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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 purpose of this paper is to demonstrate an actual compositional process that entails a diversity of music information modes and describe the way these modes contribute to the creative aspirations of a composer.

The music information typology proposed by Rousi, Savolainen and Vakkari is used as a point of departure for defining the different modes of music-related information. First, relevant music information modes are identified from the composer-informant’s verbal description of a compositional process. Then, their proportions and dynamics are examined.

The findings suggest that the music information typology may be applied within the context of musical composition, that is, all of its five modes of music information could be identified from the composer’s verbal description of the compositional process. However, two additional significant information modes were identified: shaping music as the third mode of enactive representations and genuine iconic representations.

The purpose of this case study is not to claim that the results regarding the significance of individual music information modes apply to all compositional processes within diverse genres of music.

This study introduces a new mode of music information indicative of the artistic capacity of expressiveness: shaping musical structures as the third mode of enactive representations was the means whereby the composer made musical structures work for himself and hence created performative power in his music.

The purpose of this paper is to elaborate the picture of situational relevance of music information from a performing musician’s point of view by delving into its diverse layers within the context of Doctor of Music students’ information seeking.

Music-related information is approached through six modes that categorize music information sources based on their levels of abstraction. Situational relevance of the modes of music information is examined in relation to the situational requirements of accomplishing a dissertation on music task consisting of both a series of concerts and a written thesis. The empirical material was collected by interviewing Finnish doctoral students in the field of music performance.

A set of situational relevance types related to each mode of music information were identified. As a whole, the differences between the perceived importance of the modes varied a little.

The goal of the present paper is not to create a generalizable list of situational relevance types suggested by modes of music information, but to show that the modes may suggest diverse situational relevance types of their own when evaluated by performing musicians.

The present paper provides a rare account on performing musicians’ vocational and school-related information seeking. For studies of music information retrieval, the present paper offers new contextual facets explaining why diverse music information could be relevant to musicians. For studies of music-related information seeking, the present study offers new insights on why performing musicians have information needs regarding certain types of music information sources.

The purpose of this paper is to elaborate the picture of situational relevance by examining how modes of music information are viewed as situationally relevant at different stages of information-seeking processes among music students.

Empirical data of the present longitudinal study were collected in two phases by utilizing questionnaire and interview methods. Informants comprised of 14 university-level music students representing the fields of music performance, music education and music theory and composition. Modes of music information were approached through the information typology presented by Rousi, Savolainen and Vakkari.

The findings indicate that not only the modes of music information were seen as situationally relevant for different reasons by the three participating music student groups when at the beginning of their tasks, but also that the perceived situational relevance of the information modes underwent changes as their tasks progressed to focus formulation and post-focus stages.

Due to the small number of participants, further research is needed to verify the results concerning the differences in information-seeking processes between diverse music student groups.

The paper showcases that approaching music information through frameworks that classify information sources at diverse levels of abstraction enables an accurate description of information-seeking processes and illuminates context-sensitive development of situational relevance of music information of diverse modes.

A need to renew music-related information notions arises from both information-seeking models and literature of musical semiotics. The purpose of this paper is to create a music information typology, which aims at facilitating the examination of music information types at varying levels of abstraction in the context of information seeking.

Literature of musical semiotics and information seeking are juxtaposed to develop a novel approach to music-related information. The grounding concepts are Bruner’s enactive, iconic and symbolic modes of representation. The modes of representation offer a universal scheme of knowledge that is applied to the domain of music by defining their content through Tarasti’s Theory of Musical Semiotics.

This conceptual paper results in a music information typology ranging from the enactive music information representations to the abstract ones as follows. Music making as the first mode of enactive representations; music listening as the second mode of enactive representations; iconic representations of music; technological models of music as the first mode of symbolic representations; and ideological models of music as the second mode of symbolic representations.

The present paper develops a music information typology that encompasses broadly different music information facets by categorizing music information sources according to their level of abstraction. When applied into empirical research, the typology opens a new window into the perceived roles of music information types in the context of information seeking.

The purpose of this paper is to explore the effect of musical tempo on consumer choice of tea in different temperatures.

Across two studies, participants were asked to listen to several musical stimuli with different tempi (i.e. slow or fast). Then, they were asked to evaluate and choose one drink (i.e. iced tea or hot tea).

