This paper has been written by three practitioners who have not only co-ordinated studies all around the globe but have been co-ordinated as well, both by client companies as well as other research institutes. The approaches examined in this paper are thus the main ones we have encountered and our observations are based on this experience. In this paper, we seek to review these different approaches with a view to: 1. Understanding their implications and results, their relative strengths and weaknesses, applications, quality of output, utility to decision making, ability to meet strategic objectives, understanding local cultures, the costs and above all identifying the hidden dangers involved. It also examines the trade-offs that are made along the way and questions whether their implications are fully appreciated. 2. Questioning the role of the researcher. Is she or he merely a Doer; or is there a valuable contribution to be made, both at the local as well as co-ordinating level. Do clients know best where their products and markets are concerned? What are the dangers of linguists undertaking analysis or fieldwork in countries other than their own? Can one afford to ignore local input and local analysis ? 3. Examining different cultural attitudes to co-ordination. As the two main Buyers, Europe and the USA hold different views not just on co-ordination but on Qualitative Research as well. This paper will examine both viewpoints. 4. Case history material is used to support and illustrate our findings, based on over 15 years of experience of each of the authors. In this paper, we would like to review six of the most commonly used approaches to co-ordination.
The music consumer of today is an unpredictable and ever changing target. However, they are still consumers. Understanding what choices they are making in listening to and buying music, and how this behaviour may not follow apparent and predictable patterns is critical for those involved in the production and distribution of pre-recorded music if they are to maximize returns on their marketing investment. Part of this understanding is the realization that music can be (and in fact ought to be) thought of in terms of being a branded product. It is the performer(s), the music, the performance, and the physical recording itself, taken as a whole, which constitutes the brand. Branding and brand marketing is as important in music as it is in any other consumer product category. Consumers purchase music brands (be they concert tickets, music videos, or pre- recorded cassettes and CD) not only because they like the sound of the music being performed. They are also drawn to a Particular brand because it has an identity and appeal beyond just the music and the performance. Identifying and understanding this identity and appeal (which can often be counter-intuitive to expectations of behavior based on consumer typology) is critical for successful marketing to a mercurial and contrary consumer.