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LONDON METROPOLITAN UNIVERSITY

Advertising Theory (MK3016N)

Diana Luck

Christin Meyer zur Heyde (07048842)

12/4/2009

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CONTENTS

Introduction ................................................................................................................................................................... 3

Main body .................................................................................................................................................. 3

Summary of the journal article .................................................................................................................................. 3

Appropriate Advertising Theory…………………………………………………………………………………….4

Attention, Persuasion, Involvement ........................................................................................................... 4

Memory ...................................................................................................................................................... 4

Pure affect models ..................................................................................................................................... 5

Practical Examples in the Advertising Industry ...................................................................................................... 5

Awareness and Involvement ..................................................................................................................... 5

Memory ...................................................................................................................................................... 5

Affective Responses .................................................................................................................................. 6

Conclusive Reflection ................................................................................................................................................. 6

Bibliography ................................................................................................................................................................. 7

Paper based sources ................................................................................................................................. 7

Electronic sources .................................................................................................................................. 7-9

Appendices .......................................................................................................................................................... 10-12

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INTRODUCTION

Music acts as medium of social relation. Due to its engaging attributes its use is even extended

into psychological therapy (music therapy) which indicates its great potential and effectiveness.

(DeNora (2007))

In advertising, music has the ability to add appeal and emphasize, stimulate the brain, create

nostalgia and trigger emotions. “Music enhances the viewer‟s involvement in the advertisement,

promotes absorption of the message and increases awareness of the advertised brand”.

(Yeshin (2006)) This has a positive effect on recall and sales of the advertised products.

A “symbiotic relationship” prevails between music and advertising. (Yeshin (2006))

David Allan went as far as to describe “the integration of popular music and advertising” in his

journal article “Effects of Popular Music in Advertising on Attention and Memory”, published in

December 2006 in the Journal of Advertising Research, ”as the perfect marriage of commerce

and art”. (Allan (2006))

The following report intends to draw from and elaborate on some of David Allan‟s main findings,

put them into an advertising theory context and find and discuss appropriate examples.

MAIN BODY

SUMMARY OF THE JOURNAL ARTICLE

David Allan analysed the effect of the integration of popular music into radio advertisements,

differentiating between original lyrics, altered lyrics and instrumentals and their respective

impact on attention and memory in individuals depending on personal significance.

111 participants aged between 18 and 24 volunteered to take part in the study with the objective

to determine which form of popular music facilitates the highest level of attention to the brand

and the strongest memory for the brand. Four different brands and popular songs were carefully

chosen. The familiarity of the participants with artists, songs and brands were measured as well

as the personal significance of artists and songs. The research questionnaires concentrated on

questions relating to attention and memory. (Allan (2006))

Following key findings could be established:

Commercials with popular music was monitored to be a more effective stimulus of

attention and memory than advertising without popular music due to its attention-gaining

qualities as well as its stimulating impact on memory.

Popular music with vocals showed to have a bigger effect on memory and attention than

instrumental music.

It could be established that personal significance of artists and songs does have an

impact on the effect of popular music as a stimulus.

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Whether popular music with original or altered vocals was a more effective stimulus of

memory and attention depended on personal significance.

The findings showed that original vocals should be used when high in personal

significance amongst the target audience and altered vocals should be used when low in

personal significance in order to gain greater brand attention.

APPROPRIATE ADVERTISING THEORY

ATTENTION, PERSUASION, INVOLVEMENT

Attracting and holding attention is a quality of music that contributes to more effective message reception. (Yeshin (2006)) The development of effective advertising strategies is at the heart of every campaign. In order for advertisements to have a meaningful impact on sales advertisements need to inform as well as persuade. (Ambler et al. (1999)) Persuasive Hierarchy Effect Models stem from this idea. They propose that consumers behave in the sequence: cognition (think) ->affect (feel) -> behaviour (do). Music can act as a persuasive tool. Grabbing the attention of consumers with the help of music overcomes “the first stage in the hierarchy of advertising effects” (Allan (2006)).

(Please see Appendix 1 for theory limitations)

Persuasive Hierarchy Effect Models include the Elaboration Likelihood Model (Petty et al. (1981)) which can be applied to explain the predominant use of popular music in advertising. Individual responses to Persuasive Hierarchy Effect Models depend on involvement and attitudes towards an advertisement. Involvement can be caused by a particular stimulus (Ambler et al. (1999)), for instance music. As Allan‟s research indicates, personal significance of popular music is of importance and may increase involvement in individuals.

