个音乐展示位置的内容分析在黄金时段的电视广告.doc

个音乐展示位置的内容分析在黄金时段的电视广告 音乐在广告中已经非常流行。您可以在一些商业广播电台听到非常多的带有音乐的广告。 This research analyzed 3,456 prime-time television commercials to not only quantify, but qualify the placement of music in advertising. Overall, 94 percent of the total advertisements (3,456) and 86 percent of the unique advertisements (715) contained some type of music. 这份研究分析了3456个黄金时段的电视广告，不仅在数量上量，质量上也都具有很大的代表性。整体而言，百分之94（在这3456个案例当中）的总广告（百分之86的独特的广告（715）中的某些音乐类型。 Of the unique music advertisements, 14 percent contained popular music, 81 percent used needledrop, and 5 percent utilized jingles. 广告的独特音乐，流行音乐中百分之14，百分之81使用needledrop，利用广告歌曲和5个百分点。 Popular music (primarily pop and rock) was observed more often in automotive, audio/video, and food commercials than any other product category. 流行音乐（主要是流行音乐和摇滚），观察更经常在汽车，音频/视频，和产品种类比其他任何食品广告。 Popular music was more likely to be relevant to the narrative in the commercial than the product or service. 流行音乐更容易被相关的服务或商业叙事比产品。 This study facilitates future trending and encourages further investigation of the role of music in advertising effectiveness. 本研究有助于未来的趋势，并鼓励进一步调查广告效果的作用的音乐。 WHEN WATCHING TELEVISION, it is almost impossible not to be inundated by a profusion of popular 看电视时 ，几乎不可能不被淹没的一个流行泛滥 music in advertising. 音乐广告。 This research analyzed one week of prime-time television commercials from ABC, CBS, FOX, and NBC (N = 3,456) to determine not only the frequency with which popular 本研究分析了3,456）之一，哥伦比亚广播公司，福克斯，周黄金时段的电视广告，由美国广播公司和全国广播公司（每组确定不仅频率与流行 music is placed in commercials, but also, when employed, various aspects of the relationship between the advertised product and the type of music accompanying it. 音乐是摆在广告，但同时，当雇用音乐伴随它，各种方面的关系和广告产品的类型。 Centrally, then, this research examines how popular music is currently being used in prime-television commercials, and whether or not there are patterns for the inclusion of this music, especially with respect to how it may be contextualized. 中央，那么，本研究探讨如何流行音乐是目前正在使用的黄金电视广告，以及是否有音乐模式，这种语境列入的，特别是有关它如何可能。 In terms of contextualization, attention is paid to several variables, particularly those examining the extent to which the selections have relevance to the brand and/or the narrative. 在情境化条款，留意几个变量，尤其是研究在何种程度上的选择有相关的品牌和/或叙事。 BACKGROUND 背景 Since the early days of television, music has been one of the most frequently used executional cues in advertising. It is surprising then that more attention has not been paid to just how frequently music is used in advertising. 由于天电视初期，音乐已经广告中最常用的执行人员在一个线索。这是不足为奇了更多的关注并没有支付给音乐是多么频繁的广告用于。 Stewart and Furse (1986, p. 160) lamented the absence of its systematic 斯图尔特和弗斯（1986年，第160页）遗憾的系统的情况下，其 measurement and set out to provide such documentation. 测量，并设置了提供这些文件。 They found music featured in slightly more than 40 percent of 1,000 television commercials they studied, but that only 12 percent of those placing music used lyrics directly to convey the advertising message. 他们发现，研究他们的音乐精选略大一些广告超过百分之40的1000电视，但只有百分之十二的音乐歌词直接放置用来传达广告信息。 Similar frequencies were obtained in a follow-up study (Stewart and Koslow, 1989, p. 29). 类似的频率中获得了后续研究（斯图尔特和Koslow，1989年，第29页）。 In a later report, Stewart, Farmer, and Stannard (1990) recommended that additional research was needed in this area. 在后来的报告中，斯图尔特，农民，斯坦纳德（1990）建议进一步研究是需要在这方面。 Nonetheless, only Appelbaum and Halliburton (1993, p. 237) heeded this recommendation by analyzing international commercials and finding music placed in 89 percent of their sample. 