioral Consequences. Advances in Consumer Research, 11 (1), 127-132.
Dodds, W., Monroe, K. and Grewal, D. (1991) Effects of Price, Brand, and Store Information on Buyers' Product Evaluations. Journal of Marketing Research. 28 (3), 307-319
Dye, R. (1999) Service quality: perceived value, expectations, shortfalls, and bonuses. Managing Service Quality, 9 (4), 274-274.
Erdogan, B., Baker, M. And Tagg, S. (2001) Selecting celebrity endorsers: the practitioners perspective. Journal of Advertising Research, 41 (3), 39-48.
Godin, S. (2009) define: Brand [Online] Seth Godin. Available From: http://sethgodin.typepad.com/seths_blog/2009/12/define-brand.html [Accessed 15th April 2012].
154 | P a g e
Gordon, S. (2010) Music Licensing Fundamentals: Chapter 6 of The Future of the Music Business [Online]. Available From: http://www.futureofthemusicbusiness.biz/2010/11/music-licensing-fundamentalschapter-6.html [Accessed 2nd January 2012].
Granlund, A. and Grenros, M. (2009) The consumer-perceived value of nontraditional media: effects of brand reputation, appropriateness and expense. The Journal of Consumer Marketing, 26 (3), 155-163.
Gutman, J, (1982) A means-end chain model based on consumer categorization processes. Journal of Marketing, 46 (2), 60-72.
Gutman, J. And Reynolds, T. (1984) Advertising is Image Management. Journal of Advertising Research, 24 (1), 27-36
Halonen-Knight, E. and Hurmerinta, L. (2010) Who endorses whom? Meanings transfer in celebrity endorsement. The Journal of Product and Brand Management, 19 (6), 452-460.
Hesse-Biber, S. And Leavy, P. (2011) The practise of qualitative research. 2nd ed. London: Sage Publications Ltd.
Howard, G. (2007) Supervision [Online]. Artist House. Available From: http://www.artistshousemusic.org/articles/supervision [Accessed 2nd January 2012].
Jantrania, S. (2002) Customer value in organizational buying: A means-end approach, The Pennsylvania State University.
Kahle, L., And Homer, P. (1985) Physical attractiveness of the celebrity endorser: A social adaptation perspective, Journal of Consumer Research, 11 (4), 954-961.
155 | P a g e
Kamins, M. (1990) An investigation into the match-up hypothesis in celebrity advertising: When beauty may only be skin deep, Journal of Advertising, 19 (1) 4-13.
Kamins, M. And Gupta, K. (1994) Congruence Between Spokesperson and Product Type: a Matchup Hypothesis Perspective. Psychology and Marketing, 11 (6), 569-586.
Kamins, M. (1989) Celebrity and non-celebrity advertising in a two-sided context. Journal of Advertising Research, 29 (3) 34-42.
Klein, B. (2010) As Heard on TV: Popular Music In Advertising. Surrey: Ashgate Publishing Limited.
Kotler, P. (1972) A generic concept of marketing. Journal of Marketing, 36 (2), 46-54.
Kumar, R. (2008) Research Methodology. New Delhi: APH Publishing Corporation.
Lee, W. And Lin, C. (2011) Consumer hierarchical value map modelling in the healthcare service industry. African Journal of Business Management. 5 (3), 722-736.
Li, M. and Green, R.D. (2011) A mediating influence on customer loyalty: The role of perceived value. Journal of Management and Marketing Research, 7 (1), 1-12.
Masson, G. (2001) EMI restructuring advances. Billboard. 113 (48), 1-86.
McCracken, G. (2005) Culture and consumption II: markets, meaning, and brand management. Indiana: Indiana University Press.
156 | P a g e
McCracken, G. (1989) Who Is the Celebrity Endorser? Cultural Foundations of the Endorsement Process. Journal of Consumer Research, 16 (3), 310-321.
McDowell, L. (1998) Elites in the City of London: some methodological considerations. Environment and Planning A, 1 (30), 21332146.
Merriam, S. (2009) Qualitative Research: A guide to design and implementation. San Francisco: Jossey-Bass.
Miciak, A. And Shanklin, W. (1994). Choosing celebrity endorsers. Marketing Management, 3 (3), 51-59.
Misra, S. And Beatty, S. (1990) Celebrity spokesperson and brand congruence: An assessment of recall and affect. Journal of business research, 21 (1), 159-173.
Moliner, M. (2007) Perceived relationship quality and post-purchase perceived value. European Journal of Marketing, 41 (11), 1392-1422.
Monroe, K. (1973) Buyers subjective perceptions of price. JMR, Journal of Marketing Research, 10 (1), 70-80.
Moran, C. and Lemonnier, J. (2008) Indie Act Seeks Backup Brand. Advertising Age. 79 (10), 3-25.
Ohanian, R. (1991). The impact of celebrity spokesperson's perceived image on consumers intention to purchase. Journal of Advertising Research, 31 (1), 46-55.
157 | P a g e
Oliver, R. And DeSarbo, W. (1988) Response determinants in satisfaction judgements. Journal of consumer research. 14 (1), 495-507.
Olson, J. And Reynolds, T. (1983) Understanding Consumers' Cognitive Structures: Implications For Advertising Strategy. Advertising and Consumer Psychology, 1 (L).
Palmer, A. and Ponsonby, S. (2002) The social construction of new marketing paradigms: The influence of personal perspective. Journal of Marketing Management, 18 (1), 173-192.
Parasuraman, A. And Grewal, D. (2000) The impact of technology on the quality valueloyalty chain: A research agenda. Journal of Academic of Marketing Science, 28 (1), 168174.
Peter, P. And Olson, J. (1993) Consumer behaviour and marketing strategy. 3rd ed. Illinois: Irwin.
Petrick, J. (2002) Development of a multi-dimensional scale for measuring the perceived value of a service. Journal of Leisure Research, 34 (2), 119-134.
Punch, K. (2009) Introduction to Research Methods in Education. London: Sage Publications Ltd.
Pornpitakpan, C. (2003) Validation of the celebrity endorsers credibility scale: Evidence from Asians. Journal of Marketing Management, 19 (1/2), 179-195.
Ram, S. And Jung, H. (1991) How product usage influences customer satisfaction. Marketing Letters, 2 (1), 403411.
158 | P a g e
Rao, R. And Sieben A. (1992) The Effect of Prior Knowledge on Price Acceptability and the Type of Information Examined. Journal of Consumer Research. 19 (1), 256-270.
Richards, D. (1996) Elite Interviewing: Approaches and Pitfalls. Politics, 16 (3), 199204.
Rokeach, M. (1973) The Nature of Human Values. New York: Free Press.
Sanghera, S. (2002) Would you like rap or R&B, wine or tea? FT.com, 1-1.
