Running Head: MUSIC AND CONSUMER BEHAVIOR: AN ANALYSIS OF SOFT DRINK

How Music Affects Consumers Buying Psychology and Behavior:

An Analysis of Soft Drink Campaigns
Final Project Paper
Jessie Allen, Rachel Cole, Madison Darrah, Rachel Otero, Ashley McAdams
MGMT 230: Why We Buy
December 1, 2016

MUSIC AND CONSUMER BEHAVIOR: AN ANALYSIS OF SOFT DRINK CAMPAIGNS

Table of Contents
Introduction to Music and Consumer Behavior ..... 3-5
Facts.....3
Key Definitions....3,4
Preview........5
Analysis...5-11
Mehrabian and Russells Model of Pleasure-Arousal-Dominance (PAD)...................5-8
Coke
Make Someone Happy Sensory Signature & Tone ....8
Mountain

Dew Come Alive Audio Watermarking & Tempo ...8,9

Sprite Spark Heuristics & Genre ...9, 10
Dr.
Pepper Always one of a Kind Self-Concept & Volume ...10, 11
Key Takeaways......11,12
Key Takeaways For Marketers......12-14
Conclusion ....14-16
References..17-19

MUSIC AND CONSUMER BEHAVIOR: AN ANALYSIS OF SOFT DRINK CAMPAIGNS

Introduction to the Topic

Facts
Music directly influences consumer behavior. This statement, while lofty in theory, is
almost unquestionable upon examining research. Music functions to incite action and emotion in
the listener, and scientists cite music as one of the few activities that lights up the entire brain
(Investopedia, 2016). There is no clearer representation of this efficacy than in purchasing
behavior, and specifically the purchasing behavior of millennials. Millennials, those classified as
born between 1982 and 2004, exist as a group often examined in contemporary study in many
areas of purchasing behavior, given that they are a population that exceeds the size of baby
boomers and are saturated with new technology (Investopedia, 2016). In recent research by the
online streaming service, Vevo, millennials were found to stream 25 hours of music per week
(Roettgers, 2015). Thus, it is evident how great an impact advertisements using music have on
millennial psychology and purchasing behavior.
Key Definitions
Advertisements using music are implicitly centered around many classifications that the
music industry uses to describe sound.
The tone of music is described as the melodic quality of a piece, or for research purposes,
what gives a song its emotional condition (Solomon, 2015). Tone references how the
effect of the song is translated into the melody, and can be set by both the music and the
lyrics because both are subject to interpretation by the listener.
Tempo, used to catalogue music and its impact, denotes how fast or slow a particular
piece of music is. Tempo is measured in beats per minute, and has the ability to affect the

MUSIC AND CONSUMER BEHAVIOR: AN ANALYSIS OF SOFT DRINK CAMPAIGNS

listeners heart rate (Bogrand, 2015). Marketers can manipulate this to drive the
experience of varied consumer emotions from excitement to boredom.
Genre is a category of artistic composition, as in music or literature, characterized by
similarities in form, style, or subject matter. For many, genre has ties to certain traditions
and cultures than can trigger multifarious amounts of emotion in a consumer from
nostalgia to fantasy (Bogrand, 2015).
Volume refers to the loudness of a piece of music, whether it is hardly discernable or
overpowering. Volume can draw attention to a certain aspect of an advertisement, or
instantly set a mood (Bogrand, 2015).
Heuristics are the mental rules of thumb that lead to a speedy decision (Solomon, 2015).
There are five types of heuristics: covariation, country of origin, familiar brand names,
high prices, and when, for example, consumers engage in very little research, but rather
rely on mental shortcuts like brand name, price, or the choices made by others.
Covariation is when consumers only have incomplete product information and
instead base their judgements on associations between events that may or may not
actually influence one another (Solomon, 2015). It infers covert elements of
products from common attributes that communicate an underlying trait.
Self-concept is defined as the beliefs a person holds about their own traits and how they
use these characteristics to evaluate the self (Solomon, 2015). Consumers prefer
products that resonate with some element of their own self-concept.