然而，只有阿贝尔鲍姆和Halliburton（1993年，第237页）听取他们的建议，通过分析样品，国际广告，找到了百分之89的音乐放在研究。 In addition to not knowing definitively how 除了不知道如何确切 many commercials utilize music placement, there is also no definitive explanation of how music works. 许多广告利用音乐的位置，也没有明确的解释音乐作品如何 。 Gom (1982), using a classical conditioning approach, suggested that feelings generated from hearing liked or disliked music in combination with a product can positively or negatively affect. product choices. 墨西哥湾（1982），采用经典条件反射的方法，建议，从感情产生喜欢或不喜欢听的音乐产品组合能够积极或消极的影响。产品选择。 Others have suggested that music creates moods that could affect product choice (Alpert and Alpert, 1990; Bruner, 1990). As to what music elements generate feelings and affect moods, Kellaris 还有人认为，音乐产生情绪，可能影响产品的选择（阿尔珀特和Alpert的，1990年;布鲁纳，1990）。至于什么音乐元素产生的感情，影响情绪，Kellaris and Kent (1991) suggested it was tempo (pace) and modality (pitch); Kellaris and Rice (1993) found some support for tempo, loudness, and gender responses to the music; and Kellaris and Kent (1993) argued for tempo, tonality (intervals between pitches), and texture (timbre and orchestra). 和Kent（1991）建议是节奏（速度）和模式（间距）; Kellaris和赖斯（1993）发现了一些响度支持节奏，和性别反应，音乐，和Kellaris和肯特（1993）节奏主张，音调（球场之间的间隔）和纹理（音色与乐队）。 In contrast, Brooker and Wheatley (1994) found that tempo had no effect on consumer behavior (eg, recall, attitude, and purchase intention) toward the product in radio advertising. 与此相反，布鲁克和惠特利（1994）发现，节奏没有广告效果对消费者态度，购买意愿）对无线电产品的行为（，如召回。 Moving away from exclusive concern with music, the issue of the musics relevance to the product would seem to be an obvious concern in conceiving commercials, but again, relatively little scholarly 音乐感动了关注与排斥，产品发行音乐的相关的，似乎是一个构思广告明显关注，但同样，学术相对较少 attention has been paid. 受到人们的重视。 Maclnnis and Park (1991, p. 162) identified the music characteristic fit and defined it as the consumers subjective perceptions of the musics relevance or appropriateness to the central ad message. They found that musics relevance had an equally strong effect on both low- and high-involvement subjects attention to the advertising message. Kellaris, Cox, and Cox (1993) suggested that musics relevance to the product (ie, music-message congruency) interacted with its attention-gaining value to influence message reception. Maclnnis和公园（1991年，第162页）所确定的音乐特色的“适合”并定义为“中央广告信息消费者的主观感受了音乐的相关性或适当性。”他们发现，音乐的相关性有一个同样强大的影响在低收入和高参与主体的关注广告信息。Kellaris，考克斯和Cox（1993）认为音乐的相关的产品（如音乐，信息一致性）消息相互作用，其注意力的获得价值的影响接待。 Assuming that music has attention-gaining value, attention is only the first step in the hierarchy of advertising effects and must lead to memory. 假设音乐瞩目从中获得价值，注意力仅仅是第一步，广告效果在层次结构中，必须导致内存。 It has been claimed for decades that music increases recall (Hecker, 1984; Wallace, 1994). 它已声称对几十年来，音乐能够提高回收（埃克，1984;华莱士，1994年）。 Here, again, a number of treatments and variables pertain, eg, in addition to standard music-genre distinctions, questions of instrumentais versus vocals, original recordings versus new versions of older songs (covers), or silence versus background, generic music beds or needledrop (music that is prefabricated, multipurpose, and highly conventional, Scott, 1990, p. 223), jingles (unique, novel lyrics written for a particularad, Wallace, 1991, p. 239), and lyric replacement (changing the original lyrics of a song with new lyrics carrying the advertisers message). 在这里，再次，涉及人数的治疗和变量，例如，除了标准的音乐流派的区别，歌曲的问题与人声的instrumentais旧，新版本与原始录音（套），或沉默或与背景，一般音乐床needledrop（“音乐是预制的，多功能，具有很强的传统，”斯科特，1990年，第223页），广告歌曲（“独特，新颖的歌词particularad写小说，”华莱士，1991年，第239页），和抒情更换（改变的消息）原来的歌词进行歌曲的歌词和新的广告客户。 