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The purpose of this paper is to advance the understanding of sound branding by developing a new conceptual framework and providing an overview of the research literature on non-musical sound.

Using four mutually exclusive and collectively exhaustive types of non-musical sound, the paper assesses and synthesizes 99 significant studies across various scholarly fields.

The overview reveals two areas in which more research may be warranted, that is, non-musical atmospherics and non-musical sonic logos. Moreover, future sound-branding research should examine in further detail the potentials of developed versus annexed object sounds, and mediated versus unmediated brand sounds.

The paper provides important insights into critical issues that suggest directions for further research on non-musical sound branding.

The paper identifies an unexploited terrain of possibilities for the use of sound in marketing and branding.

The paper identifies a subfield within sound-branding research that has received little attention despite its inevitability and potential significance.

The purpose of this study is to determine how sonic logo’s acoustic features (intensity, pitch and pace) based on melodic tunes with no voice orient the response of consumers, attract attention, elicit levels of pleasantness and calmness and transmit brand personality traits.

A within-subject experimental factorial design is applied to measure emotional arousal (indexed as electrodermal activity) and enhancement on perceptual processing (indexed as heart rate), as well as self-reported factors, namely, calmness/excitement, pleasantness and brand personality scales.

Results show a significant increase on electrodermal activity associated with fast-paced sonic logos and a decrease in heart rate in slow-paced long sonic logos. Also, fade-up, pitch-ascending fast sonic logos are defined as more exciting and descending-pitch sonic logos as more pleasant.

The use of sonic logos with no voice does limit its implications. Besides, the use of three variables simultaneously with 18 versions of sonic logos in a laboratory setting may have driven participants to fatigue; hence, findings should be cautiously applied.

First, sonic logos are best processed in a fade-up form. Second, fast pace is recommended to orient response, whereas slow pace is recommended to transmit calmness. Practitioners may opt for fast-paced sonic logos if the design is new or played in a noisy environment and opt for slow-paced sonic logos in already highly recognized sound designs.

To the best of authors’ knowledge, this study is the first to combine psychophysiological measures and self-reported scales in a laboratory experiment on how sonic logo’s acoustic features orient response, transmit emotions and personality traits.

The authors aim to explore whether and how variations on pitch levels of background music in audiovisual commercials affect consumers' judgments of the competence of the advertised brands and for which group of consumers such changes in ad backgrounds are more influential.

Consumers are presented with an audiovisual advertisement in which the pitch of background music is lowered or raised. They are subsequently asked to evaluate the music and traits of the advertised brand and indicate their predisposed styles of thinking.

Consumers tend to judge a brand in an audiovisual commercial as possessing a higher level of competence traits when the brand is accompanied by lower-pitched (vs higher-pitched) background music, which is mediated by levels of powerfulness they perceive from the background music. Consumers with holistic (vs analytic) thinking styles, who are known to devote more focused attention to background information, tend to be more (vs less) susceptible to the changes in pitch.

The current research approaches thinking styles as predisposed individual differences as in prior works in marketing. Provided that the predisposed thinking styles can be influenced by individuals' cultural backgrounds, the authors suggest cross-cultural studies as an approach to further validate the present findings.

Given the recent trends that consumers are increasingly exposed to audiovisual ads with the rapid growth of various video-based platforms (e.g. YouTube) and mobile advertising, this empirical study may assist contemporary marketers in considering an acoustic strategy for brand communication using the audiovisual advertisement. This study suggests that the pitch of ad background music can serve as a manageable strategic tool that can assist in establishing an image of a competent brand.

This research highlights a seemingly-trivial element in audiovisual advertisements, the pitch of background music, as a crucial determinant of the perceived competence of an advertised brand upon which further brand evaluations (e.g. brand trust, purchase intention) are based. An important yet overlooked effect of ad recipients' predisposed thinking styles on how consumers respond to the changes of background cues in audiovisual commercials is also proposed.

Dynamic advertising, including television and online video ads, demands new theory and tools developed to understand attention to moving stimuli. The purpose of this study is to empirically test the predictions of a new dynamic attention theory, Dynamic Human-Centred Communication Systems Theory, versus the predictions of salience theory.

An eye-tracking study used a sample of consumers to measure visual attention to potential areas of interest (AOIs) in a random selection of unfamiliar video ads. An eye-tracking software feature called intelligent bounding boxes (IBBs) was used to track attention to moving AOIs. AOIs were coded for the presence of static salience variables (size, brightness, colour and clutter) and dynamic attention theory dimensions (imminence, motivational relevance, task relevance and stability).

Static salience variables contributed 90% of explained variance in fixation and 57% in fixation duration. However, the data further supported the three-way interaction uniquely predicted by dynamic attention theory: between imminence (central vs peripheral), relevance (motivational or task relevant vs not) and stability (fleeting vs stable). The findings of this study indicate that viewers treat dynamic stimuli like real life, paying less attention to central, relevant and stable AOIs, which are available across time and space in the environment and so do not need to be memorised.

Despite the limitations of small samples of consumers and video ads, the results of this study demonstrate the potential of two relatively recent innovations, which have received limited emphasis in the marketing literature: dynamic attention theory and IBBs.

This study documents what does and does not attract attention to video advertising. What gets attention according to salience theory (e.g. central location) may not always get attention in dynamic advertising because of the effects of relevance and stability. To better understand how to execute video advertising to direct and retain attention to important AOIs, advertisers and advertising researchers are encouraged to use IBBs.

This study makes two original contributions: to marketing theory, by showing how dynamic attention theory can predict attention to video advertising better than salience theory, and to marketing research, showing the utility of tracking visual attention to moving objects in video advertising with IBBs, which appear underutilised in advertising research.

