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Drawing on information processing theory, this paper aims to study how consumers’ liking of background music in advertising affects their purchase intention and explore the roles of positive brand attitudes, music mode and music tempo within such a relationship.

We created several radio advertisements that promote two fictitious products: an electric car (EcoCar) and a reusable coffee mug (EcoMug). We study the role of music in these advertisements and examine how it affects purchase intention across multiple experiments.

We confirm the prediction that positive brand attitudes mediate the relationship between music liking and purchase intention. We also show that music moderates such an indirect relationship because major mode music strengthens the effect of positive brand attitudes on purchase intention. Additionally, we find that major mode music with a fast tempo can further strengthen the effect of positive brand attitudes on purchase intention. As a result, the indirect effect of music liking upon purchase intention via positive brand attitudes will be moderated jointly by the music mode and the music tempo.

Limited scholarship explores how the subjective characteristics of music affect consumer buying behaviour in conjunction with the objective characteristics of music. The current research addresses this gap by investigating how music liking (a subjective characteristic of music) and music mode and tempo (objective characteristics of music) affect consumer buying behaviour.

The Noise Upstairs (NU) is a monthly freely improvised (‘free improv’) music night with a home above a café bar in a mixed/student suburb of Manchester. This chapter uses the perspective of critical improvisation studies to reflect on aspects of a performance ethnography carried out by the authors, both of whom are performers and one of whom (Hunter) curates the NU night for the NU collective. Free improv is a post-1960s set of meta-musical practices related to but contesting both ‘jazz’, ‘free jazz’, ‘new music’ and ‘experimental’ music. In it, real-time co-creation and negotiation of social-and-musical relationships are paramount. Consequently, the question of whether a politics of sorts is enacted in the dialogic and multilateral socialities generated in free improv is a substantive one. In addressing it, the authors deploy some concepts from the ‘affective turn’ in social theory to review how the general milieu and out-of-the-hat ensemble-formation approach adopted at NU in fact enables a ‘minor’ micro-political practice of participating differently to be established there. Arising from that discussion, and in line with a key theme of the wider PARTISPACE study, the authors then discuss whether that politics might meaningfully (and usefully) be articulated in terms of ‘democracy’.

Although none of the new music reference books of the past year totally replaces the old stand‐bys, some significant works did appear, especially in the areas of contemporary music, opera, and classical music discography.

New circus explores a wide range of contemporary global and existential questions. From the dystopian performances of pioneering French new circus Archaos, and the ongoing social justice agenda of Circus Oz, to the themes of social decay and environmental degradation in Oozing Future’s 2019 production Autocannibal, new circus has sought innovative ways to challenge and confront audiences mediated by the human body. With a focus on emotive narrative representations of risk and death, this qualitative research examines the interaction of embodied movement and music in Zebastian Hunter’s Lacanian-inspired Empty Bodies and the author’s development of a circus opera, The Blood Vote. The immediate and embodied artforms of music and circus combine to engender a non-literal, yet powerful, form of speech surrogacy that communicates meaning and emotion, so we are reminded that anything is possible, not least of which is the illusion of the victory of life over death that circus performance itself embodies. Death is ever present in life, a fact we try to repress; circus confronts the audience with the undoing of this repression: we are going to die. This is what captivates us. In this way, contemporary new circus functions as an important signifier of meaning in contemporary performing arts.

The purpose of this paper is to demonstrate how practice-led research within the sonic practice references what Smith and Dean (2009) describe as the “The Iterative Cyclic Web,” and oscillations between different modes of research and practice throughout the methodology.

This paper uses this process to document the construction of a sonically based erotic artwork, “Almost there,” which used sonically controlled vibrators in order to generate vocal content.

The paper found that it was important to oscillate between modes of research and practice in order to create a conceptually concise artwork that functioned as a Gestalt of both practice and research.

The unique approach to audio collection within this sonic artwork, and the time taken to collect this source material, makes it a unique vehicle for the consideration of “The iterative Cyclic Web.”

This paper aims to extend current understanding concerning the cross-modal correspondences between sounds and tastes by introducing new research tools and experimental data to study associations and their reflections between music and taste.

The experiment design addresses the multidisciplinary approach by using cultural, chemical and statistical analysis methods.

The paper provides further evidence that exposure to the “sweet” or “sour” musical pieces influences people’s food-related thinking processes and behaviors. It also demonstrates that sweet or sour elements in the music may reflect to actual sweetness (as measured by sugar content) and sourness (as measured by organic acid content) of foods developed in association with music carrying similar taste characteristics.

The findings should be replicated and expanded using larger consumer samples and wider repertoires of “taste music” and dependent variables. Also, the level of experimental control should be improved; e.g., the “sweet” and “sour” music were produced using different instruments, which may have an influence to the results.

Ambient “taste music” that is congruent with the basic flavors of the dishes can be played in restaurants to highlight guests’ sensory experience.

By carefully considering the symbolic meanings of the music used in different social situations, it is possible to create multimodal experiences and even subconscious expectations in people’ minds.

Cross-modal associations are made between the tastes and music. This can influence on perception of food and provide new ways to build multimodal gastronomic experiences.

This study aims to develop a model to analyze the effect of background music on Islamic consumer purchase behavior regarding to ambiguity in the Islamic texts.

In this experimental design, the population included chain store consumers in Tehran, among whom more than 17,000 consumers were selected during 42 days. ANOVA was used to analyze the collected data.

Based on the results, playing music in a store could significantly influence the total sales and average purchase value, while no positive role was observed on the number of purchases. Furthermore, dual impression form Islam viewpoints regarding music was observed in the present study as it failed to affect the number of sales in spite of influencing the amount of sales. Individuals affected by music buy more expensive goods, which may indicate that those who buy more luxury goods are less inclined to Islamic views or are inclined to those views which regards playing music as legitimate.

Store managers and marketers in Islamic nation are recommended to play pop music in their store to improve total sales. Managers in islamic nation should play some music when they offer more luxury and less ordinary goods. Although the present study attempted to control potential intervening variables to increase validity, controlling intervening variables is a serious limitation for conducting a field study. Uncontrollable intervening variables established by other media are considered as another limitation in this study.

For the first time, this study sheds some light on how the types of background music influences on the Islamic consumers. The study shows the ambiguity in the islamic texts and the differences in the judgments of religious regarding playing music to muslim consumer.