Schiffman, L. And Kanuk, L. (2003) Consumer Behaviour. 8th ed. New Jersey: Prentice Hall.
Schlecht, C. (2003) Celebrities Impact on Branding. New York: Columbia Business School.
Seno, D. and Lukas, B. (2007) The equity effect of product endorsement by celebrities. European Journal of Marketing, 41 (1), 121-134.
Sherif, M. (1963) Social Categorization as a Function of Latitude of Acceptance and Series Range. Journal of Abnormal and Social Psychology, 67 (1), 148156.
Sheth, J., Newman, B. And Gross, B (1991) Consumption Values and Market Choices: Theory and Applications. Cincinnati: South Western Publishing Co.
159 | P a g e
Sinha, I. and Desarbo, W.S. (1998) An integrated approach toward the spatial modelling of perceived customer value. JMR, Journal of Marketing Research, 35 (2), 236-249.
Snoj, B. and Mumel, D. (2004) The relationships among perceived quality, perceived risk and perceived product value. The Journal of Product and Brand Management, 13 (2), 156-167.
Strauss, A. And Corbin, J. (1990) Basics of qualitative research: Grounded theory procedures and techniques. Newbury Park: Sage Publications Inc.
Sweeney, J.C. And Soutar, G.N. (2001) Consumer perceived value: The development of a multiple item scale. Journal of Retailing, 77 (1), 203220.
Taylor, C. (2004) Synchronization Licensing for Film and Television. Canadian Musician, 26 (1), 62-62.
Thomaselli, R. (2004) $192 million: Nike bets big on range of endorsers. Advertising Age, 75 (1), 8.
Till, B. And Busier, M. (2000) The Match-Up Hypothesis: Physical Attractiveness, and the Role of Fit on Brand Attitude, Purchase Intent, and Brand Beliefs. Journal of Advertising, 29 (8), 67-83.
Triandis, H. (1971) Attitude and attitude change. New York: Wiley.
Walker, M., Langmeyer, L. And Langmeyer, D. (1993) Commentary: Celebrity endorsers: Do you get what you pay for? The Journal of Product and Brand Management, 2 (3), 36-36.
160 | P a g e
William, S. (1891) An Introduction to the Theory of Value. 4th ed. London: MacMillan and co.
Woodruff, R. (1997) Customer value: The next source for competitive advantage. Academy of Marketing Science Journal. 25 (2), 139-142.
Yang, Z. and Peterson, R. (2004) Customer perceived value, satisfaction, and loyalty: The role of switching costs. Psychology & Marketing, 21 (10), 799-822.
Zeithaml, V. (1988) Consumer perceptions of price, quality, and value: a means-end model and synthesis of evidence. Journal of Marketing, 52 (3), 2-21.
Zuckerman, H. (1972) Interviewing an ultraelite. The Public Opinion Quarterly, 1 (36), 159175.
161 | P a g e
Appendices
A
(Zeithaml, 1988, p.6)
162 | P a g e
(Snoj and Mumel, 2004, p.158)
163 | P a g e
Another multi-dimensional scale for the measurement of perceived value of a product was presented by Sweeney, Soutar and Johnson (1998). Utilizing exploratory factor analysis of 29 items generated from a literature review, the factors of quality, emotional response, price and social emerged as dimensions of perceived value of a product.
(Petrick, 2002, p.129)
Further, the product/services reputation has been identified as an influence on consumer's perceived quality, and perceived value (Dodds et al., 1991; Zeithaml, 1988). Thus it could be argued that dimensions of what a consumer receives from the purchase of a service include: the emotional response to the service, quality received from the service, and the reputation of the service rendered. While the dimensions related to what is given, consist of monetary and non-monetary (behavioral) price.
(Petrick, 2002, p.130)
maintaining the concept of perceived value as a comparison between "getting" and "giving", the affective variables should also enter the equation: "emotional benefits may also affect choices between instrumental alternatives that are functionally equivalent in other aspects" ([38] Havlena and Holbrook, 1986, p. 394).
(Moliner, 2007, p.1398)
Since perceived value is a dynamic variable that is also experienced after consumption, it is necessary to include subjective or emotional reactions that are generated in the consumer ([38] Havlena and Holbrook, 1986; [13] Bolton and Drew, 1991; [83] Sweeney and Soutar, 2001). 164 | P a g e
(Moliner, 2007, p.1399)
Behavioral price was defined as the price (non-monetary) of obtaining a service, which included the time and effort, used to search for the service
(Zeithaml, 1988 cited in Petrick, 2002, P.124).
She defines perceived value as a trade-off of "higher order abstractions," such as perceived benefits and sacrifice, which are formed from both intrinsic and extrinsic product attributes, including texture, quality, price, performance, service, and brand name.
(Zeithaml, 1988 cited in Petrick, 2002, P.127).
Kotler and Zaltman (1971, in Murphy and Enis, 1986) say, that price of a product includes, among the monetary costs, opportune costs, energy costs and psychical costs.
Fine (1981, in Murphy and Enis, 1986) used the term social price composed of time, effort, psyche and life style.
165 | P a g e
Perceived value results from an evaluation of the relative rewards and sacrifices associated with the offering. (Yang and Peterson, 2004, p.811)
The first stream of research, which builds on the work of Zeithaml (1988) and which produced the Dodds, Monroe and Grewal (1991) model, suggests that consumers use extrinsic cues (such as price, brand name, and store name) to form perceptions of product quality (or benefits) and perceptions of monetary sacrifice (or costs), which, in turn, lead them to form perceptions of value (Dodds et al. 1991). (Agarwal and Teas, 2001, p.3)
The converging point in both of these research streams is that extrinsic cues play an important role; consumers use them to infer product quality and sacrifice in one model and risks in the other. (Agarwal and Teas, 2001, p.5)
Furthermore, consumers often pay premiums for branded products because brands are perceived to stand for quality and reduce the risk of failure. Likewise, higher store name image or reputation (Leavitt 1967; Hisrich, Dornoff, and Kernan 1972; Kelley 1958) (Agarwal and Teas, 2001, p.7)
166 | P a g e
