关系营销和服务营销

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1、学院毕业设计（论文）外文翻译学生姓名 专业班级 市场营销02班指导教师职 称助教所在单位教研室主任完成日期Relationship marketing and service marketing: convergence point ofCulture Department of value creationABSTRACTUsing the relationship paradigm as a theoretical framework, a management model for cultural services (relationship marketing of cultural

2、organizations) is proposed, what is an unprecedented contribution in the marketing field. By combining two convergent perspectivesas relationship marketing and services marketing -, the model is structured on the basis of two large types of relationships in the management of a cultural organization:

3、 instrumental relationships and group relationships. The paper is an in-depth study of relationships regarding performing arts audience. A theoretical/empirical approach was applied, including face to face interviews to 1005 performing arts consumers and telephone interviews to a sample of 2005 indi

4、viduals in Spain.Keywords: Cultural marketing erforming arts services relationship marketing1. INTRODUCTION:The most recent literature on marketing management is demonstrating a revolutionary change in both form and content, which, undoubtedly, will result in several research projects in the short t

5、erm aimed at shedding some light on this dilemma. Traditional management models and paradigms do not adapt to the requirements of new products, as there are more and more exceptions and questions on the models developed so far (Lovelock and Gummesson, 2004; Vargo and Lush, 2004). In this complex con

6、text, this paper aims to make an in-depth study of the field of cultural services management by using two concurrent perspectives -relationship marketing and services marketing-, in order to contribute to the development of the new marketing domain: cultural marketing (Kotler, 2005). This is a field

7、 still in its development phase, but has probably found, with these new trends, the right moment to grow and develop management structures and models that meet its particular requirements.From the very beginning, contributions made to the cultural sector by the marketing discipline have been very di

8、verse. However, although they seem to have come to a consensus in the scientific world about the idea that the management of cultural identities presents such special characteristics that make it considerably different (Voss and Voss, 2000; Colbert, 2001; Johnson and Garbarino, 2001; Arts Council of

9、 England, 2003; Kotler and Scheff, 1997). Contributions from the marketing management area still do not suffice to construct a knowledge base that is solid enough to create a theoretical management framework similar to the one other disciplines with more tradition in marketing research have.In this

10、context, it is stated that the relationship marketing paradigm offers a suitable framework for the implementation of cultural management and this research study has focused on the performing arts services sector, as considering that it is one of the most forgotten sectors by scientific researchers o

11、f management. Furthermore, the decreasing consumption of this art form in Europe goes against the trend if taking into account that time and money invested in leisure activities has not stopped growing with countries economic development. In view of this situation, questions as following are require

12、d: what is the reason for this loss of competitive advantage?, what is being done wrong to be losing impact in a market, which, in theory, is becoming more and more inclined to consume leisure activities, such as the performing arts?, which agents are responsible for the results?, which agents are a

13、ffected by the results?, what can be done to improve this? These questions are the basis for carrying out this research study.2. RELATIONSHIP MARKETING, SERVICES MARKETING AND CULTURAL MARKETING AS THREE CONVERGENT PERSPECTIVES:Relationship marketing has become one of the most important contribution

14、s in the development of modern marketing science (Payne and Holt, 2001), and it has generated a recognised interest in the field of scientific research. What is more, in the opinion of numerous authors, it has even been seen as a new paradigm (Gummesson, 1999; Peck et al., 1999; Webster, 1992; Sheth

15、 and Parvatiyar, 2000; Kothandaraman and Wilson, 2000).With the concept by Gummesson (2002) on “relationship marketing is interactions in networks of relationships” as a starting point, the management of a cultural organization is understood as being necessarily determined by a multitude of agents i

16、n the market, be included in the organizations planning process, since the value of the final product is going to depend on them to a large extent. The role of the interest groups in the planning process of the organizations is one of the least cultivated areas of relationship marketing (Henning-Thu

17、rau and Hansen, 2000). Payne and Holt (2001) explicitly refer to this deficiency: “understanding long-term relationships with both customers and other stakeholder groups has been neglected in the mainstream marketing literature; managing the organizations internal and external relationships needs to

18、 become a central activity; this central activity is relationship marketing”. We are faced, therefore, with a new scenario in which one-to-one marketing has given way to many-to-many marketing (Gummesson, 2004); in other words, planning relationships with individuals has evolved to planning relation

19、ships with collectives, with interaction networks.On the other hand, either when contributions in the field of cultural marketing do not record enough standardization or volume to be grouped in trends or schools, they do share a value: the importance of relationships in their management. Contributio

20、ns made in this area are very diverse, in most cases focusing on relationships with customers (relationships with the performing arts audience). Garbarino and Johnson (1999) use the stage of an off-Broadway theatre in New York to explore the transaction/relationship continuum proposed by Gronroos (1

