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Modern Music Listening:
Technology‟s Effect on the iPod and its iGeneration
Music Consumption Research Project
Kiana Lively
April 30, 2012
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Table of Contents
Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Literature Review
Technology Adaptation & Music Listening. . . . . . . . . . . . . 4
Music Consumption and Identity . . . . . . . . . . . . . . . . . . . . 5
Identity and the iGeneration . . . . . . . . . . . . . . . . . . . . . . . . 7
Apple as an Identity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
The Success of the iPod . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Marketing to the iGeneration . . . . . . . . . . . . . . . . . . . . . . . 13
Recommendations
Evaluation of Apple as a Business Goal. . . . . . . . . . . . . . . 15
Marketing Recommendations. . . . . . . . . . . . . . . . . . . . . . . 15
The iGeneration Recommendations. . . . . . . . . . . . . . . . . . 16
Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
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Introduction
How many times have you called out to someone and had them not respond? Not appreciating
the cold shoulder, you approach them only to find out they had a pair of headphones blocking
their ears. Instantly, the unresponsive behavior is excused and you carry on with your day. Music
and technology have blended together to create new cultural norms in society. Like in the above
example situation, it‟s a common consensus that music plays a significant role in the lives of
consumers. In today‟s society, it is near impossible to walk down the street and not notice at least
one individual with headphones in their ears. Whether it‟s working, sleeping, exercising, or just
relaxing, people consume music throughout their daily lives, most commonly in the youth. But
what makes music listening so addictive? While in the past stereos and boom boxes could not be
carried far, the mp3 player has made music more mobile than ever. With advanced products
allowing consumers to digitally buy and play listen to music, a world of music can literally be a
touch away.
To explore this notion, this paper discusses the influence of the invention of new technologies in
how they have psychologically affected music consumption in the form of listening. In
particular, it will attempt to examine the attraction of these new technologies to the younger
generations. Within these technological innovations, the company Apple stands near the top of
the music charts with the revolutionary design of the iPod. The music listening phenomenon has
boomed with the surge of the digital audio player‟s features at the turn of the 21st century. The
analysis of this consumer psychology will attempt to connect the generation‟s need for
technology to the growth of the mp3 player market.
Under the pretense of figuring out why consumers “do what they do,” this project will examine
the buyer behavior in the music listening device industry (Amberg, 2007, p. 6). It will also
explore how consumers have embraced or rejected these technological changes reflected in
current purchasing patterns. The project will then attempt to define how the Apple Company in
general has virtually monopolized the mp3 player market. It will analyze the marketing strategy
done for Apple‟s iPod and seek to justify the growing consumer popularity of these specific
music listening products in the “iGeneration.”
Understanding this transition will assist marketers in determining how similar products should
be designed and marketed to mimic the current trends in music technology. Music has an
expanded role in the marketing strategy of many retailers that continues to develop (Sweeny &
Wyber, 2002). Through exploring the American as well as the international consumer‟s growing
need for the newest mp3 player technologies, marketers can implant and even strengthen
marketing ideologies regarding the iGeneration (Koufaris, 2002, p. 206). By examining the
thought process average music-listening consumers go through when deciding whether or not to
purchase a specific mp3 player, social as well as cognitive influences on the average music
consumer through the decision making process are revealed. Studying and comparing the
rationality and irrationality of this decision process, will allow marketers to acquire a better
understanding on why consumers find mp3 players, particularly iPods, so appealing. Analyzing
successful techniques of Apple will also lead to other successful marking campaigns for new
products not only in the music industry, but for new products being developed in the evergrowing technological world.
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This paper will attempt to define the success of technological advancements in the music
listening sector of the marketplace. By analyzing the change in technology, it will show the
increase in use of these devices from their release to recent years. Through the adopted
technology, the paper will discuss how the relation of music to the individual is reflected in the
products of this technological advancement of audio devices and how Apple was able to
dominate the market by assessing these connections. After the examination of these behaviors,
the paper will use these conjectures to inform marketers of the benefits of understanding these
trends regarding the digital audio industry.
Literature Review
With the age of computers, a technological revolution has swept through the world, affecting
nearly every industry. The music industry surged, using technology to create products such as the
compact disk, a digital compilation of music burned into a disk, in the 1980s (Sarin & Sego,
2003). With music becoming a digital phenomenon, the improvement in music devices improved
continually through the decades. The digital audio player replaced the portable CD player. The
first digital music players, Eiger Labs's MPMan and Diamond Multimedia's Rio, were introduced
to the American market in 1998. The mp3 player was first released in 1998 and upon entering the
marketplace rendered a great response (Peterson, 2007). Using technological discoveries, the
composition of music listening devices had transformed into what is seen today. With many
brands and companies with their „hands in the pot‟ regarding digital music players, consumers
have many choices to satisfy their music listening needs with Apple‟s iPod currently leading the
curve. With numerous methods to consume music through listening, consumers make
connections to the music through the technology and seek to relate these connections back to
their own identity, often choosing to do so through the purchase of iPods.
Technology Adaptation & Music Listening
As new technology arose within the music playing industry, consumers began to travel alongside
the tech-train. With the release of new audio devices, the mass market has consumed more and
more of these innovative products. But what is it that fuels this continuous trend of quickly
adopting more technologically advanced equipment? The actions of the consumers in regards to
this pull towards technology can be analyzed as a type of behavior conducted by the consumers
in the digital audio device market.