Perceptions of value are often conceptualized as involving a tradeoff between quality and sacrifice (Hauser and Urban 1986; Zeithaml 1988; Dodds et al. 1991; Teas and Agarwal 2000), which results in quality having a positive association with value and sacrifice having a negative association with value. (Agarwal and Teas, 2001, p.10)
consumers form assessments about product value based on risks associated with purchasing the product, it is logical to conclude that risks mediate the relationship between quality and value and between sacrifice and value. Specifically, performance risk is expected to mediate the relationship between quality and value whereas financial risk is expected to mediate the relationship between sacrifice and value. (Agarwal and Teas, 2001, p.10)
One framework suggests that consumers infer value based on their evaluation of product quality and monetary sacrifice, which, in turn, is influenced by extrinsic quality and sacrifice cues (Zeithaml 1988; Dodds et al. 1991; Teas and Agarwal 2000) (Agarwal and Teas, 2001, p.11)
Thus, the findings suggest that consumers' perceptions of product value are neither a simple tradeoff between quality and monetary sacrifice nor merely an outcome of an assessment of risks. It is based on a combined assessment of all three factors-that is quality, sacrifice, and risks. Consumers, when exposed to extrinsic product cues, do not just make judgments about product quality and sacrifice, they also make judgments about uncertainties that may pose potential long-term losses. (Agarwal and Teas, 2001, p.11)
167 | P a g e
Several studies have investigated the effects on consumer price perceptions of three types of advertised reference prices: plausible low, plausible high, and implausible high. Plausible low prices are well within the range of acceptable market prices; plausible high are near the outer limits of the range but not beyond the realm of believability, and implausible high are well above the consumers perceived range of acceptable market prices. (Schiffman and Kanuk, 2003, p.187)
Every human sensory process has an upper and lower limit of responsiveness to a stimulus absolute thresholds that mark the transition between response and no response. Within the stimulus set in which responsiveness occurs the differential threshold is the minimum amount of change in a stimulus necessary to produce just noticeable difference or JND.
(Monroe, 1973, p.74) 168 | P a g e
When a (price) range exceeded the latitude of acceptance (range of acceptable prices), higher values were assimilated into acceptable categories; but at the same time, a contrast effect occurred, as revealed in the tendency to lump together highly discrepant values into a broad objectionable category. . . . As a result of the interaction between internal anchor and stimulus range, subjects discriminated most keenly among the acceptable values when they were not faced with numerous objectionable items. (Monroe, 1973, p.74)
A given product may be high quality, but if the consumer does not have enough money to buy it (or does not want to spend the amount required), its value will not be perceived as being high as that of a product with lower quality but a more affordable price. In other words, when get a give a > get b give b but the shopper has a budget constraint, then give a > budget constraints > give b and hence b is chosen. The same logic may apply to products that need more preparation time than the consumers time constraint allows.
(Zeithaml, 1988, p.11)
169 | P a g e
(McCracken, 2005, p.104)
170 | P a g e
When consumers evaluate the expertise and trustworthiness of a celebrity, they reflect on the validity of the assertions made by the celebrity (expertise) and their confidence in the celebritys intent to represent the most valid assertions (trustworthiness) (e.g. Hovland et al., 1953). The more favourable a consumers perception of these credibility ingredients is, the more the celebrity endorser is seen to be a credible source of product information and a credible representation for a brand (e.g. Ohanian, 1990).
(Seno and Lukas, 2007, p125)
An example of a celebrity whose credibility works in favour of a brands image is actor John Travolta, who endorses the Australian airline, Qantas. Travolta has a passion for airlines and holds a commercial pilot license. He also owns a Boeing 707. Given these attributes, Travolta is considered to be a credible aviation expert. Therefore, Qantas values Travolta as a celebrity endorser for their brand (Gotting, 2002). From the above discussion, the following can be proposed:
Celebrity credibility is related positively to brand image; on the basis that brand image is related positively to brand equity, celebrity credibility has an indirect and positive effect on brand equity
171 | P a g e
Extending this reasoning, it is plausible that if the relevant characteristics of the celebrity endorser match the relevant attributes of the endorsed product, then the meanings conveyed by the characteristics of the endorser and the attributes of the product should combine more effectively to contribute to a desired brand image (see Kamins, 1990; McCracken, 1989).
(Punch, 2009, p.16)
172 | P a g e
David Bass
Music Manager
Platinum Rye Entertainment Privately Held; 11-50 employees; Entertainment industry April 2010 Present (2 years 1 month)
Look after all things music for clients. From music sourcing / bespoke / license and negotiations / music exploitation / band/DJ/Event bookings.... Music Manager
TBWA Public Company; 10,001+ employees; OMC; Marketing and Advertising industry October 2006 April 2010 (3 years 7 months)
STREAM\TBWA source and license/negotiate music (commercial, bespoke, library) for all TBWA/London/Manchester/Europe campaigns. We also have an office within DDB London, and retained by various agencies including MAL (Apple) and Cawley-Nea (Ireland). specialise in brand content through music - so giving a campaign more fame through music (branded single release with record label, downloads, showcase, e-cards etc). work for other agencies and brands direct. Stream has 3 other disciplines - events / TV / film - which also specialise in branded content through these platforms. music manager
TBWA 2006 2008 (2 years)

