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Marshfield Clinic Research Foundation

listening

This scale uses ten Likert items to measure the degree to which a person believes that his/her parent(s) provided clear and firm direction for their kids while they were growing up but were reasonable and flexible as well.

The scale has three, ten point items that are intended to measure the degree to which some music is liked and familiar. As used by Bailey and Areni (2006), the scale had to do with a category of music rather than just one song.

Four, five-point Likert-type items compose the scale. The items are used to measure the extent to which a customer who lodged a complaint thinks that he/she was allowed the opportunity to fully describe the problem to the other party in the transaction. The context in which the respondents were given this scale was after being told to remember a recent service experience that led to their lodging a complaint.

The eight-item, seven-point Likert-type scale measures the degree to which a person thinks the personnel who performed a particular service exhibited understanding and concern about the work to be conducted. As used by Andaleeb and Basu (1994), the scale relates to the quality of service received from a car repair establishment.

The scale is composed of four, seven-point Likert-type items intended to measure the degree to which a customer believes a salesperson was paying close attention to verbal and nonverbal cues he or she was sending during the sales encounter.

The scale has four, seven-point Likert-type items that are used to measure the degree to which a customer perceives a salesperson was truly listening to him/her based on the responses the salesperson made.

Five, seven-point Likert-type items are used to measure the degree to which a customer believes that a salesperson was listening to him/her, trying to understand his/her needs, and asked for more information when necessary.

A three-item, six-point Likert-type scale is used to measure the degree to which a person expresses a desire to hear a piece of music again and have temporal control over it. As modeled in the study by Lacher and Mizerski (1994), the construct represented by this measure lies between affect and purchase intention and is distinguished from them.