While it‟s clear that new technological advancements have made music listening easier, the
success of the technological adaptation can be analyzed through several factors. The most
apparent difference between the mp3 player and its predecessors is the size difference (Peterson,
2007). Walkman and CD player alike were very difficult to carry around. Clunky, there were few
ways to tote the devices around without needing a bag of clip of sorts. The mp3 player was a
model that was much more light weight and streamline in design. Able to be “put in your pocket”
it was the most convenient portable music player yet (Baron, Patterson & Harris, 2006, p. 2). Its
ability to read multiple digital music formats has also given it an appeal. While they are referred
to as mp3 players, digital music players can read more than mp3 files.
In these regards, the music one used to burn on CDs could be formatted for use on these devices.
Consumers could take CDs previously purchased and load them on their mp3 players meaning
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no repurchase of the music was necessary. Also unlike the portable music player that came
before it, the mp3 player only requires to pieces to function properly: the device and a pair of
headphones. No cassette tapes or compact disks “to lug around” (Koufaris, 2007, p. 2). Repair
for these mediums and the fear of tearing tapes of scratching disks was no longer an issue. The
digital music files were all stored and could be accessed with the “touch of a button meaning no
flipping to the other side” (2007) or cleaning disks to listen to a specific artist or song.
Besides the physical characteristics of the device, marketing techniques have propelled the
popularity of the mp3 players as well. Marketers can use bundling as a strategy to
“commercialize new products and gain faster market penetration,” (Datta & Chatterjee, 2008, p.
3). Moreover, by bundling new technologies with existing and/or complementary products,
marketers can reduce perceived risk by sending subtle signals to the consumers about the
compatibility of the new technology, and the availability of complementary products. All else
being equal, consumers' perceived risk associated with the purchase of a new high-tech product
will be lower when the new high-tech product bundle is offered with a discount than when the
bundle is offered with no discount (Sarin &Sego, 2003). The security, with extended warranties
and “Geek Squads,” has given customers a safety net. This means consumers are more willing to
try new products because they are compensated for the risk.
With the easy-to-carry multiple audio format reading device in the marketplace, consumers now
had the means to carry music with them as they pleased. As the millennium began, the digital
music player industry took off as well with programs such as Windows Media Player making it
even easier for consumers to organize their music. All of these factors make music more
accessible to consumers. Now that consumers can readily listen to music at their whim, the
influence of music has grown in today‟s society.
Music Consumption and Identity
Looking at the influence of music in society, research has supported that music is an element of
value for consumers. It affects behavior, action, and social aspects of one‟s life. This is also seen
on an individual level as well. With the release of the digital music player, music can be taken
anywhere at any time. From the morning commute on the train to a leisurely walk in the park,
music is readily available through a pair of head phones and a pocket-sized device. With such
customizable formats, the consumer can tailor their mp3 player to fit them. From specific genres
to songs, mp3 players allow the consumer to build a device that personalizes their favorite types
of music.
Identity can be looked at as a person's sense of self; of who they are (Perner, 2010, p. 64).
Likewise, people consume products as a way of expressing themselves. There are two streams
within consumer research that deal with meaning - symbolic consumption and self-concept,
which provide a basis from which the consumption of music as self-representation in social
interaction (Larson, Lawson, & Todd, 2009). In regards to this, music is no exception.
Consumers seek out artists and lyrics they feel categorize them individually as well as socially.
Examining this further, research can account for the individual's experience in using music to
represent themselves in social interactions.
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According to Ouellete, the importance of social interaction on the choice of music consumers
choose to reveal to their social groups, affects the methods in which these music listeners
consume music (2007). They describe music as a consumer symbol used to identify the
consumer self-image, particularly in a social setting. In order to present and image, consumers
will privately and publically listen to a specific type of music as a way to establish congruency in
their values. The social standards set by the generation are well known even by its members. "I
think it depends on what kind of image you are trying to portray to people,” says 14 year old
interviewee Anna Richards. “If you want to keep up with this image all the time then you are
going to keep listening to it. If you are concerned about what people think about you, you are
probably more likely to change music depending on who's around you. Like if you don't care, if
you have no worries at all, you just don't care what kind of impression you make at all then,” (
Sweeny & Wyber, 2002, p. 4). In this assessment, music consumption is correlated with selfimage.
Music, being a medium of social self-expression, affects personal emotion states. According to
Larson, et.al, consumers' liking of music played a major role in explaining consumers' emotional
states and cognitive processes (2009). Not only socially, but personally as well, music can alter
human thought and feelings. This theory has been supported time and time again through studies
in restaurants and shopping marts alike. The end results display that certain elements of music,
such as tempo, can alter a decision that may have otherwise been made by a consumer (Perner,
2010). With the development of the ultimate portable music player, consumers are influenced
anywhere they go, having the choice to listen to whatever they enjoy.
In these regards, music has generally been treated within the consumer behavior literature as a
marketing tool - a factor that could influence consumer decision making and purchase intentions
by increasing the effectiveness of marketing practices, leading to an increase in profits. Music
consumption is the act of listening to a piece of music. With a focus on the relationship between
consumer action, the marketplace and cultural meanings forming its base, "consumer culture
theory explores how consumers actively rework and transform symbolic meanings encoded in
advertisements, brands, retail settings, or material goods to manifest their particular personal and
social circumstances and further their identity and lifestyle goals" (Larson, Lawson, & Todd,
2009, p. 3). Thus consumer culture theory illuminates the importance of symbolism in
consumption. From this, the power and influence music has on the individual is illustrated.
