Professional Documents
Culture Documents
Jacques Attali
Clamour, melody, dissonance, harmony; when it is fashioned by man with specic tools, when it invades mans time, when it becomes sound, noise is the source of purpose and power This is what well look at today
Plan
Music and purchasing Music and advertising Music and politics/ voting (censorship)
Initial feelings
Do you feel youre inuenced by music in shops? Does it bother you or are you (seemingly) oblivious of it? Does piped music really raise blood pressure, or are the Pipe Down people being too sensitive/ raising their own blood pressure? What do you think of the argument that music is devalued when used as acoustic wallpaper or a marketing tool?
Milliman (1982)
Study conducted in medium-sized store in US - 9 week period Three types of music: no music, fast music (> 93 bmp), slow music (<73 bpm) Time taken to move between 2 points in the store noted, alongside gross sales store-wide Slow tempo: customers took 127.53s to move between 2 points, compared to 108.93s for fast tempo. No music: 119.86s Slow music: daily sales of $16,740.23. Fast: $12,112.85 - slow music led to 38.2% higher average daily sales Slow music: slower shopping,more browsing, saw more products
Milliman (1986)
Medium-sized restaurant above-average priced Slow music played on 4 weekends, fast on 4 weekends Slow music: 56 mins to nish meals. Fast: 45 mins Slow music: $30.47 spent on drinks. Fast: $21.62 Gross margins per customer: Slow: 55.82, fast: $48.62 (gross margins per minute very similar - $1.08 vs $1) Slow music didnt lead to customers buying more expensive food, just more drinks, as they spent longer in the restaurant
Roballey et al (1985)
University staff cafeteria - three musical conditions: slow (56 bpm), fast (122 bpm), no music - instrumental, nonclassical collections - constant volume Average bites per minute (over 10 minute period) Fast music: 4.4 bites per minutes, Slow music: 3.83 bites per minute, no music: 3.23 bites per minute No difference in total time taken to eat meals - fast music led to more bites, but each with less food?
Sullivan (2002)
Medium-sized mid-range restaurant in British city centre Soft vs loud music Soft music: longer meal durations than loud (72.75 vs 59.75 minutes) Soft music: more money spent on food (7.16 vs 6.66) - perhaps because of time spent in restaurant Same effect for sales of drinks: 3.70 vs 3.33
Discussion questions
What implications does this work have on your approach to shopping? Do you think music alone creates this effect, or could other ways of inducing arousal do the same? Is it appropriate and valid to manipulate people in this way? Is the music devalued by being used so cynically? Are Pipe Downs concerns justied, on the basis of this information?
Methodological issues?
Studies fail to consider interaction of emotions and other responses to aspects of ads (Olsen & Pracejus 2004) Dunbar (1990) studies tend to use still pictures rather than moving ads Murray & Murray (1996) - differences in musical content of ads from USA and Dominican Republic indicate that we should consider culture when analysing effect of music in ads - there isnt a global effect of conditioning Classical conditioning approach may not be capturing the intricacies of the role of music in advertising
Musical t
While some people passively perceive advertisements, some are highlyinvolved, actively analysing the messages contained in ads Music might have a positive effect on these consumers if it ts the ad, or corresponds with central ad message Music primes beliefs about the product while the consumer is actively considering it Test example: Timotei ad - what do you think the advertisers are trying to get at with the music used?
Timotei ad
www.youtube.com/watch?v=7yzjZptRYtY
Contradicting theories
Musical t: Music may enhance recall if it ts expectations Resource-matching approach: Music may reduce recall of ad/product as it detracts from cognitive resources Incongruity between elements in an ad may improve recall by encouraging deeper processing - incongruous music may be optimal in facilitating recall Dispute over whether participants perceive music as experimenters think they do - t vs no t may be the wrong approach This may explain the failed attempts at classical conditioning experiment
Discussion questions
What do you think about the effect of music on advertising? Do you think you are a high-involvement consumer? What do you think of the musical t theory? Do we really know whats going on? For you, does music add to, or take away from, the message of the ad?
