공연예술 작품에 대한 감성과 경험이 공연 브랜드 일체감과 애호도 및 카테고리 애호도에 미치는 영향에 관한 연구 = (The)influence of experiences and emotion in performing arts on brand identity, brand loyalty, and category loyalty

다국어 초록 (Multilingual Abstract)

This study examines how (Performing Arts) audience emotion affects brand identification. It also exploreshow this brand identification is affected by factors such as audience life experiences. Lastly, it explores the relationship between performing arts brand identification and performing arts brand loyalty.

This study also reviews factors such as performing arts genre, (audience) performing arts experience (including monthly frequency of experience) and audience demographics. This study reviews audience characteristics such as emotion, life experiences, brand identification and brand loyalty.

Background:
Historically, statistical analysis has supported the following assertions: Customer emotion has a strong impact on brand identification, while customer life experience likewise affects brand loyalty. In turn, brand identification has a strong impact on brand loyalty and brand loyalty affects category loyalty. However it was found that this assertion was somewhat different as concerns the Performing Arts. We will examine these important differences below:

Impact of Performing Arts viewing frequency on Brand
Accommodating the important assertion that "customer emotion, experience, brand identification, brand loyalty and category loyalty will vary,"the following correlations have been statistically established. These hold under conditions of a Performing Arts viewing frequency of 1-2 times per month. They are listed below in order of correlation strength:
1) Brand identification affects brand category
2) Customer life experience affects brand identification
3) Brand identification affects category loyalty
4) Brand loyalty affects category loyalty
5) Customer emotion affects brand identification

[It should be noted that the strength of correlation above is ranked from 1-5, with 1 (Brand identification Independent variable affecting brand category) having the strongest correlation, and 5 the dependent variable Weakest.]

However, when viewing frequency changes to +3 times per month, different statistical correlations appear below (again in order of strength of correlation):

1) Customer emotion affects brand identification
2) Brand identification affects brand loyalty
3) a. Brand identification affects brand loyalty
b. Brand loyalty affects category loyalty
4) Customer life experience affects brand identification

Based on these statistical correlations, it can be asserted that the factors of customer emotion, experience, brand identification, brand category and category loyalty will vary in importance according to Performing Arts viewing frequency.

The hypothesis that brand identification has a statistically positive relationship with category loyalty when this frequency is 1-2 times per month is statistically weak (as noted above), but strengthens considerably when the aforementioned frequency rises to +3 times.

Genre-Based Performance Arts Marketing
It has been thought that Performing Arts audiences put more emphasis on the experience of "consumption (visually taking in)"rather than on deeper or more abstract emotions. Performing Arts provide diverse audience experiences. This leads to theanalytic and practical assertion that Performing Arts can become more popularized through experiential and tailored marketing that that targets audiences who favor particular genres.

All prior hypotheses disregarded performing arts genre. Yet, my paper clearly shows that this is an analytic and practical oversight. Reviewing the statistical correlations between customer emotion, life experience, brand identification, brand loyalty and category loyalty that vary with performing arts genre, differentiated performing arts marketing strategies are called for. These require focusing on each specific performing arts genre, such as opera, dance, classical music concerts, musicals, plays and contemporary music concerts. This might be thus called "Genre-based Performance Arts Marketing."

For example, classical music concerts, musicals and plays (which are the most representative performing arts) share common statistical and historical characteristics. As to opera, it's long been considered that audience characteristics are a weak determining factor in genre-tailored Performing Arts marketing, since such audiences are usually already well-informed about the genre. However, brand identification plays a decisive role in brand loyalty in performing arts, even in opera. The previously frequency-based factors also hold: brand identification affects brand loyalty; brand loyalty affects category loyalty, and so on.