Through multiple trials, Bounagui and Nel, sought to define reasons for why the average person
consumes specific types of music (2009). Although many examples of music consumption
behavior that is representative of the self were given, there was only a small amount of data that
referred to how the particular self to be presented was selected from amongst all possible selves
in the individual‟s identity (2009). It seemed that informants either could not or would not
articulate this. The reasons given for the unwillingness or inability to verbalize selfrepresentative consumption behavior are again relevant here.
Another study researched similarly relating music choice and social influence. "A friend of mine
used to have the craziest taste in music, like nothing you'd ever heard of, nothing I'd ever heard
of! But she was like the kind of person that was a complete - she really didn't want to be like
anyone, so individual, it was scary. She had this huge collection of CD's most of them I'd never
heard of in my life. She just played them all the time and didn't care what people thought. She
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probably just played them to be different because she liked to be different,” (Larson, Lawson
&Todd, 2009). The image portrayed by the participant‟s friend in this case, represents the social
element present in using music to form identity. Through the evaluation of these results, the idea
that music is a representation of self is reinforced.
From the release of technologically advanced digital music players, consumers have found it
easier to allow music to shape their identity. Consumers have adopted these technological
advancements into society as means of self-expression. The convenience and simplicity created
through technological innovation has given birth to a socially and technologically connected
society. Beyond the scope of audio devices, the association of technology and identity in the
most recent generation has produced a group of young people that seek out innovation treating it
a social necessity.
Identity and the iGeneration
“Hey, you‟re part of it! Talking about the iGeneration.”
Lyrics from MC Lars song “iGeneration” labels a certain identity taken on by the most recent
generation (2006). Jayson attests several attributes to the members of this iGeneration including
multitasking and the need to customize (2010). From the technologically advanced marketplace
was born a generation of consumers that strive for innovation. Members of this group of young
people, often labeled the iGeneration, are characterized by a need for this innovation. They are
fueled by new technological advancements to the point that they expect them. In this regard,
adopting technology isn‟t a conscious behavior as it may be in older generations, but an
unconscious social norm. Named after the “i” of iPod and other Apple products, the iGeneration,
much like the iPod, is a major player marketers must look at in the music listening device
market.
As a group of expressive young people, the iGeneration currently leads the trend of technology
adaptation—so much that the adoption itself has become part of its identity. "Everything is
customized and individualized to 'me.' My music choices are customizable to 'me.' What I watch
on TV any instant is customizable to 'me,'" says an interviewed teen from Herstein‟s study
(2010). According Jayson, a research containing thousands of teenagers and their parents has
identified a separate generation, born in the 1990s and beyond, which is labeled the iGeneration
(2010). The “i” represents both the types of digital technologies popular with children and
adolescents (iPhone, iPod, Wii, iTunes, and so on) and the highly individualized activities that
these technologies make possible. They want to be constantly connected and available in a way
“even their oldest siblings don't quite get” (2010, p. 2) These differences may appear slight, but
they signal an all-encompassing sensibility that some say marks the dawning of a new
generation. The difference is that these younger kids don't remember a time without the constant
connectivity to the world that these technologies bring. They're growing up with expectations of
always being present in a social way — always being available to peers wherever you are. In this
glocalizing world, the iGeneration is undoubtedly partaking in interconnecting the youth of the
nation and world.
The iGeneration has in itself become a mindset that sticks with its members. "It's simply a part of
their DNA," says Dave Verhaagen, a child and adolescent psychologist (2010). "It shapes
everything about them," (Jayson, 2010). The dependence they have on technology continues to
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astound researchers. The members of this generation are living in a world where they believe the
sky is the limit. Gone are the days when imagining new technologically advanced structures was
considered foreign or insane. “The iGeneration believes anything is possible. If they can think of
it, somebody probably has or will invent it. They expect innovation. Kent characterizes the
members of this generation by their early introduction to technology, adeptness at multitasking,
desire for immediacy, and ability to use technology to create a vast array of content (2009). Their
WWW doesn't stand for World Wide Web; it stands for Whatever, Whenever, Wherever.
(Jayson, 2010).
The increase in technology has undoubtedly fueled the formation in this newfound generation.
The iGeneration has expectations that whatever they want or can use "will be able to be tailored
to their own needs and wishes and desires, because everything is," (Levey, 2009, p.2) They are
inseparable from their wireless devices, which allow them to text as well as talk, so they can be
constantly connected (2009). Whether it be in class or a mall, iGeneration members are heavily
in contact with each other. Alongside the technological movement discussed, technological
advancements created these devices so often consumed by the iGeneration. The effects of the
iGeneration have also stirred a new wave of educational methodology (Kent, 2009). Educators
are constantly attempting to grasp the ever shrinking attention spans of their students. Kent
states that the iGeneration is immersed in technology (2009). Their tech world is open 24/7.
Now, we need to take advantage of their love of technology to refocus education (2009).
Analyzing the elements of these teenagers, an emerging identity is formed. Though researchers
have given the group their name, the members have embraced this title and even use it as a
means to become more immersed in technology. In this way, the label has become part of the
generation‟s members‟ identity. Stemming from the customizability of mp3 players, cell phones
and other portable digital audio playing devices let members of the generation access their music
almost immediately wherever they are. (Larson, Lawson &Todd, 2009). With the only constraint
being battery life, the iGeneration‟s identity combines social and personal cognitive processes.
On one hand, their high level of connectedness keeps them constantly in contact with their peers.
