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The main aim of the chapter is to examine the prevalence of Slavic and, more specifically, Slovenian mythological elements in Slovenian heavy metal music. No such analysis had previously been attempted, so a database had to be established anew. Encyclopaedia Metallum: The Metal Archives (MA) was chosen as the most comprehensive available source on metal music, supplemented by information gleaned from other sources. All 290 bands listed as Slovenian on MA were inspected for evidence of Slavic and Slovenian mythological content. Each band's name, genre, lyrical themes as listed in their profile, song titles, and lyrics were taken into account. The compiled corpus was then analysed in terms of information availability, prevailing languages used by the bands, and, subsequently, their relation to Slovenian mythological heritage. The search for Slavic and Slovenian mythological content began with keyword-based computer-assisted analysis followed by manual annotation. Elements directly concerning the Slavic mythos, Slovenian legends, and folk tales, were featured in a ‘Slavic content database’, their suitability ascertained through inclusion in prominent publications on the topic, e.g. Mikhailov (2002), Ovsec (1991), and Šmitek (2004, 2006). The acquired results were then divided into seven categories in order of prevalence, namely, deities, mythical creatures, history, nature, literary references, mythical places and phenomena, and idiosyncratic folklore. Our intention was to also present the contents of each category in a short overview aimed at acquainting the reader with individual phenomena, yet only the most prominent two categories could be presented here due to spatial constraints. The remaining categories will be dealt with in more detail in a follow-up paper. The findings featured will also enable the commencement of the second part of the research, a qualitative analysis of the afore-mentioned ‘Slavic content database’.

This research aims to exhibit the impacts of vocal music vs instrumental music on ad-recall from the perspectives of attention and elaboration.

A 2 music-product congruence (congruence vs incongruence) × 2 music lyrics (lyrics vs no lyrics) between-subject measures design is used. 180 management students participated in the study. A 2 × 2 between-subjects ANOVA is used to test the hypotheses.

Results showed that the instrumental rendition of an ad-song prompted higher ad-recall over the vocal variant. The instrumental rendition provoked the subjects to create the verses or lyrics in their minds, prompting superior recall. Further, it was found that a music-product congruent ad resulted into higher ad-recall than an incongruent ad. Moreover, for a congruent ad condition, the instrumental version of ad-song resulted into higher ad-recall than the vocal version of ad-song. On the other hand, for an incongruent ad condition, the instrumental version as well as the vocal version of ad-song resulted into same level of ad-recall.

The study offers important implications for marketers and advertisers in terms of effective ad-designing and execution considering lyrics and music-product congruence as important factors in the context of radio advertising.

Since very little research has been done focusing on the combined effect of music lyrics and music-product congruence relationship on ad-recall from attention and elaboration perspectives, this paper scores as a pioneering study of its kind in India.

When using popular music in advertising, the songs' release period (nostalgia) and the lyrics' relevance to the product are two important characteristics but neglected in previous music‐related studies. The purpose of this paper is to investigate the effects of these two variables on consumers' responses to advertisements.

A 2 × 2 experimental design was used to examine the effects of a song's period and the lyrics' relevance. The hypotheses were tested with a structural equation analysis.

Previously heard old songs have positive ad effects due to evoking consumers' good moods or by generating more favorable nostalgia‐related thoughts. High‐relevance lyrics facilitate the production of favorable ad execution‐related thoughts, which improve ad attitude directly and indirectly through good moods.

Only undergraduate students are sampled. Further, the experiment focuses solely on music‐dominated ads for low involvement products.

For advertising targeting the young generation, the use of a popular song released during their childhood can elicit feelings of nostalgia and lead to good moods as well as favorable brand attitudes. Such effects, can be strengthened by high‐relevance lyrics.

Placing a previously heard popular song in a TV ad can evoke nostalgic feelings and generate favorable ad effects even when the product and other ad design elements are not related to nostalgic themes. The persuasion mechanism of nostalgia follows a dual‐route process, in which the cognitive route seems to be more influential than the affective route. The importance of lyrics' relevance is demonstrated to the extent that its impact on brand attitude can exceed that of song's nostalgia.

More and more artists mention brand names in their song lyrics; yet, their motivation to do so might differ. While some artists mention brand names out of brand love, other artists mention brand names against financial compensation. As media often discloses such brand name placements, the purpose of this paper is to explore consumer reactions to paid versus unpaid brand name placements in song lyrics.

A three-group between-subjects experiment (paid brand name placement, unpaid brand name placement, control group) tests the effects of brand name placement disclosures in song lyrics on brand attitudes and brand awareness. The song was developed specifically for the purpose of this study.

Consumer awareness about paid brand name placements in song lyrics has positive effects on brand awareness, while having no negative effects on brand attitudes. More specifically, consumer brand awareness is significantly higher in the paid brand name placement condition than in the unpaid brand name placement condition, or the control condition. Brand attitudes increased in both the paid and unpaid brand name placement conditions, compared to the control condition.

This paper contributes to a better understanding of brand name placement in song lyrics. Counterintuitively, consumer awareness about paid brand name placements in song lyrics actually has positive effects on consumers’ brand awareness and no negative effects on brand attitudes. Moreover, any disclosure – regardless of whether it concerns a paid or unpaid brand name placement – increases brand attitudes. This study thus shows that marketing managers should not fear media disclosing brand name placements in song lyrics.

This paper aims to present an examination of the characterisation of accounting and accountants in popular music. Some authors have considered the place of accounting in popular culture and the social perceptions of accounting and accountants. This research aims to advance this work by suggesting that music both offers a powerful insight into social perceptions of accounting, and serves both to reflect and reinforce these perceptions.

