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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.

Product trials are an effective way to influence consumer attitudes. While research has established several factors that influence whether consumers will try a product or not, it is less understood how marketers can optimize the trial experience itself. The purpose of this paper is to explore flow as an optimal state and the factors that give rise to it during a product trail.

This research consists of three experimental studies in which people trial new music. This paper explores the ability of curiosity to optimize consumers’ flow experience during the trial and their attitudes toward the trialed product. This paper manipulates curiosity before the trial using information about the music (Study 1) and music previews (Study 3) and also demonstrates that curiosity is naturally elevated among those high in openness to experience (Study 2).

The results demonstrate that curiosity before a product trial fosters an optimal experience during the trial in the form of flow states, defined as an enjoyable state of full engagement, which in turn mediates more positive attitudes toward the trialed product. This paper demonstrates that curiosity can be evoked using product information or a preview of the content and can vary based on individual differences in openness to experience. The relationship between curiosity and flow is moderated by the valence of the information that is used to elicit curiosity, such that negative-valence information thwarts the relationship.

While the studies conducted by the authors focus on the positive influence of curiosity in the trial of music, the effects may be different for other products. These studies are also limited to two different manipulations of curiosity.

This research has implications for marketers, as it demonstrates the relevance of flow and how to enable it in product trials to optimize effectiveness. The manipulations also demonstrate how to manage the amount of information that is given to consumers before they trial a product.

This research reveals that flow states optimize the product trial experience. This research also advances the understanding of the relationship between curiosity and flow by moderating their relationship with the valence of information that elicits curiosity. The findings also broaden the relevance of curiosity and flow in marketing by demonstrating their benefits within product trials.

The aim of this study is to determine which of previously used survey measures can be considered the most appropriate to assess children’s advertising exposure. First, three levels of content specificity for assessing children’s exposure to advertising were distinguished as follows: exposure to the medium, exposure to broad content and exposure to specific (i.e. commercial) content. Second, using longitudinal data from 165 children between 8 and 11 years old, the test-retest reliability and content validity of survey measures from all three levels were examined.

Due to societal concerns about the effects of advertising on children’s well-being, research into this topic is expanding. To enhance knowledge accumulation and bring uniformity to the field, a validated standard survey measure of advertising exposure is needed. The aim of this study is to provide such measures for television and internet advertising.

The findings suggest that all measures provided solid estimates for children’s television and internet advertising exposure. Yet, due to minor differences in reliability and validity, it may be concluded that television advertising exposure can best be measured by asking children how often they watch certain popular (commercial) television networks, either weighting or not weighting for advertising density. Internet advertising exposure can best be measured by asking children how often they use the internet or how often they visit certain popular websites, weighting for advertising density.

The current measures for children’s advertising exposure through traditional media can easily be adapted to fit new media.