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The Oxford Handbook of Music and Advertising最新文献

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Exploiting the Frontier 开拓边疆
The Oxford Handbook of Music and Advertising Pub Date : 2021-02-10 DOI: 10.1093/oxfordhb/9780190691240.013.21
Mariana Whitmer
{"title":"Exploiting the Frontier","authors":"Mariana Whitmer","doi":"10.1093/oxfordhb/9780190691240.013.21","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190691240.013.21","url":null,"abstract":"In writing about music and advertising, Nicholas Cook (1994) has observed that music, when applied to a commercial, “transfers its own attributes to the story line and to the product … making connections that are not there in the words or pictures; it even engenders meanings of its own.” Thus, while the music gives meaning to the commercial, the visuals can also give meaning to the music. Western music, whether from popular song, films, or television shows, carries with it additional significance in the realm of advertising. In these instances, the combination of visuals with Western music adds to the overall subtext of both, hypertextualizing both the music and the ad. This chapter provides an overview of how the Western’s music has been applied to advertising, examining how the dynamics have changed as the filmic genre developed from simple “shoot-em-ups” to psychological dramas, and how audiences have responded.","PeriodicalId":396943,"journal":{"name":"The Oxford Handbook of Music and Advertising","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132806729","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Fitting Tunes 合适的音乐
The Oxford Handbook of Music and Advertising Pub Date : 2021-02-10 DOI: 10.1093/oxfordhb/9780190691240.013.41
P. Kupfer
{"title":"Fitting Tunes","authors":"P. Kupfer","doi":"10.1093/oxfordhb/9780190691240.013.41","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190691240.013.41","url":null,"abstract":"Given how diverse the identities and musical tastes of consumers are and the power of music to influence the perception of moving images, how do advertisers choose the music for television commercials? Who makes such decisions, how are they made, and who evaluates them, both before airing and after? This chapter addresses these and related questions about the processes of selecting music for television commercials. The analysis is based on interviews with industry professionals as well as on a synthesis of literature from musicology, music sociology, music psychology, screen music, and advertising. In a multi-billion-dollar industry, where deadlines, budgets, and return on investment reign supreme, such decisions cannot be taken lightly, particularly when using certain kinds of music (e.g. copyrighted popular music) can easily inflate or exceed budgets or potentially alienate wide swaths of viewers. Ultimately, the chapter describes how balances are struck between emotional, artistic, communicative, financial, and sociocultural considerations.","PeriodicalId":396943,"journal":{"name":"The Oxford Handbook of Music and Advertising","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130445655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 3
Advertising the English Glee to Women, 1750–1800 向妇女宣传英国欢乐合唱团(1750-1800
The Oxford Handbook of Music and Advertising Pub Date : 2021-02-10 DOI: 10.1093/oxfordhb/9780190691240.013.39
Bethany Blake
{"title":"Advertising the English Glee to Women, 1750–1800","authors":"Bethany Blake","doi":"10.1093/oxfordhb/9780190691240.013.39","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190691240.013.39","url":null,"abstract":"This chapter situates publications of English glees marketed to women within broader changes in publishing activities in both England and mainland Europe during the long eighteenth century. The glee was originally composed and performed by all-male vocal clubs, but after mixed-gender ensembles began singing glees in public, it came to be heavily marketed to female amateur musicians. Sheet music publications often referred to professional female singers such as Faustina Bordoni, Marianne Müller, Sophie Arnould, and Elizabeth Billington to increase sales. Music was often marketed to women in the form of monthly periodicals, including The Piano-Forte Magazine, and The Lady’s Musical Magazine; or, Monthly Polite Repository of New Vocal Musick by the Principal Composers in Europe. These periodicals were intended to generate steady income while simultaneously representing the newest, most fashionable music. As a novelty, music was occasionally printed on folding fans and playing cards, objects associated with female pastimes. These shifts speak to the gendering of musical media and performance practices in early English capitalism.","PeriodicalId":396943,"journal":{"name":"The Oxford Handbook of Music and Advertising","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133871115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Organized Labor and Commercial Advertising 劳工组织和商业广告
The Oxford Handbook of Music and Advertising Pub Date : 2021-02-10 DOI: 10.1093/oxfordhb/9780190691240.013.7
Jessica L. Getman