Roehm (2001) argued that instrumentais are more effective in evoking advertising message recall if the song is already familiar; however, absent that familiarity, the vocal version was more effective. Roehm（2001）认为，instrumentais比较熟悉广告信息有效地唤起回忆如果歌曲已，但是，如果没有这熟悉的声音版本更有效。 AUan (2006) found that song vocals, either original or altered, are more effective stimuli of advertising effects than instrumentais or no popular music. AUan（2006年）发现，歌曲演唱，无论是原件或涂改，没有流行音乐更有效地刺激的广告效果比instrumentais或。 Additionally, silence combined with music has been observed to be more attention-getting and can increase listener retention (Olsen, 1995). 此外，结合音乐与沉默已观察到更多的瞩目，并可以增加监听保留（奥尔森，1995）。 Additionally, Park and Young (1986) found that the effect of vocals on brand attitude depends on the level of involvement of the individual. 此外，公园及青年（1986）发现，影响品牌的态度主唱个别取决于参与的水平。 With regard to jingles, Wallace (1991) found that jingles can facilitate advertisement recall because they are easily recalled even when not heard for long periods of time. 关于广告歌曲，华莱士（1991）发现，歌曲等能够促进广告记得，因为他们容易记得，即使没有时间听到期间为长。 Yalch (1991) agreed, especially when individuals are presented with few cues to aid retrieval or have minimal exposures to the advertising. Yalch（1991）同意，特别是当一个人被线索提交了几把援助检索或有风险，以最小的广告。 Finally, a growing technique in advertising is lyrical replacement. 最后，在广告越来越多的技术是抒情的替代品。 While this type of advertising has not been researched specifically, some focus has been given to the general imporimportance of the original lyrics with the original melody. 虽然这种类型的广告还没有专门研究，一些重点是考虑到原来的旋律与歌词一般imporimportance原始。 Serafine, Crowder, and Repp (1984, 1986) suggested that an original melody or text is better recognized when paired with the original melody or text. Of course, it should be pointed out that it has never been verified that the most attention-getting or recalled commercials alone positively affect sales. Serafine，克罗德和雷普（1984，1986）建议，一个原来的旋律或文字文本配对时更好的认识与原来的旋律或。当然，应该指出的是，它从来没有被证实，最瞩目单独或召回的广告销售产生积极的影响。 In spite of the dearth of academic research, advertisers have always spoken enthusiastically about the power of popular music in advertising. 尽管在学术研究的缺乏的，广告商总是踊跃发言广告的力量对流行音乐研究。 For instance. 对于实例。 Ken Kunze, marketing director for Heineken 肯库泽，喜力的营销总监 Brewery, observes that music is relevant with consumers across boundaries whether ethnic,geographic, or age (Howard, 2001). 啤酒厂，指出音乐是“年龄相关的跨边界是否与消费者的民族，地域，或”（霍华德，2001年）。 Similarly, Vinny Picardi, vice president and associate creative director of Deutsch, Inc. in Los Angeles, suggests that We use music as our universal language and it pays off (Scott, 2002, p. Y06; see also Ives, 2002, p. C3; Morris, 1998, p. 1; Patton, 2002, p. 1; and Vanderbilt, 同样，温尼Picardi，副总裁和洛杉矶副创意总监，德国，公司认为，“我们使用语言的音乐，它作为我们的普遍回报”（斯科特，2002年，第Y06，又见艾夫斯，2002年，第补体C3，莫里斯，1998年，第1页;巴顿，2002年，第1页;和范德比尔特 2002, p. 2002年，第 W13 for similar observations). Advertisers enthusiasm for music is manifested in what is seen as an increasing placement of popular music in commercials, although the bulk of these observations come from the trade publication perspective. W13的类似意见）。广告的音乐热情的是表现在什么是广告看作是安置在一个越来越流行的音乐，虽然大部分的意见，这些观点来自于贸易刊物。 Many have simply noted that music placement is a trend on the rise (see, eg, Bessman, 2003; Boehler, 1999, p. 27; Buyikian, 1999, p. SIO; Howard, 2003, p. 6B; Marks, 1998, p. 51; Melillo, 2004, p. 17; Patton, 2002, p. Cl; Seay, 2000, p. S8; Shea, 2004, p. 16). 