Results suggest that consumers who listen to fast (slow) tempo music are more likely to choose iced (hot) tea. This effect is robust across different musical modes (i.e. major or minor) (Study 1). However, this musical tempo effect is attenuated when the participants are aware that the music they listened to can influence their judgments (Study 2).

This research is an exploratory study. Thus, further examinations are needed to fully understand the underlying mechanism of this effect. Nonetheless, this research provides an initial evidence of the mediator of this effect.

This research explores how different musical tempi can influence consumer choice of hot or iced tea. Thus, this research adds understanding on how auditory cues (e.g. musical stimuli) can influence consumer choice of other food and drink variables (e.g. temperature).

The purpose of this paper is to further develop the conceptualization of music consumption in the digital age by examining how contemporary music listening is interweaved with other practices, how it shapes those practices and how it is in turn shaped by them.

The paper draws on extensive, qualitative interviews with 15 Swedish music consumers. During the course of these interviews, specific situations of everyday music listening were discussed in detail.

Drawing on practice theory and more specifically the concepts of dispersed and integrative practices, the authors identify and explore a mode of music listening that they term soundtracking, which involves choosing and listening to music mainly to accompany other everyday practices.

As soundtracking grows in importance, music is increasingly consumed as an affective-practical resource. Its significance is then not derived from its ability to demarcate difference and construct consumer identities but from its capacity to evoke emotions and moods than enable and enrich a set of everyday practices.

When music is consumed as part of soundtracking, issues such as the audio quality of music or ownership of material music media become less important, while aspects such as mobility, accessibility and the adaptability of music increase in importance. This has important implications for how and what music should be produced and marketed.

This paper offers an alternative view of contemporary music consumption compared to previous research, which has considered music listening primarily as an integrative practice on which the practitioner is fully focussed. The paper also contributes to practice theory by offering an empirically based understanding of a dispersed practice, showing that such practices are neither without shape nor necessarily very simple in their structure.

The purpose of this paper is to address the lack of a theoretical framework for the integration of technology in music teaching and learning, and explores, within the framework of Technological Pedagogical Content Knowledge (TPCK or TPACK), the importance of affect in instructional design.

The authors reviewed relevant literature related to the fields of music education, instructional design, and technology integration. Accordingly, they developed guidelines for designing technology-enhanced learning for the activities of music composition and listening.

The authors propose a set of design principles based on the TPCK framework through the subject matter of music focusing on the affective domain, and identify interrelations among musical content, emotions, and technology. The design guidelines were tested in an empirical investigation and the results showed statistically significant differences between the control and the experimental groups in favor of the experimental group.

Further investigation is necessary to test the effectiveness of the proposed design principles. Including affect in the design process is a complicated and mostly unchartered area, and, thus, further research toward this direction is fully justified.

The research has practical significance, addressing a gap in the field of music education, as it provides teachers with explicit guidance about how to design music lessons with technology while incorporating affect.

The study extends the theoretical framework of TPCK to a design framework and proposes instructional design guidelines that address both the cognitive and the affective domains of learning, a focus that is currently missing from the existing TPCK or TPACK literature as well as the music education literature.

The purpose of this study is to examine the relationships between musician’s social network sites (SNS), the tie that fans may develop via these sites, and music acquisition, via legal and illegal means.

A quantitative approach was taken, gathering 352 responses from young adults via an online survey.

Perceptions of interactivity and sincerity on musicians’ SNS are found to lead to stronger ties, enhancing the fan’s feeling of closeness to the musician, the fan’s inclination to spread positive word-of-mouth, and the time a fan spends on the site. Pathways are found between the fan activity, sense of closeness and time spent on the SNS. In terms of acquisition, the tie strength indicator of time spent on the SNS holds a positive relationship with purchase intent. While a sense of closeness holds a negative relationship to illegal downloading activity, the fan’s activity recommending the musician has a positive influence on illegal downloading.

Limitations of this study include a limited amount of information on the musician and extent of fandom, suggesting future research to tease out the effects of SNS on fans with varying levels of existing commitment to musicians.

Stronger ties between fans and musicians may be developed via interactive and sincere SNS. Activities which encourage the fan to give recommendations and spread positive word-of-mouth are especially influential in driving purchase intent.

These results provide theoretical and practical implications in relation to how SNS may influence the online fan-celebrity “tie” and music acquisition – three elements which have not to date been examined.

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.