On the other, the extreme level of individual customization allows the members of the generation
to personalize everything for the individual.
MC Lars wrote the lyrics quoted previously as a way to tap into the minds of the iGeneration.
“And I'm waiting for the day we can get out. The world is ours; that's the story no doubt,”
(2006). According to Jayson, The iGeneration knows where it comes from. It‟s aware of its
innovative needs and how it marks the future of this nation and globe (2009). The generation‟s
without a doubt shaped popular culture and seemingly understand this connection. “See the
iGeneration knew organization meant optimization and unification hen imagination gave
participation in creation of culture a manifestation,” (2006). Even in song lyrics, the influence of
the iGeneration had helped developed a technologically saturated mp3 player market. With all
the technological advancements laid out in front of them, the generation born starting in the last
decade of the millennium identifies itself as a connected and individualized unit, the iGeneration.
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Apple as an Identity
While it is established that the iGeneration doesn‟t simply encompass a love for Apple brand
products, the title was most definitely derived from the product family. Along with rise of the
digital music player came the rise of companies fighting for top sales. Most prevalent of all is
Apple‟s iPod (Peterson, 2007). Consumers have definitely shown favoritism when it comes to
their choice in music listening devices. The iPod appealed to the masses and lifted Apple to its
current status with its record-breaking sales and immense popularity. All a consumer needs to
see is the „monochrome apple‟ to immediately identify a product as belonging to the Apple
company. This behavioral trend of purchasing Apple products has been fueled by Apple and its
iPod‟s ability to provide a device that represents these innovative seeking consumers of the
iGeneration. The analysis of this trend can then assist marketers in tapping into this
technologically hungry consumer base.
Through the iPod‟s development, Apple has transformed its image to match the popular device.
Ask marketers and advertising experts why Mac users are so loyal, and they all cite the same
reason: Apple's brand. It's no coincidence that during the late 1980s and early 1990s it was a
marketing executive from Pepsi, John Sculley, who turned Apple into the biggest single
computer company in the world, with $11 billion in annual sales (Kahney, 2002). Sculley
“marketed Apple like crazy, boosting the advertising budget from $15 million to $100 million,”
(2002, p. 2) According to Kahney, Apple's brand is the key to its survival. It's got nothing to do
with innovative products like the iMac or the iPod (2002). He supports this saying Apple, “of
course, is the archetypal emotional brand,” (2002). It's not just intimate with its customers; it is
loved. This relationship between consumer and brand is powerful and stands as the bottom of
Apple‟s base of loyal fans. People's connections with brands are said transcend commerce
(Nandan, 2005). Through this conclusion, it is not difficult to realize why Apple has such loyal
consumers. Brand identity can be defined as how a business wants a brand's name,
communication style, logo and other visual elements to be perceived by consumers. The
components of the brand are created by the business itself, making brand identity the way in
which a business wants consumers to perceive its brands. Apple‟s brand identity was carefully
crafted to appeal to the masses of the market, in particular, the youth in regards to the iPod.
As previously established, brand is a tool consumers use in symbolic consumption to develop
identity. Regarding the digital audio device market, the Apple brand is second to none in terms
of mp3 player sales. But why do so many customers align themselves with the Apple brand? The
company projects a humanistic corporate culture and a strong corporate ethic, characterized by
volunteerism, support of good causes or involvement in the community; The company has a
unique visual and verbal vocabulary, expressed in product design and advertising; The company
has established a "heartfelt connection" with its customers (Herstein, 2010). Looking at the iPod,
it brings an emotional, “sensory experience to computing," Herstein said. "Apple's design is
people-driven," (2010).
Technology is accelerating faster and faster than we can keep up with. People need to find some
grounding, that human touch, the leading hand. There's a need to recreate tribes that give people
a grounding (Hamann & William-Roberts, 2007). With this acceleration, consumers look to the
marketplace to tell them what to buy. From there, individual brands fight to stay in the consumer
favor. These brands attempt to satisfy the wants and needs of its consumers in the most effective
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way possible. People are drawn to these brands because they are selling their own ideas back to
them, they are selling the most powerful ideas that we have in our culture such as transcendence
and community -- even democracy itself, these are all brand meanings now (2007).
The Success of the iPod
While it‟s clear people chose to purchase iPods over other mp3 player brand options, what is it
about Apple‟s creation that led to the immense popularity of the product? The term “iPod” is
used in today‟s language to casually refer to all mp3 players, similar to the way “Kleenex” is
often used to describe all types of tissue. This reflects the idea that most people assume if one
has an mp3 player, it‟s an iPod. There are several elements of Apple and its product that played a
hand in this domination of the mp3 market. By analyzing the renewed marketing techniques by
Apple and the examination of the product‟s physical attributes, reasoning for the iPod‟s
popularity can be proposed.
Much of the success of the Apple Company in the turn of the millennium can be given to its
change in marketing strategy along with its formation of crucial products. The company
managed to Apple‟s new pricing strategy was a big change from the 1990s, when consumers
regarded Apple as a producer of overpriced tech baubles, unable to compete effectively with its
Macintosh family of computers against the far cheaper Windows PCs (Filloux, 2011). It began
using its growing manufacturing scale and logistics prowess to deliver Apple products at far
more aggressive prices, which in turn gave it more power to influence pricing industry-wide.