很多人只是注意到，音乐安置是一个上升趋势（见，例如，Bessman，2003;伯勒尔，1999年，第27页; Buyikian，1999年，第串口，霍华德，2003年，第6B条，商标，1998年，第51页; Melillo，2004年，第17页;巴顿，2002年，第氯;西伊，2000年，第S8的;谢伊，2004年，第16页）。 Others have been a little more specific, with estimates of 60 percent (Bellaire, 1979, p. S4), 75 percent (Michlin, 1984, p. 66), and 90 percent (Garfield, 1988, p. 46). 另一些人受到更具体一点，带）估计百分之六十（贝莱尔，1979年，第四），75姊（Michlin，1984年，第66页），90姊（加菲尔德，1988年，第46页。 Finally, another issue that has also been more theorized than studied is the function of popular music placement for the recording industry. Melillo (2004) suggests that the increasing employment of popular music in commercials does not just enhance advertisings function, but reaps benefits for the recording industry as well. 最后，另一个问题也更加理论化比研究是业界功能流行音乐安置录音。Melillo（2004）认为，流行的广告增加就业的音乐不只是增强广告的功能，但对收获的好处唱片业以及。 Not that long ago, artists were reluctant to have their work licensed for use in advertisements. Even though popular music is invariably a commercial enterprise (successful or not), its writers and performers often viewed an overt association with commercialism as a breach of artistic integrityselling out (see, eg, Allan, 2005, p. 2; Boehler, 1999, p. 27; Burns, 1996, p. 133; de Mesa, 2005, p. 1; Kot, 2002, p. 1; Lubrano, 2004, p. C2; Marks, 1998, p. 51; Morford, 2004, p. 1;Reilly, 1998, p. Bl; Shea, 2004, p. 16; Vanderbilt, 2002, p. W13; Waldman, 2000, p. 18). 不久以前，艺术家们不愿让他们的工作许可的广告中使用。尽管流行音乐必然是一个商业企业（成功与否），其作者和表演者往往被公开的完整的艺术协会作为违反商业化- “出卖”（见，例如，阿伦，2005年，第2页;伯勒尔，1999年，第27页;伯恩斯，1996年，第133页;德梅萨，2005年，第1页;噶，2002年，第1页; Lubrano，2004年，第C2的;商标，1998年，第51;莫福德，2004年，第1页;赖利，1998年，第血液;谢伊，2004年，第16页;范德比尔特，2002年，第W13的;瓦尔德曼2000年，第18页）。 This much-observed attitude is not unlike earlier movie stars categorically rejecting advertising work. 这么多观察的态度是不与早期电影明星断然拒绝广告的工作。 More recently, actors, too, have become more involved in commercial work and that involvement seems to have become increasingly overtmoving from voiceovers to work in foreign (most notably, Japanese) advertisements to the most recent, straightforward appearances of Alist actors such as Robert De Niro or Catherine Zeta-Jones in US commercials. Whether actors, sports figures, or musical performers, the incentive is likely financial. 最近，演员，也有更多的工作，成为从事商业和参与，似乎已经越来越明显，正从配音工作的外国（主要是日本）的广告，最近，“演员直接露面的”一览表如罗伯特德尼罗或凯瑟琳泽塔琼斯在美国的广告。无论演员，体育明星，或音乐表演，可能是财政奖励。 With specific respect to music, there has been a 13 percent decline in worldwide album sales since 2001 (Howard, 2003, p. 6B). 在具体方面的音乐，出现了（第6B型）霍华德，2003年，在全球13个百分点2001年以来专辑销量。 This decline probably reflects the impact of new technology allowing consumers to construct their own CDs, and it is a force with which music producers must reckon. 这种下降可能反映了自己的新的光盘技术的影响，使消费者能够构建他们，这是一个音乐制作人的力量，将必须考虑。 In that reckoning, music placement in advertising, then, becomes an economic boon in two ways: first, a commercials use of music provides a new venue for collecting royalties, and second, the widespread and repeated exposure of commercials provides either for revival of or new interest in the particular songs and/or artists featuredwhich is music-sales promotion and very much a variation on the phenomenon of product placement (see Nelson, 2003 for examples of basic research on product placement). 在这种推算，音乐安置在广告，那么，成为一个经济实惠的两种方法：第一，广告的音乐使用提供了一种新的场地使用费征收，二是反复接触，并提供广泛的广告无论是对复兴或新的兴趣，特别是歌曲和/或艺术家的特色，这是音乐销售推广，并非常展示位置的变化对产品的现象（见纳尔逊对产品布局的研究，2003年的基本的例子）。 