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The products of some firms emerge neither from new technology developments nor from attempting to address articulated consumers’ needs, but from a company-internal design-driven approach. To explore this design-driven approach, we propose a construct, design orientation, as a firm’s ability to integrate functionality, aesthetics, and meaning in its new products. We hypothesize relationships between a firm’s design orientation, customer orientation, technological orientation, and willingness to cannibalize on its new product performance.

We use data from surveys of senior marketing executives entrusted with design in 252 US firms, we validate the construct of design orientation and establish its distinctiveness from related constructs of creativity, technological orientation, and customer orientation. Using a structural equation modeling approach, we test the hypotheses and find support for them.

Individually, design orientation, technological orientation, and customer orientation improve new product performance. In addition, customer orientation decreases the positive effect of design orientation while willingness to cannibalize increases the positive effect of design orientation on new product performance.

More than two-thirds of respondents (69%) perceive that their firm can improve its new product performance by increasing its design orientation, an overlooked organizational capability.

Although practitioners have acknowledged the importance of design as a strategic marketing issue, there is little in the literature on how firms can benefit from building capabilities in the design domain, the issue we focus on in this research.

Purpose – This chapter focuses on how teacher candidates engage in a process of body mapping to narratively inquire into how their daily informal and formal music experiences inform elementary music teaching practices.

Methodology and findings – In a primary/junior music education course at Brock University, teacher candidates utilize a course assignment to create a visual narrative (body map), along with oral and written narratives that outline their music experiences. Through this narrative inquiry, teacher candidates become aware of how their personal lived experiences influence their perceptions about elementary music teaching. This chapter offers conceptualizations of five threads that emerged from the narratives: process of body mapping and musical experience, music everywhere, school influences, family, and fear.

Value – This inquiry deepens understandings of curriculum making possibilities in elementary music teacher education as teacher candidates begin to form their music teacher identity based on their lived experiences. Such visual, oral, and written narratives contribute to increased narrative understandings by demonstrating the power teacher candidates' personal music experiences have in shaping teacher identity and, in turn, teaching practice.

Naïve subjective personal introspection includes the failure to recognize the confirmability of one's own attitudes and personal meanings learned explicitly from self-examining such topics and explaining one's own behavior. Unconscious/conscious theory of behavior explanation follows from unifying the research on unintended thought–behavior with folk explanations of behavior. Chapter 6 describes advances in research confirming own attitudes and personal meaning and suggests the need for applying multiple methods to overcome the fundamental attribution error, inherent cultural prejudices, and the general bias toward self-fabrication. The discussion is valuable for achieving a deep understanding of how customers think, advancing from subjective to confirmatory personal introspection, and understanding the need to apply research tools useful for enlightening knowledge and overcoming the inherent bias within subjective personal introspection.