Apple is a company “inextricably tied to the word new” giving it a leg up over its competitors
(2011). CEO, the late Steve Jobs, attributed much to “old-school marketing techniques: back up
great products up with creative advertising, big media spending and, don't forget, smart retail”
Patel, 2007, p. 1). Today, Apple is marked as one of the top spenders for advertising, over 400
million dollars yearly.
Apple’s dedication to advertising proved beneficial as iPod topped the sales not only in music devices, but in other
handheld electronic devices as well (Kent 2009).
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When Apple Computer released the iPod in 2001, total digital music player sales remained at
$100 million, roughly the same level as in 1998. Four years later, Apple held seventy-five
percent of a more than $4 billion market. But according to Peterson, the strongest evidence of the
iPod's popularity is not statistics; it is personal experience (2007). Purchasing, observing, using,
and reading reviews of the earlier products developed consumer preferences, giving consumers
an idea of what they wanted in a digital music player (2007). Apple was then able to build a
product targeted to meet those desires. The release of a product creates the positive externality of
further developing consumer preferences, which aid in the design of later products (Wingfield,
2004). In addition to the well-known role that technological innovation plays in incremental
innovation, the release of a product creates the positive externality of further developing
consumer preferences, which aid in the design of later products. While this effect always occurs,
it can be seen most clearly in radically innovative markets, in which little to no consumer
preferences exist (2004). In these regards, Apple was a major player in the digital audio device
market. Its innovative techniques utilized in the design of the iPod put the mp3 player as the
number one selling music listening device in today‟s market.
"Macintosh was always bigger than the product," Steve Hayden, an Apple advertising executive
(Kahney, 2002). "We thought of it as an ideology, a value set. It was a way of letting the whole
world access the power of computing and letting them talk to one another (2002). The
democratization of technology -- the computer for the rest of us," (2002) Advertisements
portrayed Apple as a symbol of counterculture -- rebellious, free-thinking and creative. These
messages transcended past the 90s into today‟s culture. The iGeneration, a group characterized
by a need for innovation and customization, by no surprise is drawn to the brand. Apple product
are not on versatile, simple to use, and high customizable, the brand Apple is labeled as a brand
of innovation.
While the Apple brand itself posed as a great tool for attracting consumers to the iPod, the
innovativeness of the product itself cannot be ignored as an attribute to its market success. Its
sleek design and navigable features allow it to be a product of universal caliber. With its mass
appeal, simple to use system, versatility, and customizability, it was no question that the iPod
reigned supreme as the most successful mp3 player. Whether an American consumer owns an
iPod or not, they can identify one with ease. By designing an easily recognizable and usable
product, Apple built an unrivaled digital audio device.
Physically, the iPod fits the portability requirement perfectly. Weighing mere ounces and not
exceeding the dimensions of a memo pad, the lightweight and compact size of the iPod make it
extremely convenient (Santariano, 2012). In an „on-the-go‟ world, being able to travel easily
with a device is a significant factor in whether or not a particular electronic is purchased (Jayson,
2007). This sizing allows it to be carried in a pocket or purse, and it‟s formatted to fit properly in
the palm of one‟s hand making the iPod one of the most expedient music playing devices.
Besides its sleek and slim physical design, the iPod has another attribute that has given it its edge
over competitors: easiness of use. According to Kahney, the iPod is known for its universal
usage ability (2002). From the most tech-savvy teen to the technology illiterate laggard, the
iPod‟s simple function design allows for anyone to use it with minimal difficulty (2002). One of
its advantages stems from its easiness to maintain. For the classic iPod, if it has received no
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physical damage, the only obstacles between a consumer and listening to the music are the
device‟s charge and working headphones. The iPod is charged by plugging it up to a standard
USB drive, and headphones are plugged into a standard headphone jack. With the charger and
headphones provided in the package purchased, these items are effortless to obtain. Apple also
designed a wall charger feature. This allows consumers to charge their iPod in an outlet, rather
than a computer‟s USB drive increasing where and when the device can be recharge(Kahney,
2002). With these elements, the iPod‟s efficiency is once again shown.
Alongside the maintenance feature of the device, using the iPod itself is also easier than ever.
With the reveal of the iPod touch, came a wave of simple-touch tutorials (Constantindes, 2004).
With this, consumers do not need to look up start up instructions in a manual or online help.
Instead the directions are clearly described with simple language on screen. With only one button
to press upon removing the device from its packaging, the consumer has little room to make
error when accessing this tutorial. Once the iPod is set up, a walkthrough of the device comes to
the screen next (2004). This assists the new consumer in learning how to manage and customize
their new iPod. Details not discussed can be discovered without much difficulty due to the layout
of the setting and other menus. As stated by a teen interviewed in Reppel, Szmigin, &Gruber‟s
study, “I can‟t imagine who couldn‟t figure out how to use an iPod. They make it so easy it‟s like
common sense” (2006, p. 4). With the goal of making a universally accessible device, Apple
uses these features to ensure the easiness of use regarding their music playing devices.
As a digital audio player, the iPod‟s main concern lies in its ability to play music. Prior to the
iPod, mp3 players required consumers to transfer music files through the computer to their
device through a USB connection. In the iPod‟s development, Apple also designed a computer
program that would allow iPod users to listen to music, transfer songs, pictures, and video to and
from the device, and purchase the aforementioned: iTunes (Kahney, 2002.). The iTunes program
is required in order to use the iPod device, as synching with it is part of the media player‟s setup.