It may also be suggested that music employed in TV 它也可能有这样的说法音乐电视受雇于 commercials functions similarly to the use of extant recordings in movie soundtracks (see Gupta and Lord, 1998, for examples of basic research on the use of popular music in film soundtracks). 广告功能类似于使用现存的配乐在电影录音（见基础研究使用流行音乐在电影配乐Gupta和勋爵，1998年，例子）。 This linking of particular groups and songs with films or products has indeed demonstrated the value of cross-media marketing and the symbolic relationship between film and song (Garofalo, 2002, p. 384). 该产品挂钩的特定群体或与电影和歌曲确实“体现了市场价值的跨媒介和符号之间的关系和电影歌曲”（加罗法洛，2002年，第384页）。 It certainly appears that the artists need advertising as much as advertising needs them (Melillo, 2004, p. 17). 这当然看来，艺术家“需要广告多达广告需要他们”（Melillo，2004年，第17页）。 (See Block, 2003 and Howard, 2003 for a richer discussion of the economic mutualism resulting （见座，2003年和霍华德，导致2003年的互惠经济更丰富的讨论 from the use of popular music in commercials.) The previously described work is interesting and provides important background to this study. 从广告使用流行音乐。）先前所述的工作很有意思，提供了重要的背景，这项研究。 However, in addition to updating the limited available data, there are additional, important questions that have thus far been overlooked in the extant literature. 然而，除了更新现有的数据有限，还有额外的，现存的文学的重要问题，因此至今尚未有忽视研究。 As will be described in the following section, the present study begins with a broad look at many of the 正如将在下面一节中描述，本研究开始于许多广泛使用看起来 music variables just reviewed and then narrows into more detailed observations of popular music variables so to provide a more robust analysis. 音乐变量刚刚审核，然后变量缩小到流行音乐等更详细的观测，以提供更强大的分析。 METHODS 方法 All commercials aired on ABC, CBS, FOX, and NBC during the week of May 3-9, 2004 (sweeps week) during prime time (8:00-11:00 PM) constituted the sample for this study. 下午），整个星期的5月3日至9日，2004（扫广告播出期间，在美国广播公司，哥伦比亚广播公司，福克斯和NBC周）在黄金时段（8:00-11:00构成本研究样本。 Using this sweeps period is in 使用这个时期是在扫描 keeping with related studies in the literature, likely because this period is reputed to be that in which new advertising campaigns are launched.in all ,then,this sample consisted of 3456 total and 715unique commercials,Of these commercials 3239 tota; and 617 unique advertisements used some type of music,404 total and 86 unique advertisements utilized some type of popular music (broadly defined for the purpose of this study as music of all genres that was created forordinary peopie, Shuker, 2001, p. 5); 2,387 total and 501 unique advertisements had some type of needledrop; and 448 total and 30 unique advertisements used a jinele. Each commercial constituted a unit of analysis 保持与相关研究文献中，可能是因为这一时期是被誉为是，在这种新的广告活动是launched.in所有，那么，这个样本包括3456共715unique广告的广告，其中3239托塔;和617独特的广告所使用的一些广告的音乐类型，共86 404利用一些独特的流行音乐类型（广义的人会定义forordinary的目的就是这样建立研究，是所有类型的音乐，“Shuker，2001年，第5页）;共2,387和501独特的广告有一些needledrop类型;及448和30独特的广告总用jinele分析。各商业单位构成 A code sheet was developed to record information on the placement of music (quantitative and qualitative) in the commercials. 开发了一个代码表，记录广告信息的展示位置上的定量和定性）在音乐（。 The extensive code mcluded vanables used in previous contest analyses of television advertising (Alexander; Benjamin, Hoerrner, and Roe, 1998; Avery and Ferraro, 2000; Callcott and Lee, 1994; Elliott, 1995; Roy and Harwood, 1997; Unger, McConocha, and Faier, 1991; Wilkes and Valencia, 1989), as well as variables appropriate to the analysis of music (AlIan, 2006; Alpert and Alpert, 1991; Brooker and Wheatley, 1994; Kellaris, Cox, and Cox, 1993; Kellaris and Kent, 1991; Macinnis and Park, 1991; Olsen, 1995; Roehm 2001; Wallace, 1991). 广泛的代码mcluded vanables用于广告（亚历山大以前的比赛分析了电视;本杰明，Hoerrner和罗伊，1998年;艾利和Ferraro，2000;卡科特和Lee