Songs featuring accountants were identified, which was verified by a search of song lyric databases using the search terms “accountant/s”, “accounting” and “accounts” and accounting terms. The lyrics were analysed on the basis of how the accountants or accounting activity were presented, and a taxonomy was established.

Some songs reflect the image of the accountant as both the facilitator and accoutrement of positions of wealth and privilege. The dark side of the image is the assertion that the accountant will abuse their position of trust. The final, and perhaps most sinister image, is that of accountants as the perpetrators of fraud and deception. It is concluded that these images of accountants and accounting illustrate that the accounting profession is facing a significant challenge in terms of its image and relationship to the public.

This study is the first to consider the characterisation of accountants/accounting in popular music. Recent representations have tended to characterise accounting and accountants in a particularly negative light. Accountants are presented as agents in the destruction of the environment, exploiters of the poor, accessories and agents of the wealthy and constructors of a “truth” that benefits the rich. Overall, the representation of accounting in music tends to fit the position adopted by many of the most critical accounting authors. A particular aspect of the oppressive role exercised by accountants and accounting in society is as the embodiment of, and advocate for, or even a metaphor for, a particular form of economic reason that progressively suppresses and destroys relationships, the environment and artistic creativity in the interest of financial gain.

Previous research has demonstrated that, in retail settings, music has some of the largest effects on consumer behavior. However, it is still unknown how the language of the lyrics (native vs foreign) affects consumer behavior. In order to address this gap in retail atmospherics, the purpose of this paper is to examine the differential effects of the language of the lyrics of the music played and explain the interactions between the music language and volume.

The data were obtained from a field study conducted in an apparel store and from 241 shoppers speaking Spanish as their native language. The study involved the manipulation of language of the lyrics of music played in the store (native vs foreign).

Results indicate that customers in a non-English speaking country are more likely to make purchases when music is played in English, which fits with the store’s global image. This effect is mediated by time spent in the store.

For managers of global apparel brands, the results suggest that English music may be a good option to increase time spent in the store and subsequent purchases. This is especially attractive as music is an atmospheric cue that can be easily modified at less expense than other atmospheric cues.

This work is the first to demonstrate that fitting the language of the lyrics of music in an international retail store to a global brand image affects consumer behavior. Furthermore, it demonstrates that atmospherics research may not directly transfer to non-English speaking countries.

Lyrics hold a complex status, not only within the world of metal music. They are subject to diverse motivations and backgrounds within groups of individuals and may serve various functions – as poetry, as means of channelling social criticism or feelings. Lyrics may be barely perceptible as produced by human beings, they may be hard to understand and they may not even be printed in CD booklets. While some bands claim their lyrics do not matter, others translate and/or explain underlying concepts and metaphors used in the texts to ensure the listeners' understanding and intended interpretation of the words of a song in other languages than English. Thus, metal lyrics are an interesting subject for analysing various stances of identity, of cultural implications, and of politics, especially when it comes to the use of specific languages within a societal context.

In Norway, bands such as Enslaved, Solefald, and Wardruna already expressed themselves in their native languages in an early phase of their careers, simultaneously engaging in Norse themes, such as the Viking Age and Norse mythology. Based on my work on cultural identity in Norwegian metal music and three sample bands, the author will take a closer look at the interplay of lyrics, language and cultural identity. In this paper, the author will show how the bands engage in Nynorsk, Bokmål or Høgnorsk lyrics and what it means for the bands to deal with the languages' history and meaning.

My Country ‘Tis of Thee: How One Song Reveals the History of Civil Rights offers insights into the historic significance of the song’s familiar melody as an instrument for change Protesting for freedom is universal, and songs have long provided a sense of solidarity and a means to communicate messages for protesters with strong beliefs about various causes. By hearing an instrumental recording, students first engage in an activity to identify the song, which, since 1831, has been known as “America” to many in the USA. Students become familiar with concepts and historic people named throughout the book by manipulating and sorting concept cards. Using historic events depicted in the book, students create timelines using a technological timeline tool. Then, after listening to a read-aloud of the book, they use clues to match different sets of lyrics with corresponding historical events. Civil rights history is revealed through different lyrics of this song.

The digital humanities offer many new methods to scholars interested in metal studies. This chapter demonstrates two such methods, that is, stylometric clustering and topic modelling, by interpreting the collected lyrics of over 8,000 metal bands. This allowed the authors to identify general trends that would be hard to derive by personally reading lyrics. This analysis showed several recurring medieval topics in metal lyrics, for example, a Fight for Glory expressed with words like ‘die’, ‘glory’, ‘warriors’, and ‘victory’. The authors were also able to distinguish metal bands with medieval references from those without – a line of research that could help in categorising (new) bands – and track the stylistic development of bands over time. Such statistical methods might help scholars not only by allowing for large-scale studies, yet also by providing inter-subjective feedback for theories.

The presence of Latin in heavy metal music ranges from full texts, intros, song and album titles to band names, pseudonyms, and literary quotations. This chapter sheds light on heavy metal's fascination with the history and ‘arcane’ sound of Latin, and investigates its patterns of use in lyrics with the help of Natural Language Processing tools and digitally-available linguistic resources. First, the authors collected a corpus of lyrics containing differing amounts of Latin and enhanced it with descriptive metadata. Next, the authors calculated the richness of the vocabulary and the distribution of content words. The authors processed the corpus with a morphological analyser and performed both a manual and a computational search for intertextuality, including allusions, paraphrase and verbatim quotations of literary sources. The authors show that, despite it being a dead language, Latin is very frequently used in metal. Its historical status appears to fascinate bands and lends itself well to those religious, epic and mysterious themes so characteristic of the heavy metal world. The widespread use of Latin in metal lyrics, however, sees many bands simply reusing Latin texts – mostly from the Bible – or even misspelling literary quotations.