MUSIC AND CONSUMER BEHAVIOR: AN ANALYSIS OF SOFT DRINK CAMPAIGNS

Preview
The following analysis will discuss the ways in which these specifications about music
affect marketing and consequently the psychology and buying behavior of consumers. Music is
no stranger to marketers and its uses can be explored at length. According to the Music Business
Journal, Music has become the centerpiece for soft drink global marketing campaigns
(Bogrand, 2015). For the purposes of this analysis, research will concern four major soft drink
companies and the individual campaigns they have marketed to consumers with the apparent use
of music as a means to promote selling. The campaigns that will be discussed are as follows:
Make Someone Happy Coca Cola campaign, Spark Sprite campaign, Always One of a
Kind Dr Pepper campaign, and Mountain Dew Come Alive campaign. Each of these
campaigns will highlight a unique facet of how music has allowed these corporate giants to
market effectively and boost overall sales.
The music specifically implemented in the aforementioned campaigns will be analyzed in
terms of key definitions and consumer behavior concepts, as well as the Mehrabian and Russell
Model of Pleasure- Arousal - Dominance. In addition, changes in company sales will be
analyzed as a result of these specific campaigns. All of this reasoning will aid in identifying, for
marketers, that music is a viable means to reach consumers and increase revenues.
Analysis
Mehrabian and Russells Model of Pleasure-Arousal-Dominance (PAD)
The Mehrabian and Russells Model of Pleasure- Arousal- Dominance framework is used
to analyze and explain how the music employed in Cokes Make Someone Happy, Mountain
Dews Come Alive, Sprites Spark, and Dr. Peppers Always One of a Kind campaigns

MUSIC AND CONSUMER BEHAVIOR: AN ANALYSIS OF SOFT DRINK CAMPAIGNS

influences consumer buying behavior. The three steps in the Mehrabian and Russells model
include the environmental stimulus, evoking emotional states and leading to a behavioral
response (Billings, 1990). This means that consumers feelings and emotions resulting from the
stimuli ultimately determine their buying behavior.
Mehrabian and Russell assert that three basic emotional states act as an intermediary
between the environmental stimuli and finally the behavioral response. Thus, pleasure and
displeasure, arousal and non-arousal, and dominance and submissiveness can be described as
emotional states. Pleasure and displeasure refers to how much a consumer feels happy, joyful,
contented, or satisfied (Billings, 1990). Arousal and non-arousal refers to a consumers level of
activity, excitement, stimulation, or alertness (Billings, 1990). And finally, dominance and
submissiveness refer to the degree at which a consumer feels unrestricted and in control of the
situation (Billings, 1990). In the context of the music utilized in the soda ad-campaigns, the
environmental stimuli that will be discussed are the tempo, volume and genre. These steps are
followed by an analysis on pleasure, arousal and dominance, and concluding with the behavioral
response of the consumer, which is either to purchase, or not to purchase.
In Mountain Dews Come Alive campaign the use of tempo affects a consumers
purchasing behavior. Fast paced music leads to high levels of arousal and therefore leads to an
excited, alert viewer. Conversely, if the music is played at a slow-tempo it prevents high levels
of arousal and slows down the pace at which the viewer is stimulated, and may result in a longer
thought about Mountain Dew or the specific soda product being marketed. Thus, a fast-tempoed
advertisement campaign may result in the desire to make an impulse purchase, and therefore the
result is to associate Mountain Dew with excitement; or contrary, a slow-tempoed advertisement

MUSIC AND CONSUMER BEHAVIOR: AN ANALYSIS OF SOFT DRINK CAMPAIGNS

campaign may result in a longer thought about the product, and therefore the purchase may occur
at some later point in time.
In Dr. Peppers Always one of a Kind campaign, the use of volume affects a
consumers purchasing behavior. The ad featuring millennial-aged individuals could best be
explained by Spangenberg and Yalch, who exhibited in the Journal of Consumer Marketing that
age weakens the effects of volume in a consumer setting (Spangenberg and Yalch, 1988). The
two explained that the consumer response is greater in younger generations when music is being
played in the foreground, and the consumer response is greater in older generations when the
music is being played in the background (Spangenberg and Yalch, 1988). Therefore, young
consumers are more likely to spend more time thinking about a brand when music is being
played louder, while older generations of consumers are more likely to spend more time thinking
about a brand when the music is being played softer. As it relates to Dr. Pepper, the campaign
uses loud music with a younger generation of actors, therefore capturing the revenues from
younger generations of people by selling to them using volume as a marketing technique.
In Sprites Spark campaign, the genre of music in the ad affects a consumer's
purchasing behavior. The ad features the famous rapper, Drake, and at the foreground is his hit
song Forever. A study conducted by Charles Areni and David Kim from Texas Tech
University outlines the influence of playing classical or top-forty hits as background music in a
wine store, and how that may affect a consumers purchasing decision (Areni and Kim, 1993).
The two found that playing classical music led to more money spent by shoppers but not
necessarily more bottles of wine (Areni and Kim, 1993). Therefore, classical music indicates
sophistication, and therefore leads to the purchase of more expensive wines (Areni and Kim,