Licensing Exec
Demon Music Group 2004 2005 (1 year)
173 | P a g e
Ben Bleet
Ben is an experienced music specialist, he founded Howling Monkey in 2007 to create high engagement through the creation and curation of music and music culture. Ben has over 15 years experience in the music industry including launching iCrunch.com Europes first legal download site, Slice PR and EMI Music, Virgin and Parlophone Records during which time he worked with UKs influencer/tastemaker network helping launch and establish acts including Jamie T, LCD Soundsystem, Robbie Williams, Kylie, Hot Chip and Gorillaz, then at EMI Records as A&R Manager. Between 2007 and 2009 Howling Monkey were retained by Saatchi & Saatchi as In-House Music Consultants. During this time Ben worked on projects for clients including Toyota, Sony Ericsson, Guinness, Visa, NSPCC, T- Mobile, Head & Shoulders and Olay. Most notably T-Mobiles Dance project which won numerous awards including BTAA Best Television Commercial of the Year, 6 Lions at Cannes including Best Use Of Music and Music Week Sync Of The Year 2010. Between 2009 - 2011 Howling Monkey have provided music and content strategy, insight, music supervision and rights management for clients including Range Rover, Real Madrid, Smirnoff, Hyundai, Jeremiah Weed, Jack Wills, Action Aid, NSPCC, Louis Vitton, Kate Spade and Marks and Spencer. Specialties music supervision, rights management, music & content strategy , project management, music marketing, content creation
174 | P a g e
Lawrence McKay
Lawrence works within Music synchronisation for television at A&G sync as well as heading the position of synchronisation co-ordinator, delegating new pitches to relevant employees. He has worked extensively with artists, building relationships between companies and the artists they work with whilst working with them to create a final product, be it commercial or promotional.
Music for TV A&G Songs
January 2012 Present (4 months)

