BY: EMMA IRIONDO

Over 90% of television advertisements use music to convey or support their message (Abolhasani et al., 2017). The structure of and associations to music can elicit emotional responses that significantly impact purchases decisions and advertisement recall (North et al., 2016). Different types of consumers react to music choices differently, which underscores the importance of carefully considering the target market when selecting music. Moreover, the level of consumer involvement in understanding an advertisement affects consumers’ overall reaction to the it (Bruner 1990). Ultimately, the choice of music in a video advertisement can be a deciding factor in the success or failure of a brand or business.

Associations

Brand and product associations wield a profound influence on consumer spending. Coca-Cola is a prime example. The “pssft” sound, a hallmark of Coca-Cola’s sound branding, can be heard when opening many brands of soda. Coca-Cola’s video marketing, however, has trained listeners to associate this sound specifically with their brand (Danesi, 2006). In addition, a Coca-Cola promotional video used the happiness-inducing track “I’d Like to Teach the World to Sing,”changing the lyrics to “I’d like to buy the world a Coke“, to promote their products. As a result, the “pssft” sound became a web connecting the sound, the product, and the happiness conveyed by the song (Graakjaer, 2021).  

Tempo

The optimal tempo falls within the 70-110 range. Fast music is generally associated with happiness, evoking exhilaration and joy, while slow music tends to elicit tranquil and solemn feelings (Bruner, 1990).  In advertisements, slower tempos are expected to enhance attention to ads and positively impact recall, emotions, attitudes, and purchase intent (Lantos & Craton, 2012).

Rhythm

Firm rhythms are associated with sacredness, seriousness, or robustness, while smooth-flowing rhythms convey happiness, playfulness, or dreaminess. Uneven rhythms express dignity or exaltation, and staccato-filled music imparts a sense of liveliness, energy, or agitation, especially when performed intensely. On the other hand, legato music, particularly with softer performances, is perceived as peaceful, gentle, or dreamy (Bruner, 1990).

Mode

The minor mode tends to evoke plaintive, angry, or mysterious feelings, while the major mode is associated with happiness, brightness, and playfulness. Consonant harmonies are perceived as playful, happy, or serene, whereas dissonant harmonies tend to agitate, evoke ominous feelings, or convey sadness. (Bruner, 1990). Commercial videos employing major or mixed modes tend to yield more favorable responses. Respondents demonstrate increased learning, greater behavioral intent, and stronger personal connections with ads utilizing these modes. Conversely, commercials featuring music in the minor mode are often rated as more irritating and receive lower overall scores (Bruner, 1990). When comparing the Kars4Kids jingle in a major key with the jingle in a minor key (the second half of the video), it’s understandable that the major key version would be more appealing to consumers.

Pitch and Volume

High pitches are associated with excitement or happiness, while low pitches are associated with sadness. Additionally, compositions with a greater pitch range (more than one octave) are often seen as more brilliant, whereas those with a range less than an octave may be viewed as more mournful. The melodic direction also plays a role, with ascending lines often perceived as dignified or solemn, while descending lines convey exhilaration or serenity. Louder pieces are described as triumphant, animated, exciting, or happy, while softer pieces are judged to be delicate, tranquil, or serious (Bruner, 1990).

Instruments

Woodwind instrumentation is often perceived as whimsical, brass treatments evoke a sense of seriousness or majesty, piano melodies are considered brilliant or tranquil, and string versions of songs exhibit versatility in expressing various moods (Bruner, 1990).

Repetition

Repetition in music can alter the perceived complexity (Bruner, 1990). Continuous exposure to music, especially if perceived as irrelevant or trivial, may create a coercive effect as it ingrains itself in the listener’s mind. While some individuals enjoy having songs stuck in their head, prolonged exposure can lead to annoyance, weariness, or negative feelings. Repeated exposure to more complex tunes can cultivate liking and familiarity (Lantos & Craton, 2012). The use of addictive and repetitive music in advertisements can positively influence consumer responses, contributing to a more memorable and impactful advertising experience, as long as the song is not particularly grating and overplayed  (Abolhasani et al., 2017).

Sex

Women generally lean towards “softer” musical styles, while men gravitate towards “harder,” more aggressive styles. Consistently, women rate musical excerpts as more emotionally expressive and likable than men. Furthermore, women tend to respond more positively to music played at lower volumes (Lantos & Craton, 2012).

Identity 

Music is a means to express personal preferences and communicate information about one’s identity. Music even reflects explicit personality traits. For instance, easygoing individuals often lean towards soothing music to maintain a sense of calmness, while high sensation seekers are positively associated with preferences for rock, heavy metal, and punk (Lantos & Craton, 2012). The allegiance to a particular genre and its associated subculture can wield significant influence on purchase intent. In some instances, consumers admit to succumbing to buying a product, even if they don’t necessarily need it, solely because they resonate with the music genre featured in the product video (Lantos & Craton, 2012).

Music-Message Match

Incongruous music choices in advertising can result in the avoidance of both the advertisement and the product, as it may conflict with the values associated with the music and pose a threat to one’s identity or authenticity. When advertisers seek to incorporate the rebellious allure of countercultural groups into a mainstream context, it can be perceived as inauthentic and devalue the counterculture’s significance, posing a threat to individual identity. Given that music is often regarded as a sacred entity, consumers may strive to shield it from being associated with seemingly incongruous products. An illustrative case is the Nike Air commercial that used the Beatles song ‘Revolution’, prompting widespread commentary on its mismatch with the brand’s message. Fans perceived the song to hold greater significance than a mere promotional tool for Nike (Abolhasani et al., 2017). Brand videos are more favorably received and considered informative when paired with music that can be easily associated with the advertised brand (Lantos & Craton, 2012). This underscores the vital importance of seamlessly integrating music, words, and visuals for cohesive and effective communication in advertising. Supportive music tends to enhance the positive dimension of an ad, while conflicting music diminishes its impact. The compatibility of music significantly influences the evaluation of a message’s credibility, with those finding the music incompatible rating the source less credible compared to those experiencing the message without music (Bruner, 1990). This video serves as a compelling example of how music can dynamically alter the meaning of a scene.

  In conclusion, the selection of music can significantly impact consumer behavior. In planning their video marketing strategy, marketers must consider the texture of music, the music preferences of the target market, and how well the music fits with the advertisement. With a great video crew, professional video direction, and music that matches the video scripting and storyboarding, marketers can surely use music to their greatest advantage.  

Bibliography 

1. Abolhasani, M., Oakes, S., & Oakes, H. (2017). Music in advertising and consumer identity: The search for Heideggerian authenticity. Marketing Theory, 17(4), 473-490. Retrieved from https://doi.org/10.1177/1470593117692021.
2. Bruner, G. C. (1990). Music, Mood, and Marketing. Journal of Marketing, 54(4), 94-104. Retrieved from https://doi.org/10.1177/002224299005400408
3. Graakjaer, N., (2021). The sounds of Coca-Cola. On “Cola-nization” of sound and music. In In J. Deaville, S. Tan, & R. Rodman (Eds.). The Oxford Handbook of Music and Advertising, chapter 19, pp. 397-413. Oxford: OUP.
4. North, A., Hargreaves, D., & Krause, A. (2016). Music and consumer behavior.  In S. Hallam, I. Cross, & M. Thaut (Eds.) The Oxford Handbook of Music Psychology, (second edition), chapter 48, pp.789-801.  Oxford: OUP.
5. Lantos, G. P., & Craton, L. G. (2012). A model of consumer response to advertising music. Journal of Consumer Marketing, 29(1), 22-42.