MUSIC AND CONSUMER BEHAVIOR: AN ANALYSIS OF SOFT DRINK CAMPAIGNS

1993). The association is related to Sprites campaign, as marketers wish to have their brand be
associated with rap music, hence using the genre of music to arouse or excite the younger
generational consumers of hip-hop enthusiasts.
Coke Make Someone Happy Sensory Signature & Tone
As creating a pathos appeal is one of the strongest elements of persuasion, marketers
often use music to establish an emotional tone for a brand. Sensory signature is a distinctive
sound or aroma that an organization links to its brand identity to evoke emotional associations
(Solomon, 2015). The sensory signature of sound has the potential to affect how we think and
feel, what we remember and our perceptions of a brand or product. Coca Cola selected a classical
piece of music and added the sensory signature of Jingle Bells in its Make Someone Happy
campaign commercial to establish a melodic tone that is enchanting and magical for audiences.
In the Make Someone Happy holiday campaign, happiness is spread in small, yet
meaningful ways, such as sharing time, love and laughter rather than material gifts. It shows
Santa Claus watching over people as they perform acts of kindness, from holding a door open to
surprising fellow co-workers with a Coke. By using the traditional holiday sound of Jingle
Bells as a sensory signature throughout the 60-second TV advertisement, Coca Cola is linking
the values, traditions and magic of the holiday season to its brand identity ([Coca Cola], 2014).
As will later be discussed, creating a magical and enchanting tone for the soda brand resulted in a
significant increase in sales.
Mountain Dew Come Alive Audio Watermarking & Tempo
A common music strategy that marketers use to increase purchase behavior is audio
watermarking. It is a popular technique that weaves a particular sound into a piece of music

MUSIC AND CONSUMER BEHAVIOR: AN ANALYSIS OF SOFT DRINK CAMPAIGNS

(Solomon, 2015). Watermarking sparks compulsive behavior to repeat a jingle in ones head
subconsciously. In Mountain Dews Come Alive Campaign, marketers played off of the
satisfying sound created when two men open a can of soda, by making it become literal music to
their ears and weaving it into a piece of techno music ([Mister Alcohol], 2014). The upbeat
tempo of the music makes all of the furniture pieces Come Alive and start dancing. The fast
repetition of the soda-opening sound, paralleled with the faster tempo of the techno music creates
the association for consumers that Mountain Dew energy drinks are for young, fun, party-loving
personality types. Weaving the soda can sound into a catchy, current techno song is used as the
primary method of targeting millennial consumers for this campaign.
Sprite Spark Heuristics & Genre
Upon watching the video advertisement campaign, our analysis of Sprites The Spark
campaign, asserts covariation can be seen in the idea that without drinking Sprite, the famous
rapper, Drake would not have been able to complete recording his song. In the Sprite commercial
spot, he wasnt feelin it, as he said to his producer, so he decides to take a sip of a Sprite
(Concepcion, 2010). As he took a sip of the beverage, it disassembled his body, worked its
magic, then once his body was reconnected, he was suddenly filled with what he needed to get
past his writers block. They make it appear as if the product is the reason for Drakes
productivity ([Fresh Video Advertising], 2015).
An example of familiarity with brand names would be if consumers saw this
advertisement and as a result of seeing their favorite rapper consuming the drink, proceeded to
go out and buy one. In addition, since the ad was aired as a Super Bowl Pre-game commercial
and during the NBA All-Star Game in 2010, consumers may have even bought Sprite because of