Liaising with TV production companies, producers & music supervisors to exploit A&G Songs catalogue for music to be placed on TV, with music used on programmes such as Top Gear, Sky Sports, Hollyoaks, Emmerdale & Holby City.
Sync Coordinator A&GSync
Public Company; 1-10 employees; Music industry July 2011 Present (10 months) London
The Coordination of all materials & documentation for A&G and partners, as well the processing of new signings & any relevant material for the creative teams in London, LA & NY Partners Office's. Working closely with artists, managers & labels in relation to contracts, new signings, placements & maintaining a healthy relationship.
Specialties Artist Relations. Team Coordination. A&R, Project Management. Brand Development. Digital & Physical Music Distribution. Artist Development. Online Media. Detailed PPL Experience. Blanket License Agreements. Company Relations.
N Questions formulated and grouped from themes arising from literature
175 | P a g e

2.
1.
When considering which music is best suited to the project, what aspects do you consider and how do they alter the value of what a client might pay?
Attributes
176 | P a g e
1.
When considering which music is best suited to the project, what aspects do you consider and how do they alter the value of what a client might pay? How much of a role does the characteristics, image and persona of an artist specifically what they represent pay a part in the consideration of what music is suitable for the project?
3.
How much of a role does the lyrical content and message portrayed in a song pay a part in the choice of music for the project?
4.
How much of a role does the success and the social reputation of an artist play on the price paid and choice for the use of the music? How varied are the fees paid between a prestige act and a lesser known artist?
7.
8.
9.
How much of a role does the cool factor; whats considered cool play on the choice of music and what is paid for the music do they want to be unique, individualised, prestigious?
When considering which music is best suited to the project, what aspects do you consider and how do they alter the value of what a client might pay? How much of a role do different options, types of use and lengths in the contract for the use of a piece of music play a role on the price range paid for a piece of music? How varied are the fees paid between a prestige act and a lesser known artist? If a client wants to reach a specific market or portray a message do they use the choice of music to achieve this and does it affect the price theyre willing to pay?
Consequences
177 | P a g e
7.
8.
Social And Psychological
1.
When considering which music is best suited to the project, what aspects do you consider and how do they alter the value of what a client might pay? How much of a role does the characteristics, image and persona of an artist specifically what they represent pay a part in the consideration of what music is suitable for the project? How much of a role does the success and the social reputation of an artist play on the price paid and choice for the use of the music? 7. How varied are the fees paid between a prestige act and a lesser known artist? If a client wants to reach a specific market or portray a message do they use the choice of music to achieve this and does it affect the price theyre willing to pay? 9. How much of a role does the cool factor; whats considered cool play on the choice of music and what is paid for the music do they want to be unique, individualised, prestigious?
2.
6.
178 | P a g e
1.
When considering which music is best suited to the project, what aspects do you consider and how do they alter the value of what a client might pay? 7. How much of a role do different options, types of use and lengths in the contract for the use of a piece of music play a role on the price range paid for a piece of music? How important is the choice of music to a client in order to complete what they want their project to convey and achieve? How much of a role does the cool factor; whats considered cool play on the choice of music and what is paid for the music do they want to be unique, individualised, prestigious?
End Term State

