This study aims to analyze the emotions aroused by tropical Andean music—popularly known as chicha—present in the advertising of a well-known beverage brand in university students. The power music exerts in advertising is already commonly known as well as how it can intensify the effect of the message and trigger an emotional reaction in the consumer. This Peruvian musical genre is usually closely related to Peruvian identity and attributes of its population such as racial and cultural intermixing, creativity and self-improvement. In recent years, this sound resource has been established in the commercial communication of Peruvian brands aimed at the modern neo-Limenian; many of them descendants of migrants, proud of their origin and culture. This study is qualitative with a phenomenological approach. Through 16 interviews, the study shows how the presence of this musical genre can arouse positive emotions in the sample. In addition, the choice of music has to be coherent with the narrative structure of the advertising message to ensure optimal emotions.

This essay examines the persuasive side of music and its affect on consumer behavior when utilized in television commercials. It includes an interpretation of twelve study cases, in which three groups of four people is presented the same commercial, with different music being the only item dividing the groups. This is followed by a few questions about the product. The aim is then to see how the answers differ from one group to another, and how they match the music’s presupposed connotations suggested in the theory part of the essay, thus, observing the communicative, and eventually persuasive, power of music in television commercials. The main question is: how might music utilized in a television commercial power people’s opinions about the product in that commercial. The results show how music may alter people’s opinions about the product in the commercial, and that the interviewees’ opinions, in most cases, match the music’s presupposed connotations. The study’s results confirm what was previously found by Adolfsson in 2007. By comparing results from then and now it adds to the understanding of musical meaning in everyday life.

Thesis (B.A.)--Haverford College, Dept. of Psychology, 2005. / Includes bibliographical references.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-12-22T11:11:28Z No. of bitstreams: 1 Alaor Ignácio dos Santos Júnior.pdf: 4040399 bytes, checksum: 241451e97e042083d3a63582c629f526 (MD5) / Made available in DSpace on 2016-12-22T11:11:29Z (GMT). No. of bitstreams: 1 Alaor Ignácio dos Santos Júnior.pdf: 4040399 bytes, checksum: 241451e97e042083d3a63582c629f526 (MD5) Previous issue date: 2016-12-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / There are two different symbols to compose jingles: music and verbal language. Musical practice alludes to the art of organizing tone, as in the aspect adopted by advertising, using common standards to a favourable reception to a certain target audience, starting with texts and a music-socio-cultural context preexistent in the listener´s repertoire that, lato senso, may be defined in musical genders. These advertising languages, defined as a persuasion element and denominated jingles, in its composing form, results in a redundant media transmission and a continuous reception by a role model listener that assimilates, if not while persuaded, as reproducer and repeater of its commonly simplified lyrics and melodies. Measure such reflexes in the receptor memories was one of the aspects aimed in the study (LOTMAN, 1996), beginning with the re-elaboration of what is observed in the cultural dynamics (FERREIRA, 2004) not as a “bunch of information” but as an organized and complex mechanism that recodifies and translates the messages from “the other symbol”. Also, an eventual musical gender hybridizes as a counterpoint to the existence of a certain “purism” or musical gender hegemony that composes the jingles, with regard to rhythms, instrumentation, structure and contextualization in different period of times were analyzed in this study. It is here proposed an hybrid and mediated jingle (BARBERO, 2009), either by the musical melting pot in its compositions or by the dialogical frontier with the new medias, constantly transposing supports, receiving and surviving through the years or even decades with an updated and critical reading as an advertising piece guided not only to electronic media but also the virtual ones, in the different context and relation with contemporaneous music and technology / Dois sistemas de signos compõem os jingles: música e a linguagem verbal. A prática musical remete à arte de organizar tons, que na sua vertente adotada pela publicidade vale-se de códigos comuns à recepção favorável de determinado público-alvo, a partir de textos e contexto músico-sócio-cultural previamente existentes no repertório de tais ouvintes que, em lato senso, podem ser definidos como gêneros musicais. Estas linguagens publicitárias, definidas como elemento de persuasão e denominadas jingles, em sua forma composicional, resultam em transmissão midiática redundante e recepção sucessiva por parte do ouvinte-modelo, que a assimila, senão enquanto persuadido, como reprodutor e repetidor de suas habitualmente simplificadas letras e melodias. Mensurar tais reflexos na memória do receptor foi dos aspectos perscrutados por esse trabalho (LOTMAN, 1996), a partir da reelaboração que se observa na dinâmica cultural (FERREIRA, 2004), que não opera como “um depósito de informações”, mas um mecanismo organizado e complexo que decodifica e traduz as mensagens obtidas em “outro sistema de signos”. Também a eventual hibridização dos gêneros musicais em contraponto à dúvida quanto à existência de certo “purismo” ou hegemonia dos gêneros musicais que compõem dos jingles, em relação aos ritmos, instrumentação, estrutura e contextualização vigentes em suas épocas foram aqui avaliadas. E, hoje, propõe-se que o jingle definitivamente hibridizado e mediado (BARBERO, 2009), seja pela própria mescla musical existente em suas composições, seja pela fronteira dialógica com novas mídias, em constante transposição de suportes, recebe e sobrevive aos anos ou mesmo décadas com uma atualizada leitura crítica como peça publicitária direcionada não apenas às mídias eletrônicas, mas às virtuais, em seus contextos e relações com a música e com a tecnologia contemporâneas