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its association to the NBA or NFL. It is also possible that the song highlighted can act as a
subtle cue. For example, if people hear the Drake song from the commercial in their daily lives,
they may find themselves desiring a Sprite. Or perhaps, in a situation where someone is trying to
decide between different beverages, their subconscious will lead them towards Sprite because of
the effects that the ad had on that individual.
The Coca-Cola Companys Chief Marketing and Commercial Officer, Joe Tripodi, stated
that the company conducted an extensive search to find the right artist that is categorized within
an appropriate genre to reach their target audience (Concepcion, 2010). Chief Marketing and
Commercial Officer of Coca-Cola North America stated the companys reason for choosing
Drake: Drake's ability to combine the purest rap with emotional R&B and coming from a child
acting career in Canada to a worldwide music career was the ultimate spark in fresh thinking in
the youth platform (Concepcion, 2010). The campaign also featured an online and mobile music
mixer with material from Drake to better appeal to Sprite's younger market. The mixer was an
interactive program that equipped people with the tools necessary to make their own tunes and/or
remix songs by Drake with music from emerging artists around the world. All of these assets
mentioned above afforded Sprite incredible financial success which will be discussed further in a
subsequent analysis.
Dr. Pepper Always one of a Kind Self-Concept & Volume
As mentioned previously, the volume of music in an advertisement can focus the viewer's
attention on a particular element of the ad, or create a distinct mood shift almost instantly. In the
Dr. Pepper One of a Kind campaign, the shift in music volume accomplishes both of these
tasks ([Sports Promotions], 2012). After the main character of the ad takes a sip of Dr. Pepper,

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he is inspired to remove his work shirt, revealing a Dr. Pepper T-shirt and display his true sense
of self to the world. As this happens, the music increases in volume and therefore also in
significance. The lyrics of the song, Ive gotta be me gain more attention as they get louder,
and one notices that they correspond directly to the visuals in the commercial ([Sports
Promotions], 2012). There is also a distinct mood shift between the beginning of the commercial,
where the music is quieter as the main character blends in with the crowd, and later, when he
takes a sip of Dr. Pepper and feels free to show his unique identity to the world. The increase of
volume at this exact point in the commercial provides an overall feeling of triumph, happiness,
and most importantly, confidence.
In addition to the increase of music volume throughout the commercial, there is also an
increase in the volume of people cheering as the crowd of one-of-a-kind Dr. Pepper drinkers
grows in number. At the end of the commercial, the cheering continues after the song has ended,
leaving the viewer with a generally positive feeling of excitement and camaraderie and
ultimately transfers this emotion to the product, promoting an increase in consumer desire for Dr.
Pepper.
Key Takeaways
The use of music in soda ad-campaigns proves to be financially beneficial for Coke,
Mountain Dew, Sprite and Dr. Pepper.

The use of the Mehrabian and Russells Model of Pleasure-Arousal-Dominance theory

best explains how an environmental stimulus, such as music in a soda ad-campaign, leads
to an emotional state of a consumer, which influences a psychological or behavioral
response that leads to the purchasing decision of the consumer.

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Sensory signature through the use of tone, in the ad-campaigns of soda brands, is cited to
create an emotional state of a consumer, which can lead to either a positive or negative
association with the brand.

Audio watermarking and tempo are used to spark compulsive buying behavior of a
consumer in the ad-campaigns of soda brands.

The use of music in the ad-campaigns of soda companies provokes a set of heuristics
from the consumer that they use while shopping.

The self-concept theory allows for marketers to target certain groups of people in order to
personalize an effective campaign.

Millennials react positively to the use of music in marketing products, and specifically
beverages.
Millennials are a growing market segment (Investopedia, 2016) and in order to
cater effectively to this demographic, companies must continue to respond using
the most current media.
Key Take-Aways for Marketers
For marketers, music is an effective tool that can be used to promote sales. In fact,
research shows music can positively affect selling and consequently buying behavior (Bogrand,
2016), as evident from the four soft drink companies whose campaigns have been analyzed here.
Certainly marketers should take into consideration the positive effect on these brands bottom
line as a result of effectively utilizing music in ad campaigns.
Marketers

should

regard

the

Mehrabian

and

Russells

Model

of

Pleasure-Arousal-Dominance theory when creating ad-campaigns utilizing music. As previously