179 | P a g e
8.
9.
Interview Transcripts
David Bass answer: We dont choose its down to the client, theyll provide us with recommendations and well present the tracks from our educated recommendation. Sometimes they know what track they want, well get a creative brief which outlines their considerations such as a lyrical theme or a reference from other tracks, genre, style wise; they might just want a folk piece with yellow in the lyrics, this limits your job if its that specific. We consider the brand, if the artist is suited to the brand. For example you wouldnt put forward a track from a known alcoholic for a beer brand, because it will bite them in the bum. If its a cool brand, like a 02 brand, you might go for up and coming, cool just signed or unsigned artist. First you have to talk to the creatives and discuss if they care and is it important if theyve got an up and coming band or is it just there for background music, some music is just there to serve a purpose. Sometimes they might be far more up front, theyll want to break a band, we want this to become the o2 song theyll want people to hear the music and think this is the o2 song, depends on the creative brief and the brand and what the client wants to achieve, sometimes brands want to release tracks as singles of the back of ads other times theyll just want to license the cheapest piece of music and forget about it. It depends on what everyones goals are, as a general rule we always try to push cool new music and big back catalogue tracks.
180 | P a g e
Ben Bleet answer:
Lawrence McKay answer:
It will depend on number one the client and number two on the brief, what they ask for depends on what you give. Youre not so much working to their brief, but more to what the want of the client might be. If it is a big popular brand theyre more likely to go for popular music in the charts, where as if its a smaller brand theyre going to go for something quirky and different, if thats the creative aim of the actual project.
181 | P a g e
David Bass answer:
Its a big part, for example Ive been working for a fast food brand brief and they wanted a hip hop artist, but one of the criterias was that no one could have a criminal record. And also we have to think about that there was one artist we put forward that done a demo which we then found a YouTube video of him talking about really disgusting things, and they were glad that they didnt select that artist because it would of really looked bad on them. There is a responsibility on us to do a bit of background research and not put forward people who are alcoholics for beer brands and so on and so forth. But at the same time it is also the responsibility of the agency and the client to do that as well, we cant really do background checks on every artist, for one pitch we might put forward eighty tracks and we cant be expected to do a background check on everyone. But however if we know that a particular singer is an alcoholic we will let it be known to the client, to tell them well this guy is a drug addict or whatever. So yeah I think it does, if you think about if your pitching something to do with kids, pitching for Mothercare, youre not going to put forward Gary Glitter. You need a bit of common sense I think.
Ben Bleet answer:
It depends on what the project, if its online content for a drinks brand a lot of people want to just put something up to flagship what theyve done and no one really watches it, so if its something like that the artists characteristics will have no impact at all. If its a vodka brand theyll want some cool club music and they wont care where it comes from. But if its obviously a Beyonce track and they spent a fortune on a global campaign then the artists profile and their characteristics are very important, so it really depends on that. Fred Perry does a really good job of spotting new talent and associating them with their clothes and thats obviously really important to them. Interestingly on the other side of that at the moment theres a clothing company thats released a Pete Doherty range and you think okay so the man that may or may not of pushed someone out of a balcony and doing smack but at the end of the day I think some people just see that as rock and roll and cool. So it really depends.
182 | P a g e
It completely depends on the brand, say if youre doing a beer brand theyre going to be looking for something thats different and fun and cool. But another brand who is trying to go for a comical advert will go for something that is quite out of the blue. A brand we worked with went for something from the forties instead of something thats hip and now because of the comical aspect with the visuals, where as fosters will go and use something comical. But makeup adverts will often go for something like composed pieces.
183 | P a g e
David Bass answer:
Ben Bleet answer:
Specifically for TV adverts, they might want something with lyrics that portrays unity and happiness. We might get a pitch that they want back tomorrow and theyve got to think of something around a word the key search comes in handy and it must of been used a few times and sometimes theyll just search key words inside iTunes and just find a track, so lyrical content if its derogatory to minority groups then its obviously not going to be suggested. Again traditionally you dont want anything with swear words or anything like that because its not going to be used.
Generally, it is a massive amount depending on what they are trying to portray, going back to the lynx advert the whole worlds falling to pieces because people cant stop being attracted to each other and the music called something psychological and all the lyrics are about the attraction between men and women and how she loves a new boy shes met and the lyrics fit the visuals absolutely perfectly. Whereas generally something like a Twinings adverts where shes rowing across the ocean to the calling wherever you may go it doesnt make sense to the story of the product.
184 | P a g e
Question 4. How much of a role does the success and the social reputation of an artist play on the price paid and choice for the use of the music?
David Bass answer:
I think this touches on two things, youve got borrowed equity, so youve got times where a brand might spend shit loads of money on licensing a Beyonce track, but then having Beyonce on that brands advert gives the brand more credibility and almost borrowing the equity from Beyonce and passing it over. At the same time for us we dont ever feel like a label is doing us a favour for letting us use their track on our advert. The labels might affect their prices for an advert, so for example, an apple advert, everyone wants to be on an apple advert, its cool, its massive, apple doesnt pay for music. So in that case any band or artist would be stupid to turn down an apple advert, purely because of the reach it has and how many people hear it and think the tracks cool and you sell shit loads of singles on iTunes. But at the same time weve had situations were VW have said well you should give us a price drop because were putting your song on our advert and its going to be seen by millions of people, that wont work, because at the end of the day right owners and artists dont give a shit about the advert, they care about the money. Some care about the creative but ultimately its about the money. So, I think it depends but generally no, the publisher will set a price but theres always negotiation you know in between that. But at the same time if it was a Beyonce track, the price would go up because it is a Beyonce track. So it goes hand in hand with the pricing anyway. Any huge artist like lady gaga it will be millions; it will be loads of money because theyre huge right now. An unknown artist or unsigned artist is going to be a hell of a lot cheaper, but ultimately its down to how the publisher values that piece of music. So if Im only offering ten grand for it, theyll probably think well if we done the deal it probably wont get used for the next two years so were going to hold out for a bigger deal if they know its a great track. The weird thing with licensing is there are no rules and there is no set way things happen, back in the day when i worked for a label brands used to come to me and ask how much for this and youd just pluck a number out of the air that you think you can get away with and brands would pay it because they dont understand the value of music, which is why they need people like us to sit here and say why are you paying that much, this band is nothing and their last album flopped, they really need a bit of a hand.
185 | P a g e
Ben Bleet answer:
Definitely, i think its linked to the first question. I think the interesting thing which a lot of people still dont get their heads round is that you talk about the artist needs promotion, say you went to a bigger artist who is just about to release their second album you could do a deal with them you could say well pay you x amount for this but then youre going to get this many eyeballs on you as well so its kind of a strategic partnership. So I think definitely it works on both sided, its what the record companies and publishers want for that artist and its also what the brand wants. And the other thing is as well that say for example a high profile artist a client might say well hang on the market rates are this but in the clients head they dont know this artist and they think it will be a lot cheaper.
It plays a phenomenal role, you may go and work with one brand that will go and give you a twelve month term with all media and theyll pay you thirty grand all in. Whereas if you go and pick someone like the Foo fighters or the black keys youre looking at adding a zero to that figure just because of the social standing, its an elitist thing, theyll say well if you want our record breaking music to portray your visuals and your product you better be willing to pay through the teeth for it. Its more exploitation than social standing, its like saying our brand can afford to use the Foo fighters where as you can only afford someone no one has ever heard of.
186 | P a g e
Question
5. How much of a role do different options, types of use and lengths in the contract for the use of a piece of music play a role on the price range paid for a piece of music?
David Bass answer:
Thats completely decided by the client. So Ill say we want this for a year we want this for six months, we want an option to extend for a further six months or we dont. So the terms are pretty much what the client wants, so every contract is different and every time we get a pitch, what do you want to clear, do you want it for a year, do you want it for U.K., do you want it for TV, do you want it just for online and anything else. So it completely depends, but well always try and get options in because retrospectively licensing is very expensive. It absolutely depends on territories because the U.K. has however million people and then worldwide is obviously a much bigger territory. So obviously the world is going to be more expensive and the cheapest is going to be like Malta, so it does go up in a scale, depending on which territories. Really the more territories, the more media and the longer you want to license something for the more expensive it becomes.