The Elaboration Likelihood Model shows two different paths to the processing of advertising messages. High levels of attention and involvement makes following the central route to persuasion likely whereas information that is deemed insignificant would automatically be channeled through the peripheral route. Music has the potential to make messages more personally meaningful and relevant; as a consequence involvement may increase and following the central route to persuasion may become more likely. (Solomon et al. (2006))

MEMORY

Music has a stimulating effect on individuals. It improves the procession of information by

heightening the state of arousal which increases cognitive activity. (Allan (2006)) Hence, music

does not only have the potential to stimulate attention. Research also indicates that music acts

as a device for memory retrieval and enhances brand recall. (DeNora (2007)) Forming an

association between a product and a song is even more effective when product information is

cued with a well-known song. (Allan (2006))

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PURE AFFECT MODELS

Pure affect models are concerned with feelings that advertising may trigger. This approach focuses on consumer‟s affective responses towards an advertisement and connecting with them on a non-cognitive level. Evoking familiarity with the brand as opposed to informing the consumer of product benefits is a strategy employed to increase ad likeability. (Ambler et al. (1999))

Popular music has the potential to increase levels of familiarity, impact consumer‟s antecedent states and communicate with the target audience on an emotional level. (Solomon et al. (2006))

(Please see Appendix 2 for theory limitations.)

PRACTICAL EXAMPLES IN THE ADVERTISING INDUSTRY

AWARENESS AND INVOLVEMENT

According to Allan, the use of popular music in advertisements helps to gain customer attention

and raise awareness. This can encourage a powerful WOM effect (Yeshin (2006)) which is

beneficial to the advertised product as well as to the artist behind the music.

Sony‟s “bouncy ball” campaign which saw 250.000 multi-coloured balls let loose in San

Francisco was accompanied by José González‟s single “Heartbeats”. (Inspiration Room (2009))

In reaction to the carefully crafted Bravia “colour.like.no.other” ad campaign, Sony as well as

artist José González‟s enjoyed a massive boost in customer awareness and a buzz amongst

the target audience.

(Please see YouTube Playlist and Appendix 3 for details)

MEMORY

Music has the ability to take on different functions in advertisements. (Yeshin ((2006))

The ”Beds are Burning (TckTckTck)” campaign in support of climate justice and in anticipation

of the United Nations Climate Change Conference (Copenhagen (7.-18.12.2009)) uses a clock

at the beginning and throughout the song in order to create the feeling of urgency. The distinct

rhythm of the song emphasizes the message, increases its impact and makes it memorable.

(Please see YouTube Playlist and Appendix 4 for details)

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AFFECTIVE RESPONSES

Another function that music in advertising may take on is to create a certain mood that aims to

trigger affective responses in consumers.

Muzak is a leading provider of business music. (Muzak Music (2009)) They have been in the

business of using music as a persuasive tool for over 70 years and argue they have established

techniques that “bypass the resistance of the mind and target the receptiveness of the heart”.

(Muzak Music (2009))

(Please see Appendix 5 for details on their mission statement.)

CONCLUSIVE REFLECTION

Popular music is a form of mass communication. (Allan (2006)) However, when carefully

selected and targeted to the right audience, popular music is a means to significantly engage

individuals, increase attention and improve brand recognition (Yeshin (2006)). Choosing music

that is personal significant to the target audience may lead to higher levels of involvement

(Brassington et al. (2006)); an idea that was supported by Allan‟s research findings. In regards

to pure affect models, the use of popular music can increase ad likeability. This is highly

beneficial due to the “cumulative effect of liking and its correlation with sales”. (Ambler et al.

(1999))

The fact that advertisers use popular music to get the attention of consumers, involve, engage,

and ultimately persuade potential consumers to purchase a product (Allan (2006)) is just as

relevant to the music industry as vice versa. This connects to the initial description of a

symbiotic relationship that exists between music and advertising. The advertising industry has

contributed to the popularising of music and artists just as much as music used in

advertisements have helped to increase relevance and meaning for potential consumers.

(Brassington et al. (2006))

(Please see YouTube Playlist for additional examples for successful liaison between advertising

and music industry.)

But apart from being able to reap the benefits of the potential of music from the perspective of

both the advertising and music industry, advertisements are simply more enjoyable to the

majority of consumers when accompanied by popular music.

Words: 1160

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BIBLIOGRAPHY

PAPER BASED SOURCES

Books:

Brassington, F. and Petitt, S. (2006) Principles of Marketing FT Prentice Hall Peasons Education DeNora, T. (2007) Music in everyday life Cambridge University Press Howard, M. (2005) We know what you want – How they change your mind Disinformation Company Ltd. Percy, L. and Elliott, R. ( 2009) Strategic Advertising Management Oxford University Press Solomon M, Bamossy G., Askegaard S., Hogg M. (2006) Consumer Behaviour. A European Perspective FT Prentice Hall Peasons Education Tony Yeshin (2006) Advertising Thomson Learning

Journal articles:

Ambler, T., Vakratsas, D. (1999) How advertising works: What do we really know Journal of Marketing Allan D. (2006) Effects of Popular Music in Advertising on Attention and Memory Journal of Advertising Research

ELECTRONIC SOURCES

Websites:

'Beds are Burning' in support of TckTckTck and climate justice [www] tcktcktck.org/stories/campaign-stories/beds-are-burning-brings-celebrities-together-support-tcktcktck-and-climate (last accessed 3.12.09) Muzak Music - Why Muzak? [www] music.muzak.com/why_muzak/ (last accessed 1.12.09)