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13

discussed, this theory is the process of environmental stimuli, leading to an emotional state
which eventually leads to a response. Marketers should walk themselves in the shoes of their
target market through this process to foresee the response of their consumers. Marketers should
consider what type of emotional response they seek from their consumers, and therefore
formulate the stimuli. Certain emotional states will lead to a difference in purchasing behavior.
For example if the ad were to evoke either a happy, joyful, contented, or satisfied emotion the
brand theyre selling will most-likely be associated with those emotions, and therefore lead to a
purchase.
Marketers should examine the use of sensory signature in relation to the use of tone in the
music chosen for ad-campaigns. As sensory signature creates either a positive or negative
association with a brand, and the use of tone can enhance a positive or negative association with
the brand. Marketers should assess the melodic tone of the music for the ad-campaigns as it can
help them evoke a certain response from consumers.
It is important for marketers to know if they wish to seek an immediate buying response
from the consumer, or a psychological state from the consumer that leads to a longer thought
process of the brand. This is sometimes repeated as in a jingle or through a certain stimuli where
a consumer is reminded of the product. Audio watermarking through tempo in the music for
ad-campaigns affects what the consumer associates with a brand and how frequently they think
of it. Marketers should utilize more upbeat and therefore faster tempo songs to evoke a highly
energetic response in consumers, as it is an effective marketing technique resulting in an
impulsive buy. Contrarily, marketers could use a slower tempo song in their ad-campaign that

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14

would evoke a low stimulus that may result in an association with the brand each time the
consumer is reminded of it.
Marketers should adjudge the genre of music chosen for ad-campaigns as a result of what
heuristics they want their consumer to use before purchasing their product. The genre of music
chosen will affect the heuristics used by the consumer. An additional factor to consider is the
generation of the target market. As examined in this analysis, the use of hip-hop artists appeals to
millennials in the market. The mental short-cut use by millennials prior to purchasing is hugely
dependent on the genre of music and therefore affects how quickly the group will make a
purchase.
Conclusion
In todays world, success can be measured and tracked using a variety of metrics
including sales, social media followers, as well as brand awareness. In conclusion to our
analysis, the company sales will be analyzed before and after the campaigns to measure the
impact music had on the consumer.
Coca Colas Make Someone Happy campaign commercial featured a melodic tone that
was enchanting and magical for audiences. According to a study featured on Cream Global, after
the campaign aired on television, Brand Love and Brand Trust grew 12% and 18%
(respectively)... and sales for Coca-Cola grew 29% during that period (Coca Cola Annual
Review, 2011).

These statistics exemplify the power of leading brand, Coca-Cola, which

experienced increase not only in sales growth but brand equity, as a result of using music as a
focus in their marketing.

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In Mountain Dews Come Alive Campaign, marketers utilized the upbeat tempo of the
music in addition to watermarking to drive sales. This music strategy proved effective, with
Mountain Dew Kickstart beverage generating more than $300 million in retail sales in 2015,
which more than doubled the sales from 2014 (Sozzi, 2015).
In Sprites Spark campaign the genre of music in the ad affects a consumer's
purchasing behavior. The partnership with Drake increased brand awareness, and as the first
global campaign for the beverage brand, it was able to reach four markets - Philippines, Turkey,
South Africa and the U.S. (Concepcion, 2010). As a result of the effective use of music
marketing and its widespread outreach, the company experienced sales growth noting that sales
were up 5.2% (Concepcion, 2010).
It becomes clear through analysis that Dr. Peppers Always One of a Kind campaign
which launched in 2011, effectively used loud music to target the millennial generation and
marketers were able to boost revenue using volume as a marketing technique (Dr Pepper Snapple
Group, n.d.). The company experienced a growth in sales, despite spending a large amount on
marketing as noted by journalist Chris Mercer. Mercer said, Dr Pepper Snapple Group has
reported rises in net sales and profits for its fiscal half-year, but warned that it needs to raise
prices to offset higher costs. Both sales and profits rose by 5% for the six months to the end of
June, to US$2.91bn and $286m respectively, despite a 1% dip in operating profits, to $492m
(Dr Pepper Snapple Group, n.d.). It is evident that sales did increase, however, a campaign of
this caliber does dramatically raise costs. Although the company did achieve profitability, it was
not as pronounced as in past campaigns. Definitively, sales volume from each of the preceding

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16

campaigns increased as an outcome of powerful marketing strategy using music as a means to

sell.

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