Ben Bleet answer:
187 | P a g e
Question
6. How important is the choice of music to a client in order to complete what they want their project to convey and achieve?
David Bass answer:
Ben Bleet answer
It depends on what they are trying to achieve, there is a number that ive heard people apply before and they say that music is eighty percent of the ad. Because it conveys so many more emotions than pictures and lyrics can, its always tremendously important to people what the music is. It depends on who the client is, some others are far more mechanical about how they go about their business, and other people see the bigger picture. There are brands that will just come in to put music on an advert and then there are brands that come in and are deemed venture brands so it depends, Ive dealt with many companies that take both approaches. We always try to get behind the artist and tell them to do stuff with social media. Like when an artist had a big track through a Hyundai advert we were trying to push her to do stuff on social media bearing in mind her page was very untouched.
188 | P a g e
It completely depends on how shallow the client is and if theyre just going to throw money at it. I worked on an advert before when they asked for something really different that represented their product and we found the perfect piece and it was within their thirty thousand pound budget and then that was the initial brief but in the end they ended up going for a completely different mainstream pop music and ended up paying one hundred and twenty grand, so that was completely different from the whole we really want something that relates to our product on a national level because were really proud of it and then they just went for American commercial music. But if a brand wants an artist, which we see a lot with alcohol companies, to be seen as their band, which Smirnoff do quite a lot with DJs, its more like an endorsement kind of thing.
189 | P a g e
Question
7. How varied are the fees paid between a prestige act and a lesser known artist?
David Bass answer:
Ben Bleet answer
190 | P a g e
Question
8. If a client wants to reach a specific market or portray a message do they use the choice of music to achieve this and does it affect the price theyre willing to pay?
David Bass answer:
Ben Bleet answer
They can do, its interesting because a lot of brands still havent gone to the trouble of being knowledgeable. But i hope it does happen because its a big opportunity having hyper local targeting music. So looking up the up and coming bands in Cardiff and reading and in Liverpool and then potentially working with them on some kind of level. Some people do look at styles, interestingly everyone is obsessed with the youth market because they are tomorrows customers but a lot of the time they ignore the older market. A part from the holiday market its not about being cool but they still love music so it might be classical, it really depends on what they are trying to achieve. Id always dont choose one style of music choose four because everyones got such a wide range of taste because in the old days you used to be into rock or hip hop or you might be a punk and you just liked those niche things because that was your identity. But then now your identity is more about music you like rather being in one tribe, sometimes you will see these brands using more radio two or radio three artists if they can but it depends on how strategic they are about it.
191 | P a g e
192 | P a g e
Question
David Bass answer:
Some brands have the cool factor and some brands dont. Pedigree will never use cool music where as brands like o2, Budweiser and carling you can tell that invest a lot more in music. Most of the smaller brands for example Pantene, surf and Cif, most of the music they use is composed and pretty generic. Its the bigger brands and the cooler brands that are spending the bigger money on the trexs and the Elvis Presley tracks and whatever else. They want to be seen as cool, theyve got something to live up to. As soon as Budweiser put like Jedward on their ad everyones going to be like Budweiser is shit.
Ben Bleet answer:
It depends, if you have a brand that is trying to re design themselves they want music that is going to make them stand out. The number one people who do that are banks, the banks dont have peoples trust so theyll do a new advertising campaign and theyll want the music to stand out such as Lloyds TSB with the advert on the train and the weird bespoke music and nationwide theyve got the piano, they do it so they catch you. Whereas if youre advertising something fun and exciting youre going to want to go for something black keys or white stripes kind of music because its really cool and edgy rather than your bespoke you want something thats like yeah its rock its fun its cool rather than something thats like oh i remember that song because its the annoying nationwide song. But loads of people when they need something like car insurance theyll think of the go compare song, so it works. 193 | P a g e
Question
David Bass answer:
Yeah i would say there is, so if Muller paid x amount for their advert last year they would expect to pay the same amount this year. So i think clients do use fees for precedents and so do we, when were talking to publishers and labels well say, well look last year you quoted us this for this so how could you be quoting us this for this? So we use it to our advantage, not when its not to our advantage, so thats all part of the negotiating process. So a lot of the time when youll get really good deals from publishers and labels theyll say look this is on a non precedent basis, so that you cant use that next time. But ultimately every track is negotiable and these days because sync is so important and such an important revenue stream youll find any publisher will be willing to talk on fees.
Ben Bleet answer
194 | P a g e
It depends on how much money the brand has, if you get some completely unknown brand saying I want your music but I want it for a year all media and a thirty second clip but we only have ten thousand pounds, whereas you could get a company like McDonalds who come in and say we want all of that then were not going to clear it for that because were going to say it will be say forty grand for you because you have that much, it all depends on the company behind it. Quite often youll get a brief that will say its for a client who doesnt wish to be named or they just say its a fast food client or a supermarket client. But that can range anywhere from co-op to Asda or it can be the local kebab shop or McDonalds. They have every right to do that because why should they have to pay four times the amount someone else would but at the same time why shouldnt you exploit someone else when theyre trying to exploit you at the same time.
195 | P a g e
Question
David Bass answer:
Sometimes a client will say weve got twenty grand, you find a track and its James Brown and you know its going to cost eighty grand. Theres nothing you can do about the price because the publisher knows its a massive track and theyre not going to let it go for less and the client loves it so much they suddenly find an extra sixty grand in the budget, it happens all the time. If it works so well on the creative the client would rather spend the money and have the best advert they can have rather than make do and just find a cheaper track. But it depends because some clients will just go for the cheaper track.
Ben Bleet answer
It really depends on what they want to do with that artist, if they want that artist then theyll put a lot more money into the campaign, into the budget. I think generally 5-10% is a fair amount of the music budget for the campaign but that can vary massively. There are so many people still that dont think about the music until its too late, a while ago a big brand spent a huge amount of money on a huge live event, the djs were getting paid a lot of money and they filmed it and wanted to use a track and they didnt have a budget for it. I had to call up the guy and try and get it for five hundred quid and the guy told me to stick in where the sun dont shine and rightly so. They asked well how much did they pay for that, how much did they get paid for that and you cant really argue with that. So a lot of people have the psychology that eventually theyll find something that is affordable or that they can get for nothing.
196 | P a g e
Lawrence McKay answer: It depends who youre working with, if you send that brief to someone like universal and say you want someone big then theyre not going to pitch it to you because if you send a pitch to universal, universal are going to send you back all the new signings and none of the good stuff. If you want a catalogue or relatively known artist who are of a workable standard of music then obviously its going to work better and if youre going to offer ten grand then quite a lot of people will take that ten grand because its ten grand.
197 | P a g e
Question
David Bass answer:
No, with music supervisors it does because were all musos and into it, but i dont think clients care really. But i think sometimes the coolness of a label can work against them, for example XL who are very cool and hard, theyre less easy to work with because theyve got great tracks and they dont need the money and whatever else, it can almost put you off wanting to license from them.
Ben Bleet answer
I think most of the time no, most of the time its about the artist. If its for a campaign, I mean Moshi Moshi is a good one because they have a lot of new talent. When I created some content for Guinness i basically worked for a guy called James who done a cover song and him being on Moshi Moshi was a really good way to sell it to the client because we could say, this artist is signed to Moshi Moshi the label that discovered bloc party, hot chip, dance machine and that was brilliant. So there are times when using certain labels is to your benefit and I only went there when we got sent back four times on the creative direction. As soon as you put that on the table the reputation helps. When you deal with pr and social media companies the reputation of a label can play a part.
198 | P a g e
Concrete Attributes
Attributes
199 | P a g e
Abstract Attributes
Consequences
End Term State
Social
Psychological
200 | P a g e