21、995) to conclude that the performing arts audience has different behavioural profiles depending on the relationships developed with the organization or, specifically, “in a consumer environment in which customers receive highly similar services . there are systematic differences in the relationalism

22、 of different customer groups”. Rentschler et al. (2001) also considered an empirical approach to relationships with the audience of performing arts organizations in Australia: “what arts organizations need to consider is whether the expense of having high single-ticket sales is sustainable and, if

23、not, what to do about it”.3. THE PRODUCT AND RELATIONSHIPS WITH CUSTOMERS SUGGESTIONS ON A MODEL FOR THE RELATIONSHIP MANAGEMENT OF CULTURAL SERVICES:Relationships with the audience are the central component in the configuration of the relationship marketing management model for cultural organizatio

24、ns. This central place is shared with the cultural product, whose general marketing model presents special characteristics that differentiate it from the classic structure of marketing, as:1. Marketing process starts in the producer organization, and from this origin (the cultural product) a decisio

25、n has to be made concerning the part of the market that may be interested in consuming it.2. Once potential consumers have been identified, the company will decide on the remaining relationship policies (instrumental and group, which we will cover below).Therefore, we are faced with a kind of market

26、 whose marketing process shows a “product-to-client” type structure. The atypical structure transforms the relationship policy with the cultural customer, as it considers that the core of the product is unalterable (Colbert, 2001).This structure involves the development of a wide variety of relation

27、ships, which have to be included in the value creation process forming the marketing of a cultural product. The cultural offering of a country, a region or a district is a source of benefits for a large number of social sectors. It is not for nothing that the recognition of the “need for culture” is

28、 well-known in virtually all developed countries (Council of the European Union, 2004), and public organizations, as well as private entities, are involved in satisfying this demand. Based on this situation, it is logical to assume that each and every one of these collectives has to be included in t

29、he organizations planning and a “win-win relationship” needs to be implemented in connection with them.Performing arts organizations will have to manage a multitude of relationships to achieve their objectives. These relationships were formerly classified into two large categories (Quero, 2003):a. I

30、nstrumental relationships: this first category groups the marketing mix instruments and incorporates a relationship focus (i.e., product, price, distribution and communication relationships).The differentiation factor characterizing the design of these policies is that they have to be planned taking

31、 as a reference the creation of value for customers and for every one of the agents involved in the production process of the cultural services.b. Group relationships: the second of the categories is related to the identification and planning process of relationships with collectives or agents of in

32、terest, as the performing arts audience, educational centres, public organizations, competition, suppliers, non-public organizations and internal relationships.From this point of view, group relationships and instrumental relationships are understood as different in nature, but they converge in stra

33、tegy; in other words, whilst some of them require skills connected with the management of relationships with collectives, others require a different kind of skills, more visible for the customer and connected with decision-making in specific aspects, such as programme designing (product), ticket sal

34、es (distribution), show value (price) or conveying the information to the market (communication).However, the management of both groups has to converge in obtained results at the end. In other words, that is to say that every one of the collectives has to have its expectations met in these decisions

35、.4. CONCLUSIONS:The aim of this study was to contribute to the development and implementation of relationship marketing, services marketing and cultural marketing in a specific area: the performing arts sector.The process of selecting and planning the relationships suggested by the relationship mark

36、eting paradigm has enabled to develop a theoretical model for organizations of performing arts services, in which two types of relationship groups are identified: instrumental relationships and group relationships. Instrumental relationships include product, price, distribution and communication rel

37、ationships in the model, with the particular feature of the fact that their design has to be dependent on the analysis of the effects they may have for every one of the interest groups. With regard to group relationships, seven collectives have been identified: performing arts audience, educational

38、centres, public organizations, competition, suppliers, other organizations and internal relationships. Every one of them is capable of creating and receiving value in their relationships and, therefore, they have to be included in organizations planning process, in order to-wiimnpslteramtengtiesw. i

39、nIn the area of relationship management with the performing arts audience, a classification of the audience has been proposed on the basis of relationship criteria, which has enabled two important phases to be identified in the retention process with cultural customers, the attraction phase and the

40、retention phase, whose primary objective is to foster relations with the customer until the highest possible level of relationship with the organization is obtained.The empirical contribution has served to corroborate the theoretical contribution by implementing a study on the current performing art

41、s audience in Spain and the general public, which demonstrates the importance of managing relations between the cultural organization and its customers and the benefits of implementing an appropriate relationship marketing strategy.This research study could be also considered as a significant contri