{"title":"Organized Labor and Commercial Advertising","authors":"Jessica L. Getman","doi":"10.1093/oxfordhb/9780190691240.013.7","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190691240.013.7","url":null,"abstract":"The J. Walter Thompson Company (JWT) collection at Duke University’s Hartman Center for Sales, Advertising, and Marketing outlines the swift changes that a revitalized organized labor culture made to music-making in the advertising industry between 1954 and 1960, as groups like the Screen Actors Guild (SAG), the American Federation of Radio and Television Artists (AFTRA), and the American Federation of Musicians (AFM) negotiated for updated talent guidelines. The papers of John F. Devine, JWT’s Vice President of Radio and Television during this period, are especially illuminating, as he served as a representative for the advertising industry in several union negotiations through the American Association of Advertising Agencies (AAAA) and was further responsible (in collaboration with JWT contracts officer Marion Preston) for enacting JWT’s operational responses to the new rules. This chapter traces, with a specific focus on issues faced by advertisers during this period, Devine and the AAAA’s role in talent negotiations, SAG and AFTRA’s tussle over jurisdiction regarding videotaped material, the significant transitional period the AFM endured as its contentious Music Performance Trust Fund was challenged by both its members and their employers, and JWT’s in-house responses to resulting talent contract changes.","PeriodicalId":396943,"journal":{"name":"The Oxford Handbook of Music and Advertising","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114286756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Audiovisual Advertising 视听广告
The Oxford Handbook of Music and Advertising Pub Date : 2021-02-10 DOI: 10.1093/oxfordhb/9780190691240.013.31
M. Strick
{"title":"Audiovisual Advertising","authors":"M. Strick","doi":"10.1093/oxfordhb/9780190691240.013.31","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190691240.013.31","url":null,"abstract":"Narrative advertisements (i.e. ads that resemble short films that include characters, drama, and plot structure) are increasingly popular on TV and on the Internet. As in almost any film, music can play a vital role in the experience and impact of narrative ads. This chapter identifies psychological transportation as an important mediator between music and persuasion by narrative ads. Transportation refers to a strong emotional and cognitive involvement in the ad, a sense of being “lost” in the narrative. Previous studies show that transportation plays a mediating role in various aspects of persuasion, such as changing viewers’ beliefs, attitudes, and even behavior. This chapter begins with an overview of the literature on psychological transportation, focusing on its essential elements, moderating factors, and consequences for persuasion. The author then discusses the intriguing possibility that music plays an important role in promoting psychological transportation into narrative ads and reviews initial experimental evidence supporting this idea. Special attention will be paid to the role of “moving” (i.e. intensely emotional and chills-evoking) music, as it appears to be particularly effective in eliciting psychological transportation. Finally, the chapter closes with some enduring questions to be addressed in future studies.","PeriodicalId":396943,"journal":{"name":"The Oxford Handbook of Music and Advertising","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116379080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Music and the Formal Structures of Contemporary Action Film Trailers 音乐与当代动作电影预告片的形式结构
The Oxford Handbook of Music and Advertising Pub Date : 2021-02-10 DOI: 10.1093/oxfordhb/9780190691240.013.49
Catrin Watts
{"title":"Music and the Formal Structures of Contemporary Action Film Trailers","authors":"Catrin Watts","doi":"10.1093/oxfordhb/9780190691240.013.49","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190691240.013.49","url":null,"abstract":"Music and sound are key to creating film trailers that are coherent pieces of media because the visual and narrative content is so fragmented in trailers. Deaville and Malkinson note that sync points “tend to occur with greater frequency in trailers than in narrative films” (Chion, 1994). This chapter develops this claim further: Not only are sync points more frequent in trailers than in narrative films, but also they more commonly extend to small-scale characteristics such as the beat and rhythm of the music. Using a corpus of fifty contemporary action film trailers, this chapter demonstrates the integral role of “tightly organized synchronization” (Watts, 2018) in unifying and organizing a trailer’s materials into a compact audiovisual experience, as well as outlining common trailer structures. This work begins to unpack the relationship between music, narrative, and spectacle that is imperative to understanding how contemporary trailers go beyond promoting and previewing the feature film.","PeriodicalId":396943,"journal":{"name":"The Oxford Handbook of Music and Advertising","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129446819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Contextual Marketing 上下文的营销
The Oxford Handbook of Music and Advertising Pub Date : 2021-02-10 DOI: 10.1093/oxfordhb/9780190691240.013.48
Willem Strank
{"title":"Contextual Marketing","authors":"Willem Strank","doi":"10.1093/oxfordhb/9780190691240.013.48","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190691240.013.48","url":null,"abstract":"The online distribution of music has altered its materiality, its presentation, and the practices of its interpretation. Participatory online environments empower listeners to rank, review, and classify music, adding new layers of meaning and context to the works in question. At the same time, popular streaming platforms provide the means for compilations by listeners, once again creating new and often arbitrary connections. This approach to music is accompanied by the concept of “contextual marketing” introduced in this chapter. The professional online contextualization of music complements the amateur approaches, leading to a new network of references and pop-cultural connections. The chapter shows how some of these labeling techniques work and how some of the related platforms are organized to provide a snapshot of the status quo of online music distribution and the resulting consequences for the way we perceive and construct musical affiliations in the digital age.","PeriodicalId":396943,"journal":{"name":"The Oxford Handbook of Music and Advertising","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129949612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 13