Summary
It is a necessary first step to establish brand identification to build brand loyalty, and it is also an important process in later building category loyalty. To do this, itis necessary to affect customer emotion. As the statistics above show, Performance Arts customer emotion will affect brand identification when monthly viewingfrequency rises to +3 times per month. Also, brand identification will be positively correlated to brand loyalty at this frequency. Therefore, customers with relatively higher viewing frequencies may be open to marketing which causes their emotions to identify with a particular brand; this in turn could lead to eventual brand loyalty. Marketing should also take into account Performance Arts genre, since the importance of particular Performing Arts marketing factors will change according to genre.

목차 (Table of Contents)

• 제1장 서론 = 1
• 1. 문제제기 = 1
• 2. 연구목적 = 4
• 3. 연구의 범위 = 5
• 4. 연구의 제한점 = 4
• 제2장 이론적 배경 = 6
• 1. 공연 예술 시장과 소비자에 대한 정의 = 6
• 2. 소비자의 의의와 유형 = 8
• 2.1) 소비자의 의의 = 8
• 2.2) 소비자의 유형 = 8
• 2.3) 소비자 의사 결정 과정과 구매 행동 요령 = 9
• ii.i) 소비자 의사 결정 과정 = 9
• ii.ii) 소비자 구매 행동 유형 = 10
• 3. 공연 소비자 = 11
• 3.1) 공연예술 소비자 분류 = 11
• 3.2) 국내 공연 소비자에 관한 연구 = 12
• 3.3) 공연 시장의 구성 = 13
• 4. 감성적 경험 = 14
• 4.1) 감성의 개념화 = 14
• 4.2) 경험의 개념화 = 15
• 4.3) 감성적 경험의 연결도선 = 17
• 5. 브랜드 일체감 = 18
• 5.1) 브랜드 일체감의 개념 = 18
• 5.2) 브랜드 일체감의 선행연구 = 19
• v.i) 브랜드 퍼스낼리티와 브랜드 동일시와의 관계 = 22
• v.ii) 브랜드 동일시와 브랜드 자산과의 관계 = 23
• v.iii) 브랜드관계 만족도와 브랜드 애호도와의 관계 = 25
• 6. 브랜드 애호도 = 26
• 6.1) 브랜드의 정의 및 본질 = 26
• 6.2) 공연예술 브랜드 = 27
• 6.3) 브랜드 애호도 = 28
• vi.i) 브랜드 애호도의 개념 = 28
• vi.ii) 브랜드 애호도의 중요성 = 31
• vi.iii) 브랜드 애호도의 유형 구분 = 31
• 7. 카테고리 애호도 = 32
• 7.1) 범주화 이론 = 32
• 7.2) 브랜드 연상 = 34
• 제3장 연구방법론 = 35
• 1. 표본의 설계 = 35
• 1.1) 신뢰성 및 타당성 분석방법 = 35
• 1.2) 실증분석방법 = 36
• 2. 변수운영체계 = 37
• 2.1) 변수의 조작적 정의 = 37
• ii.i) 고객의 감성 = 37
• ii.ii) 고객의 경험 = 38
• ii.iii) 공연예술 브랜드 일체감 = 39
• ii.iv) 공연예술 브랜드 애호도 = 40
• 3. 설문지 작성 및 구성 = 40
• 3.1) 설문지 구성 = 40
• 4. 예비조사 = 43
• 5. 연구모형 = 43
• 6. 연구가설 = 44
• 7. 분석 방법 = 47
• 7.1) 분석방법 = 47
• vii.i) 신뢰성 및 타당성 분석방법 = 48
• vii.ii) 실증분석기법 = 49
• 제4장 실증분석 = 50
• 1. 표본의 특성 = 50
• 2. 신뢰성 및 타당성 분석결과 = 52
• 2.1) 신뢰성 검증 = 52
• 2.2) 타당성 검증 = 57
• 2.3) 요인간 상관관계 분석 = 61
• 2.4) 모형 적합성 검증 = 63
• 3. 가설검증 = 64
• 3.1) 구조모형 구축을 위한 AMOS 검증 = 64
• 3.2) 가설검증 = 67
• V. 결론 및 제언 = 94
• 참고문헌 = 99
• Abstract = 118