By forcing consumers to download this program, Apple provides purchasers of the iPod with a
simple, yet extensive system for managing the device (Muniz & Schau, 2007). iTunes allows its
user to purchase digital albums with a computer click also giving accessibility to more music
than ever before. Its features of album images, playlists, and on-screen lyrics make it a perfect
match for the iPod (Reppel, Szmgin, & Gruber, 2006). As a program designed specifically for
the iPod, it maximizes the usefulness of the device as a whole.
While the previously discussed features highlight the iPod‟s usefulness from a practical
standpoint, this fourth feature, personalization, definitely stands as one of the most important
attributes of the iPod‟s success. Not only is it simple to navigate the device, but it also is
designed to be easily and ultimately customizable. The first customizable element is, of course,
the music. To start, iPods are produced in several different sizes. From a 2 GB device to 64 GB,
a consumer can pick out the storage capacity that most fits their needs (Reppel, Szmigin, &
Gruber, 2006). Once a consumer is content with the amount of music, video, pictures they can
load onto the device, they look at the physical design elements of iPods. Black, white, pink, or
blue—depending on what‟s in stock at a particular location—are just the top of the list of colors
consumers can purchase iPods in (Herstein, 2010). If the selection is not good enough, there are
endless options for cases and skins designed specifically for iPods. Like cell phones of
computers, iPods allow the consumer to change wallpaper and theme colors within the actual
13
device as well (2010). These design accommodations provide consumers with all the tools they
could need to customize the physical design of their iPods.
The ultimate customization of the iPod rose with the release of the iPod touch in 2007. With its
first update in 2008, the app store was opened and Apple continued its constant innovativeness.
With the creation of the “app,” consumers could purchase applications for, literally, anything
they could think of (Herstein, 2010). From games, to GPS programs, apps were downloadable
from the iPods themselves allowing consumers with these iPods and or phones to pick out and
arrange these applications however they please on their device. Making these applications also
manageable in iTunes ties Apple back together, keeping consumers heavily involved in both
venues (Kahney, 2002). The app “craze” hit the marketplace strong and the customizability of
iPods increased tremendously.
The immense popularity of the iPod was derived from several decisions made by the company
regarding its product design and promotion. The reformation of the management at Apple
allowed to company to flourish and escape failure by leaps and bounds. By targeting an audience
fueled by technological change, Apple built its company ideals and products around
customization and innovation. As a company known for having the latest and greatest, the Apple
brand has become the producer of the „choice‟ products of the last decade in the music player
market. This domination of industry reflects what marketers should look at when attempting to
target similar audiences.
Marketing to the iGeneration
Examining the product features and techniques of Apple and its iPod are relevant in
understanding how to target the technology-driven iGeneration. By studying these reasons for
the iPod‟s popularity, marketers can assess the key features and create products similar or related
to digital audio players. Apple‟s success was brought by selling the generation‟s characteristic
back to them as a product, creating a society of youth that not only believes anything can happen,
but now has the means to make it occur.
When Apple laid out its marketing strategy for the iPod, they decided to develop a product that
would appeal to the primary demographic looking at the marketplace for personal music
listening devices. Through research, the company‟s marketing department was able to formulate
a product and gimmick that had the members of the iGeneration flocking to the stores to have
their hands on it (Nandan, 2005). As a device that fit the needs if the generation, consumers
continued to purchase these devices as they grew in technology. By focusing on this generation,
Apple infected the youth with a need for its products (Kahney 2002). The influence from the
early adopters spread throughout the population in the case of the iPod creating a product for the
people. The free-thinking spirit of optimization that is prevalent throughout the iGeneration is
reflected in Apple products, making them the brand choice for iGeneration in their music
consumption needs.
Through specific marketing criteria, Apple was able to make a device designed to cater to the
ever-changing demands of the iGeneration. The iPod was a highly customizable device. This
satisfied the personalization needs of the generation. The device could also do more than its
predecessors in its functionality. No longer did an mp3 player simply play music, but an iPod
14
could play video and organize pictures. By the last half of the decade, iPods could text, stream
video, take pictures and still slip into a lean pocket (Jayson 2010). The myriad of features
appeals to another iGeneration value: multitasking. An iPod could be everything from an mp3
play and a camera, to an alarm clock and cell phone. Following the technological increases, the
generation continues to buy these products that are designed to fit their needs. The utilization of
all elements— physical characteristics, marketing strategy, brand image, and target
demographics— but the iPod at the top of its market (2010). Its rise to power is a reflection of
the power the iGeneration holds over the music market and vice versa.
Besides the physical features of the product, Apple‟s marketing campaign for its company led
members of the generation to continue to purchase the product. As previously stated, Apple is
known for innovation. The company‟s brand image is one that is connected to technological
advancement and product superiority. There is a social stigma regarding consumers of Apple
products. Members of the generation almost ostracize each other for not conforming to the will
of the masses. Members that use alternative mp3 player brands, such as Coby and Sony, are
often told they are behind the times or “uncool,” (Baron, Patterson, &Harris, 2006, p. 2). If it
wasn‟t Apple, it wasn‟t good enough. The iPod was more pricy than its competitors which also
added to its superior image. A transition occurred as the iPod increased in popularity. Previously,
Apple consumers were characterized by brand loyalty (Reppel, Szmgin, & Gruber, 2006). They
were seen as some of the most dedicated buyers in the market. With the swell in consumer
numbers, the success of Apple became fueled by brand inertia rather than loyalty. If a consumer
in today‟s society decided to purchase an mp3 player, there is almost an automatic response
when they choose an iPod.