Censorship
Shows how very important music is Tells us more about the censors and their motivations than the banned parties By censoring, the state may increase popularity, sending it underground Sending it underground just makes it all the more powerful New York city ordinance banning Jazz groups of over 3 instruments was overturned on the basis of free expression - music as a form of speech, protected by the constitution
New Labour
1997: D:reams Things can only get better 2001:Lighthouse Familys Lifted 2004: Eric Prydzs Call on Me 2005: U2s Beautiful Day
All have explicit titles - no hiding the intention here Things can only get better with New Labour, youll be lifted up from the drudge if you vote New Labour, you can depend on Tony, life can be beautiful Not exactly the cutting edge of music, but uncontroversial
Labour 2001 ad
www.youtube.com/watch?v=ebiJ_MvXsRo
U2 Beautiful Day
Bono, singer with the band, endorses Tony Blair and Gordon Browns global development standpoint, calling them the Lennon and McCartney of global development at the 2004 New Labour rally in Brighton . However, a closer analysis of the lyrics to the song may illuminate meanings which could be read with irony in reference to New Labours track record. Theres no room, no space to rent in this town could be read as seemingly in recognition of the downside of Browns economic miracles (Harris) However, this stanza ties up with the lines Its a beautiful day, Dont let it get away, presumably the upbeat message intended by New Labour in choosing this song. Dont let it get away implies that the party are urging the public not to risk the beautiful day of politics by voting for another party
D:Ream, The Lighthouse Family, Eric Prydz and U2 were highly popular when their songs
were released. They achieved great success, with much support coming from young people
Labour wish to be aligned with this youthful vigour and success in the minds of the public,
and they do so by appealing to their emotional, left-brain sides, by using music as a tool of power.
All of the songs used by the Labour Party fall under the category of popular music. This
may have been a clear choice, as popular music has certainly blurred class lines enabling for different people to express a false unity in their identifying with the same cultural form (Dasilva: 96)
Labour party do not appear elitist by choosing e.g. classical music, but are appealing the
the common man
Some errors
George W Bush 2000 presidential campaign used Gary Glitters Rock and Roll Part II to excite voters at political rallies Gary Glitter is a listed sex offender since 1999, at the time convicted of downloading child pornography Massive Attack when Conservative Party leader William Hague took to the stage in September 2004 to the strains of their song Man Next Door: How dare they use our music to promote their bullshit? Massive Attack have not and will never support the Conservative party or their politics Tom Petty has told Michelle Bachmann to stop using his song American Girl In 2008, he allowed Hillary Clinton to use the song for her presidential bid. In 2000 George W Bush was discovered to be playing I Won't Back Down at his rallies. "This use has not been approved... any use made by you or your campaign creates, either intentionally or unintentionally, the impression that you and your campaign have been endorsed by Tom Petty, which is not true."
Brader (2005)
Investigating the roles of music and imagery in political ads Testing the old theory that: Positive ads lead voters to like the sponsor/ politician Negative ads lead voters to dislike the opponent Does this ring true? Does music (and imagery) have an effect on interest in politics, willingness to vote, etc?
Brader (2005)
Predictions: Cueing enthusiasm using music and imagery motivates participation and activates existing loyalties Cueing fear stimulates vigilance, increases reliance on contemporary evaluation, and facilitates persuasion Enthusiasm: Content and imagery associated with success and good times Fear: Content and imagery associated with threat
Brader (2005)
Study done during 1998 Democratic primary campaign for Governor 286 subjects - 53% female Exposed to a 30 minute news program, with a campaign ad inserted Ad exposure was incidental - not presented as main focus of the experiment, so like the way we perceive political ads in real life Campaign ads varied emotionality in ad: Neutral - no music/ imagery Reassuring - uplifting music, colourful images of children Threatening - tense, discordant music, black and white pictures of violence and drugs Baseline reassuring and threatening ads also made with no music/images
Brader (2005)
After seeing ad as part of tv program, participants were asked about their mood while watching - anxious/excited/hopeful? Found that participants who had seen the reassuring ad with music and imagery felt more excitement and hope than those who saw the baseline ad without images or music Participants who had seen threatening ad with music and imagery felt more anxious than those who had seen the ad without music and imagery So, there was clearly an effect of music and imagery on mood Also asked about interest in campaign, intention to vote
Results
Enthusiasm priming (reassuring ad with music and images) had signicant effect on interest in campaign and intention to vote
Results
Fear priming (threatening ad with music and images) had no signicant effect on interest in campaign and intention to vote
Results
Participants who were exposed to enthusiasm-eliciting music and images: felt more excited and hopeful showed greater interest in the campaign were more willing to vote relied more on pre-existing preferences to choose a candidate Participants who were exposed to feat-eliciting music and images: felt more anxious showed no greater interest in the campaign were no more willing to vote were provoked to seek more information
Discussion Questions
How effective do you think politicians use of music is? Are you aware of music in ad campaigns etc? Are you concious of the intent of the music? Do you think music can serve to humanise politicians? Do you think it can have an effect on your voting choice? Is music devalued by being used in this way?