“Everything Is Not Awesome” “并非一切都很棒”
The Oxford Handbook of Music and Advertising Pub Date : 2021-02-10 DOI: 10.1093/oxfordhb/9780190691240.013.37
Kate Galloway
{"title":"“Everything Is Not Awesome”","authors":"Kate Galloway","doi":"10.1093/oxfordhb/9780190691240.013.37","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190691240.013.37","url":null,"abstract":"In 2014, Greenpeace released a new installment of their “Save the Arctic” campaign, which promotes environmental stewardship and advertises the international nongovernmental organization. The music video “LEGO: Everything Is Not Awesome” reinterprets Tegan and Sara/The Lonely Island’s exuberant anthem “Everything Is Awesome” from The LEGO Movie (2014) as a melancholy lament, using musical parody to pressure the LEGO corporation to end its marketing link with Royal Dutch Shell in response to Shell’s plans to drill in the Arctic. The video features an Arctic entirely made of LEGO with cameo appearances by characters from The LEGO Movie, depicting the slow violence of an oil spill decimating the Arctic ecosystem. This advertisement, among others, was released in the context of public protest and political controversy over the environmental and social risks associated with the oil industry. It is one of many examples of Greenpeace’s use of audiovisual communication strategies to sell environmental issues and brand the organization as a leader in the environmental movement. This chapter analyzes a collection of Greenpeace advertisement videos from their “Save the Arctic” campaign, sketching the sonic choices and processes of musical adaptation used to communicate environmental risk and progressive environmental policy.","PeriodicalId":396943,"journal":{"name":"The Oxford Handbook of Music and Advertising","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122502919","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
As Heard on… 正如在…
The Oxford Handbook of Music and Advertising Pub Date : 2021-02-10 DOI: 10.1093/oxfordhb/9780190691240.013.36
Justin Patch
{"title":"As Heard on…","authors":"Justin Patch","doi":"10.1093/oxfordhb/9780190691240.013.36","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190691240.013.36","url":null,"abstract":"The musical elements of political advertising change with the times. From songsters, contrafactum songs with lyrics that extoll one candidate or party and denigrate the other, to television and radio jingles and online ads, the aesthetics of the campaign mirror the media diet of the public. Early television ads imitated jingles of the day: They were simple, catchy, and repetitive. Both Eisenhower’s “Ike for President” and Kennedy’s “Kennedy” follow this mold. Johnson’s 1964 campaign breaks this mold with “Daisy,” an anti-Goldwater ad known for deploying the eerie sounds of nuclear war. Successive campaigns sought to use a similar recipe, employing cues from film scores and trailers to dictate the emotional content of the ad. Recently, online advertising has bloomed, including tribute videos and promotional spots made by citizens and submitted to the campaign, adding grassroots allure and authenticity.","PeriodicalId":396943,"journal":{"name":"The Oxford Handbook of Music and Advertising","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123335776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Sensory Marketing in Advertising and Service Environments 感官营销在广告和服务环境
The Oxford Handbook of Music and Advertising Pub Date : 2021-02-10 DOI: 10.1093/oxfordhb/9780190691240.013.27
Bertil M L Hultén
{"title":"Sensory Marketing in Advertising and Service Environments","authors":"Bertil M L Hultén","doi":"10.1093/oxfordhb/9780190691240.013.27","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190691240.013.27","url":null,"abstract":"The chapter starts with an introduction to the notion of “sensory marketing” and the five human senses as an emergent marketing paradigm in theory and practice. In mainstream marketing, the shift from goods and services to sensory experiences emphasizes new concepts and practices in understanding sensory marketing. The ubiquitous role of music in our daily lives and in advertising is then briefly summarized, focusing on the emotional responses that music evokes. This chapter describes the influence of music in service environments and answers the question: How do consumers perceive and respond to music in different types of encounters in settings such as stores, restaurants, and banks? The author argues that concepts such as congruency and symbolism are central for understanding how music and sound shape consumers’ experience of service environments and perceptions of brand identities and products. Finally, suggestions for future research in “sound” sensory marketing are presented.","PeriodicalId":396943,"journal":{"name":"The Oxford Handbook of Music and Advertising","volume":"312 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114350973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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