All in all, the reception of Apples iPod on the mp3 player market received was tremendous. A
company, that had been predicted to be on its last leg, turned around its image and captured a
powerful demographic of the marketplace. The iGeneration, characterized by innovation,
multitasking, and social connectedness has led the success of the iPod in its consumer dedication.
The iGeneration continues to purchase Apple products. Fueled by the idea of Apple and the iPod
as a device built for them in mind, members of the generation continuously look to the company
for the newest edition or release (Seward, 2004). Through the examination of these behaviors
surrounding the iGeneration and iPod, the connections between music, identity, and Apple‟s
iPods become evident. The dependent relationship between the two keeps the adaptation of
technology in the marketplace continuous. As long as the iGeneration follows Apple and Apple
adheres to its wishes and creates more innovative products, the increase in accepted
technological advances in the mp3 player market is expected.
Recommendations
After assessing the success of a marketing team on its target segment, it is clear that there is a
connection that stems between technology in the market, music, and identity. With an
understanding of these connections, marketers can produce products that can reach the similar
success with the iGeneration. This paper examined elements that allowed technological
advancements within the music listening device industry to be adopted as rapidly as they were
and continue to be. Now, it will attempt define how others have tried to replicate this success,
and to give recommendations to marketers targeting the demographic that has created the mp3
15
market surge. It will also evaluate the effectiveness of this paper in defining the aforementioned
success.
Evaluation of Apple as a Business Goal
The surge of Apple‟s success was no secret. Any good researcher has studied the marketing
techniques of Apple in order to define how the company managed to excel and propel itself
through down times. In the past, companies have attempted to gain the same type of success in
the mp3 market. While several teams have tried to mimic these techniques previously, Apple has
not been removed as the top mp3 player seller in the nation. Looking at the attempts of past
copycats will also give insight in how to successfully utilize the information gained from
observing Apple‟s victory.
In the past, competitors have attempted to mimic Apple to create a similar market surge. Most of
these copycats find themselves out in hurry, rejected from the market. The design of the iPod is
often challenged by competitors (Wingfield, 2004). Mp3 player manufacturers have created
music playing devices that have most— if not more— of the same functions of the iPod. These
products are customizable, portable, and have features allowing consumers to multitask. In the
promotion of these products, word of mouth advertisement tends to say, “It does everything an
iPod does, only cheaper,” (Satariano, 2012). These devices, despite their copying of the iPod‟s
popular attributes, are still second rate when it comes to market sales.
Another route competitors take when they challenge Apple is going completely opposite. Feeling
Apple is in its own realm of success, other digital media players settle for second place. They
rate themselves as an underdog propelling consumers to purchase them in retaliation. Despite the
iPod‟s popularity, Apple‟s company image is not as well liked as its music products. Because of
this, marketers tap into this “anti-Apple” demographic, to draw sales numbers (Satariano, 2012).
While this method does copy Apple directly, its opposition hasn‟t necessarily given it its edge. If
a product can‟t compete with Apple‟s marketing structure and create a brand image that invokes
a strong sense of value to the consumers, it cannot expect similar market results.
Marketing Recommendations
Virtually all competitors in the mp3 player market have studied, in some way, the success of
Apple and the iPod. Rather than completely rejecting or accepting all of Apple‟s principles,
marketer should aim to find a balance that can lift a company to success. By analyzing Apple‟s
techniques and design elements, competitors can use certain methods to obtain a successful piece
of the market segment.
The first element marketers must look towards when deciding to target the demographic is noting
the elation that the iGeneration looks for innovation. While much of Apple‟s success stems from
brand imaging, the first step is to create a quality product. There should be less emphasis on
brand loyalty and more of a question of better performance. People will buy a product that
works. As a company design team, spend the time to develop a device that represents the
demographic. Instead of basing a design off of the iPod, create a device that still fits the criteria
necessary to be accepted by the generation. This includes product design. Apple‟s dedication to
design is so strong that the design team has precedence over the engineering team (Patel, 2011).
In other words, the designers dictate the mold and user experience, and the engineers have to
16
match the hardware so it‟ll fit inside. With a hard working team for technology and design, a
competitor can create a product wanted by the target demographic.
Outside of the physical and functional element, competitors must looks towards the image of the
product they are developing. A company can create the perfect product, but if no one trusts or
knows of the producer, it won‟t sell. Reputation is necessary when claiming a section of the
market. Apple‟s goal is unsurpassed user experience. This is their number one priority.
Everything else is related to how customers respond to their products. This customer-first
personality makes consumers believe Apple designs for the individual. This component of
personalization drives the iPods sales for the iGeneration. Similar products must create their own
image. No one can completely copy Apple and succeed due to Apple‟s saturation of the audio
device market (Patel, 2011). Creating a heartfelt image that makes the consumer feel special will
assist in gaining a larger consumer base.
Finally, marketers must study the demographic. While it is true that nearly every competitor, if
not all, have looked at Apple as a crown example, the dedication that goes into understand
consumers is far more important in the creation of a new successful product. In the case of the
iGeneration, innovation and customization are the main needs. If a company fails to address
these basic needs, they should not expect to get desired results (Kent, 2009). By allocating heavy
resources to the study of consumer behavior, marketers can more deeply understand the
psychological decision making that occurs as the target market makes purchases within the scope
of the mp3 market. The understanding of these needs will ultimately lead to a product that will
be able to survive even under the shadow of the largest market player.
The iGeneration Recommendations
The characteristics of the generation have been discussed several times throughout this paper.