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Sony Europe – Bravia [www] colour.sony.eu/bravia.html (last accessed 25.11.09) The Inspiration Room – Sony Bravia Balls [www] theinspirationroom.com/daily/commercials/2005/10/sony-bravia-balls-st.jpg&imgrefurl=http://theinspirationroom.com/daily/2005/sony-bravia-lcd-screen/ (last accessed 25.11.09) United Nations Climate Change Conference Dec 7-Dec 18 2009 [www] en.cop15.dk/frontpage (last accessed 3.12.09)

You Tube Playlist: “Beds Are Burning” - TckTckTck Campaign (time4climatejustice) in collaboration with Kofi Annan [www] youtube.com/watch?v=aBTZOg6l6cA (last accessed 2.12.09) Sony Bravia Bouncy Balls in collaboration with José González [www] youtube.com/watch?v=2Bb8P7dfjVw (last accessed 2.12.09) Additional examples for successful liaison between advertising and music industry: Flat Eric in Levi‟s advertisement [www] youtube.com/watch?v=Z47KUNmmCng (last accessed 2.12.09)

Flat Eric at Levi‟s headquarter: Mr. Oizo‟s hit single “Flat Beat”:

Source: http://www.flickr.com/photos/awiseman/1738646255/,

http://abominatron.blogspot.com/2007_06_01_archive.html (last accessed 3.12.09)

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Lloyds TSB “For the journey” advertisement in collaboration with Elena Kats-Chernin [www]

youtube.com/watch?v=b3xe9dSY7zM (last accessed 2.12.09)

The ad:

Source: http://tygerbright.co.uk/tygerbright/Template.asp?document=Tyger-Blog

(last accessed 3.12.09)

The single by Elena Kats-Chernin:

Source: http://www.prestoclassical.co.uk/r/ABC%2BClassics/ABC4767639

(last accessed 3.12.09)

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APPENDICES

Appendix 1:

Persuasive Hierarchy Effect Models are criticised for idealizing and simplifying customers‟ reactions to advertisements by assuming that there is a rational, chronological approach to how advertising operates and that audiences systematically respond to advertising messages. However, the concept gives an indication which steps need to be addressed in the development of an advertising message. (Ambler et al. (1999))

Appendix 2:

Research indicates that ad likability is correlated positively with brand preference. This link is not strong. However, this preference can be established and emphasized through the means of popular background music.

Models based solemnly on affective responses are quite hypothetical. Some form of cognitive processing is a prerequisite in order to establish advertising effectiveness. Advertising that initiates both cognitive as well as affective responses is more plausible. Nevertheless, since ad likeability is argued to have a long-term effect (Ambler et al. (1999)) which is desirable in a fast-moving and cluttered marketing environment the impact of popular music on brand preference should not be underrated.

Appendix 3:

A blog post from a highly enthusiastic potential customer that was made aware of the

advertisement as well as the single by word-of-mouth:

“I had first come across this award-winner by word of mouth, in the midst of all the frenzy over

letting loose 250,000 brightly coloured bouncy balls down the sloping streets of San Francisco.

By the Danish director Nicolai Fuglsig, it features José González‟s single „Heartbeats‟, dreamily

playing in the background as the balls bounce whimsically to the rhythm of nature‟s gravity.”

The advertisement “Bouncy Balls”

Source: theinspirationroom.com/daily/2005/sony-bravia-lcd-screen/ (last accessed 3.12.09)

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The single cover featuring “Heartbeats” by José González

Source: http://iwillfilm.com/archives/808 (last accessed 3.12.09)

Appendix 4:

Tck Tck Tck – “Beds are Burning” Campaign (http://tcktcktck.org/stories/campaign-stories/beds-are-burning-brings-celebrities-together-support-tcktcktck-and-climate (last accessed 3.12.09))

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Appendix 5:

Source: http://musicengineeringinc.com/ (last accessed 3.12.09)

Muzak is a leading provider of business music with over 350,000 clients and locations

throughout the USA, Canada, Mexico and Japan. (Muzak Music (2009))

Following parts of their mission statement relates directly to the three discussed theories:

Pure affect models:

“Audio Architecture is emotion by design. Our innovation and our inspiration, it is the integration

of music, voice and sound to create experiences that link customers with companies. Its power

lies in its subtlety. It bypasses the resistance of the mind and targets the receptiveness of the

heart. When people are made to feel good in, say, a store, they feel good about that store. They

like it. Remember it. Go back to it. Audio Architecture builds a bridge to loyalty. And loyalty is

what keeps brands alive.”

Memory:

"We‟ll help you create a memorable experience with custom music expertly tailored to your

brand”

Persuasive Hierarchy Effect Models:

“Our music programmes are designed to create experiences that are both powerful and

persuasive. One thing we have learned in the past seven decades is ...when harnessed

properly music can be an extraordinary persuasive tool.” (Muzak Music (2009))

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