This paper proposes a study that investigates whether manipulating pitch and tempo in children’s toy advertisement music has an effect on gender identity and sex stereotyping in preschool-aged girls. This particular intersection between advertisement, persuasion, gender identity, and sex stereotyping scholarship has not yet been explored. However, past research does suggest that high pitch and fast tempo have a significant positive impact on mood and arousal, two factors associated with more susceptibility to persuasive messages. The 3- to 4-year-old female participants will be randomly assigned to one of the nine advertisement conditions. The music in the ads for each condition will contain a combination of pitch variation (high, medium, or low pitch) as well as a tempo variation (fast, medium, or slow tempo) to create a fully-crossed design. The dependent variables, gender identity and sex stereotyping, will be measured in the lab before and after a 2-week period in which the the advertisement stimuli will be presented in the children’s homes. Based on previous research, higher pitch and faster tempo are expected to be associated with more stereotypical gender identity and more sex stereotyping in participants.

En este documento se encontrará información relevante acerca de los procesos que se realizan para musicalizar y diseñar todo el sonido implementado en spots publicitarios audiovisuales de Estados Unidos y las adaptaciones de estos en los comerciales peruanos entre los años 1970 y 2020. Empezaremos investigando cómo se ha venido desarrollando la música publicitaria en ambos países desde su primera aparición en Estados Unidos y en Perú. Esto nos permitirá conocer todo el recorrido que ha tenido esta industria. Luego, analizaremos distintos comerciales de ambos países por cada década desde 1970 hasta 2020, para así poder conocer las tendencias que han aparecido en cada país y en cada época. Además, analizaremos dos campañas publicitarias que han sido transmitidas tanto en Estados Unidos como en Perú manteniendo algunos elementos sonoros y visuales, pero también incluyendo ciertos cambios relevantes en la música. De esta manera podremos dar hipótesis del por qué ciertos elementos son tomados en un mercado y no en el otro, así como la implementación de distintos géneros musicales en cada propuesta. Por otro lado, se investigará acerca de otros aspectos técnicos necesarios para poder realizar trabajos de calidad como el estándar de volumen que se debe utilizar para todo tipo de trabajo en un medio de comunicación. También se explicará cómo están conformados los equipos de trabajo de las casas de audio y la labor que realiza cada uno de los miembros. Además, estudiaremos las estrategias implementadas por los estudios de audio publicitario más representativos de los dos países, lo cual nos permitirá profundizar en los métodos que utilizan para realizar cada pieza musical y diseño sonoro para los spots publicitarios. / In this document you will find relevant information about the processes that are carried out to set music and make the sound design for audiovisual advertising in the United States and the adaptations of these in Peruvian commercials between the years 1970 and 2020. We will start investigating how advertising music has developed in both countries since its first appearance in the United States and Peru. This will allow us to know the whole journey that this industry has taken. Then, we will analyze different commercials from both countries for each decade from 1970 to 2020, in order to know the trends that have appeared in each country and in each decade. In addition, we will analyze two advertising campaigns that have been broadcast in the United States and Peru, maintaining some sound and visual elements, but also including certain relevant changes in music. In this way we will be able to hypothesize why certain elements are taken in one market and not in the other, as well as the implementation of different musical genres in each proposal. On the other hand, other technical aspects necessary to be able to carry out quality work will be investigated, such as the volume standard that should be used for all types of work at media. It will also explain how the workers of the music production studios are made up and the work carried out by each of the members. In addition, we will study the strategies implemented by the most representative advertising audio studios in the two countries, which will allow us to deepen the methods they use to make each piece of music and sound design for advertising spots. / Trabajo de investigación