One of the main hurdles in the marketing to this generation is understanding it. As the newest
identified generation, encompassing people born in the early 1990s through the late 2000s,
researchers have limited ideas regarding the future of the generation (Kent 2009). As innovativeseeking connect group of individuals, the iGeneration creates an awkward social stigma for
members of the age cohort. For any marketers or other consumers dealing with the generation on
any market playing field, there are a few recommendations suggested to stay on the positive side
of the market demographic.
First, researchers must note the iGeneration is fast paced. As through American culture,
Americans tend to want things done quickly with no wasted time. Businessmen claim “time is
money” and take offense to partners that show up late. This concept of time has developed
within the generation. iGenerationers want things now and fast, but just as quickly as they want
them, they do away with them. Apple releases a new model of some product yearly and
consumers will discard an old model for no other reason than it‟s behind the times. Fads in
popular culture have a two week rotation, so to the iGeneration, if it‟s not new, it‟s old (Levey,
2009). By catering to this need, marketers can develop strategies that keep their product from
being “out of fashion.”
The generation is also very high on convenience. The more complicated a task is, the least likely
they are to want to complete it. A stereotype of this generation is that its members feel that they
17
are entitled to everything and anything they want. It says they want all the reward with none of
the work. Nicknamed the “lazy generation,” iGenerationers want to make their lives as
convenient as possible (Levey 2009). They seek devices that serve several functions so that can
multitask, doing more in a shorter period of time. Keeping in mind this wish for simple
efficiency, marketing teams would want to design eye-catching yet easy to follow products.
A major element that influences the generation is its members‟ connection to each other. Despite
the generation‟s need to be personalized and individual, the social dependence on one another is
high. The iGeneration understands marketing and advertising. While they're generally alright
with marketing messages, they prefer their friends' stamps of approval (Kent, 2009). Around
78% of teens trust recommendations from their peers, according to Fuse, and 77% rely on their
friends to tell them about new products and brands, vs. 59% who look to TV advertising (Jayson
2010). Influence with and over each other is extremely important, and while that's not terribly
different than it was before, it's much more widespread because of social media. So many of
them now find out about bands, brands of jeans, or new snack foods from each other on social
media. To obtain their wants, they turn to their parents. The influence they hold over the adults in
their lives is immense (2010). Considering many generational members have no income, a
significant percentage of profit is gained through parental purchasing. By assessing the influence
held by the iGeneration among its peers and other generations, marketers can successfully
influence other generations as well.
In understanding technology‟s influence on this iGeneration and the marketplace, researchers can
create more efficient products and successfully tap into the consumer base of the generation.
Through careful research and design, competitors can looks forward to a potentially better future
than they would by simply copying concepts. By having an understanding of the psychological
processes of the generation, marketers can access even more segments of the market and
continue to produce accepted products successfully. Attempting to understand how a growing
social connectedness has influenced the need for innovation may further explain the necessity for
high-tech devices. In marketers continue to study the relationship between this established
generation and technological adaption, looking deeper into the social connection may prove
useful.
Conclusion
This paper sought to identify the role technologic advancements played in the quickly adopted
digital music player industry. By analyzing how music affected identity, the origins of the
iGeneration were examined and the demographic was described as the engine for the fast paced
innovation. Looking at the iPod as the product that labels the generation, Apple‟s marketing
techniques dominated the marketplace providing the iGeneration with individualized music
listening products. Finally, the paper analyzed past efforts to mimic Apple‟s techniques in
marketing to the iGeneration and recommended other methods to better ensure competitors‟
survival in the market targeting the generation.
By examining the relationship between technology, identity, and Apple‟s success, marketers can
have insight into how to create music listening devices that will appeal to the ever-changing
demands of the iGeneration. The influence of the invention of new technologies has affected
music consumption in the form of listening. In particular, these new technologies appeal to the
18
younger generations. By exploring how consumers have embraced or rejected these
technological changes reflected in current purchasing patterns, a consumer identity can be
forged. Looking at need for innovation and versatility, the characteristics of the iGeneration fit
the demographic for Apple‟s iPod and similar products. Examining not just the type of music
consumers listen to but how they listen to it, another level of identity can be noticed. Through the
analysis of this research, Apple‟s success in marketing to the younger generations becomes
prevalent.
This research project will assist marketers in determining how similar products should be
designed and marketed to survive the current trends in music technology. By utilizing the
conclusions that the iPod‟s physical characteristics and brand identity relate to consumer
identity, marketers can seek to exceed the standards set in place by Apple‟s monopolization of
the digital audio device market. Examining these elements will assist marketers in determining
how similar products should be designed and marketed to mimic the current trends in music
technology. Music has an expanded role in the marketing strategy of many retailers, “especially
with the high-tech personalized multimedia services” (Sweeny & Wyber, 2002) that continues to
develop.
All in all, technology in the music listening industry has allowed companies, such as Apple, to
benefit greatly from the blend. As technology became more and more accepted into popular
culture, it prevailed in the development of digital audio devices creating a type of consumer
culture different from generations previous (Jayson 2010). As mentioned before, it is unlikely
that you will take a stroll down a busy street and not find someone with headphones in—
generally the youth. To keep up with the ever-changing demands of the tech-driven generations,
technology is constantly adapted into the mp3 player industry. With portable, lightweight,
customizable, all-in-one high tech audio devices, it is no surprise young consumers use music to
express themselves and in doing so choose to effortlessly listen to music wherever they go.
19
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