My Brand Is Bigger Than Yours

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

My Brand Is Bigger Than Yours

Uploaded by

Copyright:

Available Formats

;

Means-End Chain Model

Measuring Perceived Value

The Acceptable Price Range

Meaning Transfer Theory

The Match-Up Hypothesis

David Bass Grouped Answer from Question One

Means-end chain model

Consequences End Term State

Psychological Consequences Social and Psychological

Ben Bleet Key points of answer

Ben Bleet Grouped Answer from Question One

Means-end chain model

Consequences End Term State

Psychological Consequences Social and Psychological

Lawrence McKay Key points of answer:

Lawrence McKay Grouped Answer from Question One

Means-end chain model

Functional Consequences Psychological Consequences Social and Psychological

Consequences End Term State

Question one commonalities

David Bass Key points of answer:

David Bass Grouped Answer from Question Two

Means-end chain model

Consequences End Term State

Social and Psychological

Ben Bleet Key points of answer

Ben Bleet Grouped Answer from Question Two

Means-end chain model

Social and Psychological

End Term State

Lawrence McKay Key points of answer:

Lawrence McKay Grouped Answer from Question Two

Means-end chain model

Functional Consequences Psychological Consequences Social and Psychological

Consequences End Term State

Question Two Commonalities

David Bass Key points of answer:

David Bass Grouped Answer from Question Three

Means-end chain model

Consequences End Term State

Social and Psychological

Ben Bleet Key points of answer

Ben Bleet Grouped Answer from Question Three

Means-end chain model

Functional Consequences Psychological Consequences Social and Psychological

Consequences End Term State

Lawrence McKay Key points of answer:

Lawrence McKay Grouped Answer from Question Three

Means-end chain model

Social and Psychological

End Term State

Question Three Commonalities

David Bass Key points of answer:

David Bass Grouped Answer from Question Four

Means-end chain model

Social and Psychological

End Term State

Ben Bleet Key points of answer

Ben Bleet Grouped Answer from Question Four

Means-end chain model

Consequences End Term State