El objetivo de este estudio fue analizar las emociones que despierta la música tropical andina –conocida popularmente como “chicha”– presente en la publicidad de una conocida marca de bebidas en estudiantes universitarios. Ya es comúnmente conocido el poder que ejerce la música en la publicidad y cómo ésta es capaz de intensificar el efecto del mensaje y desencadenar una reacción emocional en el consumidor. Este género musical peruano suele relacionarse estrechamente con la identidad peruana y atributos de su población como la creatividad, la superación, y el mestizaje. En los últimos años, este recurso sonoro se ha afianzado en la comunicación comercial de las marcas peruanas que se dirigen al moderno neo limeño; muchos de ellos descendientes de migrantes, orgullosos de su origen y su cultura. Este estudio es de tipo cualitativo con enfoque fenomenológico. A través de 16 entrevistas, se ha demostrado cómo la presencia de este género musical es capaz de despertar emociones positivas de manera moderada en la muestra. Además, se apreció que la elección de la música tiene que mantener coherencia con la estructura narrativa del mensaje publicitario para que las emociones sean óptimas. / This study aims to analyze the emotions aroused by tropical Andean music – popularly known as chicha – present in the advertising of a well-known beverage brand in university students. The power music exerts in advertising is already commonly known as well as how it can intensify the effect of the message and trigger an emotional reaction in the consumer. This Peruvian musical genre is usually closely related to Peruvian identity and attributes of its population such as racial and cultural intermixing, creativity and self-improvement. In recent years, this sound resource has been established in the commercial communication of Peruvian brands aimed at the modern neo-Limenian; many of them descend-ants of migrants, proud of their origin and culture. This study is qualitative with a phenomenological approach. Through 16 interviews, the study shows how the presence of this musical genre can arouse positive emotions in the sample. In addition, the choice of music has to be coherent with the narrative structure of the advertising message to ensure optimal emotions. / Tesis

Konsumenter exponeras för 2000 reklammeddelanden dagligen men lägger bara märke till fåtal av dem. Musik har en värdefull position i reklam som företag kan använda för att sticka ut i reklambruset. För att kunder ska lägga märke till företags marknadsföring vilken kan skapa värde för kund, behövs förståelse för vilka känslor och tankar som uppstår hos kund vid exponering av företags reklammusik i långsamt- och medeltempo, samt vilka attityder som formas gentemot företaget vid exponeringen. För att förstå kundupplevelsen i form av vilka känslor, tankar och attityder vid lyssnandet av reklammusik, utförs en kvalitativ undersökning för att förstå fenomenet på djupet. Den verkliga kundupplevelsen har fångats genom att 13 djupintervjuer genomförts där respondenterna exponerats för reklamlåtar i tempona långsam (70 bpm) och medel (120 bpm). Undersökningen tyder på att reklammusik väcker känslor och tankar i både positiv och negativ riktning, likaså influeras attityden gentemot företag men mer i stunden som respondenterna exponeras av reklammusik än ihållande. Reklammusik i marknadsföring har en betydande roll i den värdeskapande processen för både kund och företag. Vidare tenderar värdeskapande reklammusik att generera i konkurrensfördelar vilket gynnar företags framgång. Resultaten bidrar med förståelse om kundupplevelsen vid reklammusik till litteraturen samt med kunskap till företag gällande reklammusikens inflytande på kundupplevelsen. / Every day consumers are exposed to an enormous amount of advertisements but only notice a few of them. Music has a powerful role in advertising which corporations can use to stand out from the noise of advertising. For consumers to notice corporations’ marketing that is used to create customer value, an understanding is needed regarding which feelings and thoughts arise when customers are exposed by advertising music in a slow- and middle tempo, also what attitudes are formed toward corporations at the exposure. To achieve knowledge about the customer experience, qualitative research is needed to understand the phenomenon in depth. To achieve an understanding of the real customer experience, 13 in-depth interviews have been conducted where the interviewees have been exposed to advertising music in the tempo of slow (70 bpm) and average (120 bpm). Advertising music awakens feelings and thoughts, both in positive and negative terms, as well as the attitude is shaped toward corporations which are influenced more in the moment the person is exposed by advertising music than in the long run. Advertising music has a powerful role in marketing in the process of value creation to both customers and corporations which may emerge in competitive advantages and further empower corporation success. The understanding of customer experience in combination with advertising music contributes to both corporations' knowledge and the literature.