Recap
Music and purchasing Music and advertising Music and politics/ voting (censorship)
References
Alpert, J.I. & Alpert, M.I. (1989). Background music as an inuence in consumer mood and advertising responses. Advances in Consumer Research, 16, 485 - 491 Alpert, J.I. & Alpert, M.I. (1989). Music inuences on mood and purchase intentions. Psychology and Marketing, 7, 109 - 133 Applebaum, V. & Mlliburton, C. (1993). How to develop international advertiging campaigns that work: the example of the European food and beverage sector. International Journal of Advertising, 12, 223 241 Areni, C.S. (2003). Exploring managers theories of how atmospheric music affects perception, behaviour, and nancial performance. Journal of Retailing and Consumer Service, 10, 263 - 274 Attali, J. (2004). Noise and Politics in Christoph Cox and Daniel Warner (eds), Audio Culture: Readings in Music. New York: Continuum, 7 - 9 Baum, M. A. (2005). Talking the Vote: Why Presidential Candidates Hit the Talk Show Circuit. The American Journal of Political Science, Vol. 49, no.2, 213 234 Balasubramanian, S.K. (1990). Temporal variations in the evaluation of televisions advertisements: the role of key nonverbal cure. Advances in Consumer Research, 17, 651 - 657 Berlyne, D.E. (1960). Conict, arousal and curiosity. New York: McGraw Hill
References
Brader, T. Striking a Responsive Chord: How Political Ads Motivate and Persuade Voters by Appealing to Emotions in The American Journal of Political Science Vol. 49, no.2 (April 2005) pp.388 405 Dasilva, F., A. Blasi and D. Dees. The Sociology of Music University of Notre Dame Press (1984) Dunbar, D.S. (1990). Music and advertising. International Journal of Advertising, 9, 197 - 203 Furnham, A., Abramsky, S., & Gunter, B. (1997). A cross-cultural content analysis of childrens television advertisements. Sex Roles. 37, 91 - 99 Gorn, G.J. (1982). The effect of music in advertising on choice behaviour: a classical conditioning approach. Journal of Marketing, 46, 94 - 101 Harris, John. Notes For Votes in Guardian, March 29 2005 www.guardian.co.uk/g2/story/0,,1447057,00.html accessed 11/04/2007, 11:00 Lockard, Craig A. Dance of Life: Popular Music and Politics in Southeast Asia University of Hawaii Press (1998) Milliman, R. E. (1982). Using background music to affect the behaviour of supermarket shoppers. Journal of Marketing, 46, 86 - 91
References
Milliman, R. E. (1986). The inuence of background music on the behaviour of restaurant patrons. Journal of Consumer Research, 133, 286 - 289 Murray, N.M. & Murray, S.B. (1996). Music and lyrics in commercials: a cross-cultural comparison between commercials run in the Dominican Republic and in the United States. Journal of Advertising, 25, 51 - 63 Olsen, G.D., & Pracejus, J.W. (2004). Integration of positive and negative affective stimuli. Journal of Consumer Psychology, 14, 374 - 384 Pitt, L. F. & Abratt, R. (1988). Music in advertisements for unmentionable products: a classical conditioning experiment. International Journal of Advertising, 7, 130 - 137 Roballey, T.C., McGreevy, C., Rongo, R.R., Schwantes, M.L., Steger, P.J., Wininger, M.A. & Gardner, E.B. (1985). The effect of music on eating behaviour. Bulletin of the Psychonomic Society, 23, 221 - 222 Stewart, D.W. & Furse, D.H. (1986). Effective television advertising: a study of 1000 commercials. Lexington: Lexington books Stewart, D.W. & Koslow, S. (1989). Executional factors and advertising effectiveness: a replication. Journal of Advertising, 18, 21 - 32