42、bution to the marketing discipline, due to its important theoretical implications:1. Relationship Marketing is considered as the integrating paradigm, capable of adapting to the requirements of cultural services, in general, and to performing arts services, in particular.2. The marketing-mix paradig

43、m is included into the management model, redefining its main instruments as product, price, distribution and communication relationships.It is also an unprecedented contribution in the field of cultural marketing, at least in Spain, offering a theoretical model for the planning and management of org

44、anizations offering performing arts services.This study paves the way for a multitude of future lines of research. For example, the study of every one of the interest groups and their role in the process of creating value, as well as the way in which instrumental relationships have to be implemented

45、 emerge as priority actions to be implemented in order to build some foundations in the area of arts marketing that are as solid as those in other sectors. Source：关系营销和服务营销：文化部门价值创造的会聚性观点摘要关系理论架构模式，文化服务管理模式(关系营销的文化组织)，在销售领域做出了 前所未有的贡献。通过联合使用两种会聚性的观点关系营销和服务营销，这两大类 型的关系是：互助的关系和组织的关系。本文对有关的关系深入研究表演艺术的观

46、众。 理论和实证研究相结合，其中包括面对面访谈 1005 个表演艺术的消费者和电话采访在 西班牙的 2005 个人。关键字：文化营销 关系营销 服务营销1作品简介最近的文献毫无疑问地证明营销管理在这两种形式和内容上有了革命性的变化，将 导致几个研究项目在短期内出现进退两难的局面。传统的管理模式与范例不适合新产品 的要求，因为这个模式发展至今有了越来越多的例外(Lovelock and Gummesson, 2004; Vargo and Lush, 2004)。在这个复杂的背景下，本文旨在利用关系营销和服务营销这两 个并发的观点对文化服务管理领域进行研究，以致力于发展新的营销领域:文化营销(陈

47、 蕙美，2005)。这是一种很可能已经建立但仍然处在发展阶段的新模式，在合适的时机 能发展壮大并成为满足其特殊要求的管理结构和模式。从一开始，文化产业的贡献对市场规律来说就非常不同。然而，虽然在科学界他们 对于思想文化本身的管理呈现出的相当不同的特点似乎已经达成了共识。(Voss and Voss, 2000; Colbert, 2001; Johnson and Garbarino, 2001; Arts Council of England, 2003; Kotler and Scheff, 1997)。在市场调研过程中，来自营销管理领域的贡献还不足以构建 一个坚硬得足以建立类似于传统市场

48、的管理框架的知识基础。在此背景下，更说明关系营销范例为文化管理的实施和集中在表演艺术服务业的研 究提供了一个合适的框架，是因为考虑到这是其中最被科研管理人员遗忘的行业。此外， 在欧洲降低艺术形式的消费，违背了如果考虑到把时间和金钱投资于休闲活动，并不能 停止国家的经济发展这一消费趋势。针对这一情况，以下要求：为什么会失去竞争优 势？我们做了什么错误影响了市场，在理论上，变得越来越倾向于消费的休闲活动，如 表演艺术？哪位代理人对结果负责？结果又影响哪个代理人？那我们该怎么做才能改 善？这些问题是执行本调查研究的基础。2关系营销、服务营销和文化营销三个会聚性的观点关系营销已经成为推进现代科学营销学

49、发展的一个最重要的贡献(Payne and Holt, 2001)，并在这一科学研究领域引起了公认的兴趣。在许多作者的看法中,它甚至被看作 是一个新的范例。(Gummesson, 1999; Peck et al., 1999; Webster, 1992; Sheth and Parvatiyar, 2000; Kothandaraman and Wilson, 2000)。Gummesson (2002。的观念是以“关系营销网络的相互作用关系”为出发点，文化 组织管理被理解为必须是由众多的代理人确定在市场上的竞争力，并纳入组织计划的过 程中，在很大程度上最终产品的价值要依靠他们。在计划过程

50、中利益团体的作用是组织 关系营销的最小产区(Henning-Thurau andHansen,2000)。Payne and Holt (2001)明确 提及其不足之处：“在主流营销市场上，与顾客和其他的利益相关群体长期保持友好关 系一直被忽略；管理组织的内外部关系成为焦点活动；是关系营销的中心活动”。因此， 摆在我们面前的是一种新的发展趋势，从一对一营销方式转变为多对多的营销方式(Gummesson,2004)；换句话说，从规划个人发展关系转变为集体规划互动网络。另一方面，在文化营销领域的规范性贡献不足够迎合团队或学校的潮流，他们都有 一个价值观：在他们的管理中各种人际关系的重要性。在这个领