The case will help learners to analyse how effective handling of an extended marketing mix of 7Ps (product, price, place, promotion, physical evidence, participants and processes) makes a startup profitable in its initial years of inception; understand the significance of the online marketing strategies like digital marketing and social media marketing implemented by firms to attain a competitive edge amongst established local and global competitors; examine the strategic challenges faced by a business enterprise while entering an emerging market; analyse the growth strategies of a startup relative to various market constraints; and propose long-term strategies for sustainable growth for a startup operating in the wearables market.

Founded in 2016, Boat Lifestyle is a Delhi-based Indian startup in fashionable consumer electronics. In the past five years, Boat earned remarkable profits and emerged as one of the most promising startups through its innovative products offerings and promotion. Aiming at its target customer segment, the millennials, it promoted its products through social media marketing such as influencer marketing and brand tie-ins with sports teams and music events. The case focuses on the dynamics of the Indian wearables market that is facing tough competition from global and local players. To ensure continued growth prospects, while maintaining a tight focus on product differentiation, quality, and customer satisfaction, there is a greater need for Boat to rethink its market development and growth strategies regarding new innovations and adopting long-term orientation like diversification and global expansion.

The case aims for teaching business management students at the Undergraduate, Postgraduate, and Executive education level. In addition, the case can be related to the Strategic Management course curriculum and Marketing course curriculum.

Teaching notes are available for educators only.

CSS 11: Strategy

The purpose of this paper is to identify the causes and implications of potential negative consumer response to music in broadcast commercials. It aims to accomplish this by introducing a new consumer response variable, attitude toward the advertising music (A_am) and relating A_am's components to advertising goals. It also aims to propose that A_am is a significant component of attitude toward the ad (A_ad).

The paper takes the form of an integrative review of the relevant literatures in the psychology of music, consumer marketing, and advertising to formulate A_am.

Favorable A_am is a necessary but insufficient condition for favorable A_ad in ads employing music. Furthermore, a negative A_am might cause a negative A_ad. Given the numerous possible negative responses to music in a TV or radio commercial, achieving a favorable A_am among most target audience members is very challenging, especially when music‐message fit is lacking.

The paper offers cautionary advice for advertisers using music and directions for future research.

The paper provides a novel integration of literatures in psychology and marketing/advertising. Whereas most scholars and practitioners assume that music adds value to commercials, the authors demonstrate key ways in which music can cause adverse listener reactions.

The purpose of this paper is twofold: first, to analyze whether musical priming induces greater recall of brands and, second, to study the emotional priming effects of music, in comparison with non-emotional music, including gender comparison.

Through the utilization of neuromarketing tools and protocols (quantitative and qualitative), the study explores facial eltromyography (EMG) capabilities and skin conductance responses (SCR) measuring consumers’ emotional responses.

The findings show that at least, 40 percent of the total sample recognized a musical priming effect. The study measures the emotional response to musical priming as positive. Emotional video recognition was much higher in females. Both the self-report and physiological measures support the notion that emotional background music can elicit emotional responses in consumers.

The research measured emotional response to musical priming without testing how these responses influence consumers’ attention and overall behavior.

The five senses, especially hearing, play an important role in the purchasing decision process and in the individual customer experience. People become aware of the products and brands that surround them and make their choice. In terms of digital trading activities and online sales, increasing physiological understanding of musical priming reactions may mean that, for companies, selling low-end online goods may be economically worthwhile to cooperate with platforms such as Spotify or iTunes to select individual users.

More research is needed in priming process techniques in order to better understand how primes activate knowledge in the consumer’s mind. Understanding this process will inform marketers how close a prime needs to be to a target to have an effective influence, as well as when marketers should be concerned about negative priming effects.

At the best of our knowledge, it is the first time that music priming is analyzed in terms of self-report and physiological measures From the measurement’s perspective, the results reaffirm that physiological and self-report measures capture different levels of information. While SCR and EMG capture real-time subconscious responses, MAN scale self-report data provide information regarding how cognitive effort, in terms of intensity and valence, affects brand recall.

This paper investigates the impact of consumer relationships with brand communities on behavioral interactions on Instagram. The objective is to identify different types and stages of relationships between consumers and brand communities on Instagram using social penetration theory and explain the behavioral interactions of consumers resulting from these relationships across different stages.

A mixed method strategy was employed combining a qualitative multi-case study and an online survey. Eight individuals following restaurant and apparel brands on Instagram participated in the first study and 202 samples participated in the online survey.

Fifteen different types of relationships were identified between consumers and brand communities on Instagram and were classified into five stages ranging from orientation to de-penetration. The results reveal that behavioral interactions (i.e. consuming and participating) rise across the first four stages of brand community relationship development and fall down at the fifth stage.

This paper introduces new relationship types and stages and brings together different pieces of extant literature to explain the rising and falling of behavioral interactions resulting from consumer relationships with brand communities on Instagram.

Brand management has traditionally enlisted visual branding elements, including the brand’s graphic logo, to distinguish and communicate the personality of the brand. However, as healthcare organizations work to shape how consumers perceive their brand, organizations are also enhancing their brand identity with sound and music by creating a sonic brand. This research paper aims to examine how sonic brands influence consumer emotional reactions and trust in a healthcare provider. It also explores how sonic brands can differentially affect consumers, depending on their level of engagement in their physical and mental health.

Two experimental studies were conducted that tested the use of a sonic logo for healthcare providers in consumption contexts that might elicit negative emotions, cancer care and mental health care.

The results suggest that the presence of a sonic logo helped to alleviate negative emotions as well as engender trust in the provider. Findings also revealed that for consumers who are less engaged in their health, a sonic logo served as a peripheral cue by enhancing perceptions of competence and empathy for the healthcare provider.

Findings from this research provide insight into how sonic brands can increase the effectiveness of branded healthcare communications.