51、域的贡献是非常多样 的，在大多数案例中关注的客户关系(表演艺术听众的关系)。Garbarino and Johnson(1999。使用在纽约剧院上演的戏剧来探讨连续的交易关系，Gronroos (1995。得出了 这样的结论：根据组织关系发展起来的观众表演艺术有不同的行为剖面，具体地说，“在 消费的环境中，顾客得到高度类似的服务分类出不同的客户群体有不同的关系”。 Rentschler et al. (2001)并且在澳大利亚被认为是对表演艺术组织的观众关系研究的实 证方法：“什么艺术组织需要考虑是否销售较高费用的单程票就可以支撑，以及如果不 是的话，怎么做”。3 对文化服务管理模型中的产品和

52、客户关系的建议客户关系是文化组织关系营销管理模型的主要组成部分。这个中心共享文化产品， 其总体市场开发模型划分出有特色的经典销售，比如：营销过程开始于生产者组织，从 这个起源(文化产品。关于这部分可能有兴趣被吃掉的市场份额必须做一个决定。潜在 消费者一旦被确认之后，公司将决定剩余的关系政策(有帮助的和团体，将会包括如下)。因此，我们正面临着一种市场营销过程中显示的“产品面向顾客”式结构。非典 型结构改造与文化政策的关系，因为它认为客户产品的核心是不变的(Colbert,2001)。这个结构包括了各种各样的发展关系，而这被包括在价值创造过程中市场形成的文 化产品中。一个国家或地区的文化祭，为大量

53、的社会部门带来一个利益的来源。在几乎 所有发达国家并不是没有“文化需要识别”这是众所周知的。(Council of the European Union, 2004），还有公共组织以及私人实体，都参与满足这一需求。在此基础上，这 是合乎逻辑的猜想，每一个这样的集体都已纳入组织计划和结合实施“共赢”的需求。表演艺术组织需要管理大量的关系来达到他们的目的。这些关系分为两大的类别 （Quero, 2003）： a.互助的关系：这第一类营销组合关系包含一种关系焦点（如：产品、 价格、分配和交流关系）。这个分化因子具有被计划作为为广大客户服务创造参考价值 的政策设计的特征，并且让每一个代理商参与到产品生

54、产过程的文化服务中；b.组织的 关系：第二类是有关规划过程中识别和确定集体人员和代理商的利益。如：表演艺术的 观众，教育中心、社会团体、竞争、供应商、非公有制组织和内部的关系。从这一观点看，组织的关系和互助的关系被理解为具有不同的本质，但是他们聚合 在战略里。换句话说，他们中的一些人需要与管理集体关系之间的连接技巧，其他人每 天需要不同的技巧，在具体问题上可以更容易看到客户以及他们的决策。如计划设计（产 品）、车票销售（分配），价值展示（价格）或是为市场传递信息（交流）。不过，在最后这两组管理必须聚合在结果上。换句话说，也就是集体的每一个人 都必须拥有这个决定的预期。4结论本研究的目的是致力于

55、在一个特定的区域：表演艺术领域，发展和实施关系营销、 服务营销和文化营销。选择和计划的过程中为企业发展表演艺术服务所建议的关系营销范例的理论模型 的发展，两种类型的关系被确定为：互助的关系和组织的关系。互助关系包括产品、价 格、分布和交流模型之间的关系，特定的事实是，他们的设计必须依赖于分析对他们有 影响的每一个群体。关于组织关系，已经发现了七点：表演艺术的观众，教育中心、社 会团体、竞争、供应商、其他组织和内部的关系。他们每个人都能创造和接收价值，因 此，为了实现双赢的战略，他们必须被包括在组织计划的过程中。在该地区表演艺术的观众的关系管理，一类观众在此基础上提出了关系标准，是在 两个重要阶

56、段吸引阶段和保留阶段里，吸引客户在不同的文化中停留的过程，其主要目 的是培养与客户的组织关系，直到达到世界最高水平。实证贡献结合理论贡献，通过对当前在西班牙的表演艺术观众和普通大众实施的研 究，显示出实施适当的关系营销策略，对文化组织和客户利益的关系管理具有重要意义。该研究同样被认为是对营销秩序的一项重要贡献，其重要的理论意义有：a.关系 营销的综合范式被认为是，能够适应文化服务的要求，一般来说是指表演艺术服务;b.混 合营销范例的管理模式，包括给它的主要设备产品、价格、分布和交流关系重新定义。至少在西班牙的文化营销领域，这也是一个前所未有的贡献，其为表演艺术服务提 供了规划和组织管理的理论模型。本研究为未来多种不同的研究方向开辟了道路。例如，研究每个利益集团和他们在 价值创造过程中的作用，为了在该地区的固体和其它领域的艺术市场上建立一些基础， 实现互助关系都必须实施优先行动。出处：