Overcoming Variability in Consumer Response to Advertising Music

Results May Vary: Overcoming Variability in Consumer Response to Advertising Music Lincoln G. Craton and Geoffrey P. Lantos Stonehill College Richard C. Leventhal Ashford University ABSTRACT Although listening to music seems effortless, it actually involves many separate psychological mechanisms. This article describes and extends the multimechanism framework proposed by Juslin and colleagues, highlighting how the operation of psychological mechanisms leads to two general types of variability in consumer response to advertising music. First, the risk of between-consumer variability (individual differences) in musical response is moderate or high for most mechanisms, and it often depends on each individual’s particular history of exposure to music (listening biography). Second, within-consumer variability occurs when different mechanisms have contrasting effects, so that an individual consumer’s musical response is often mixed (e.g., guilty pleasures, bittersweet feelings, pleasurable sadness). Both types of variability can negatively impact advertising objectives (message reception, recall, acceptance, brand attitudes, etc.). The article offers preliminary suggestions for how marketers can use a multimechanism approach to successfully incorporate music in commercials and reduce the risk of unanticipated consumer responses. It ends with proposals for further research. © 2016 Wiley Periodicals, Inc. Business is booming in the field of music percep- Scope and Goals of the Article tion and cognition (hereafter, music cognition). Re- search activity is surging (Levitin, 2010), member- According to Levitin and Tirovolas (2010, p. 599), ship in the Society for Music Perception and Cognition (SMPC) is rising, and “after a long drought” (Ashley, Music cognition . is the scientific study of those 2010, p. 205) new introductory textbooks are emerg- mental and neural operations underlying music lis- ing (e.g., Honing, 2009; Tan, Pfordrescher, & Harre´ tening, music making, dancing (moving to music), 2010; Thompson, 2015). Growing interest in the topic and composing. It is intrinsically interdisciplinary, even seems to be a cultural phenomenon, with books drawing on methods from cognitive and sensory for lay readers such as cognitive neuroscientist Dan psychology, neuroscience, musicology, computer sci- Levitin’s (2006) This is Your Brain on Music and neu- ence, music theory, and sociocultural aspects of mu- rologist Oliver Sacks’s (2007) Musicophilia becoming sic, with genetics and evolutionary biology becoming best-sellers. increasingly relevant. Music-processing is a complex, Marketers may well wonder, “What is the relevance higher cognitive activity engaging many areas of the of all this buzz for us?” What have these researchers brain and employing many distinct cognitive opera- learned so far, and what are the implications for ad- tions. (emphasis added) vertisements using music? This article attempts to Taking this as a starting point, the article surveys answer these questions by highlighting an important what Levitin and Tirovolas (2010) refer to in the quo- recent development in music cognition research: the ap- tation above as the mental and neural operations that plication of a multimechanism approach to explaining occur when a consumer listens to advertising music. musical responses (Juslin & Vastfj¨ all,¨ 2008; Scherer The term “mechanisms,” which is standard in the mu- & Zentner, 2001), which are instrumental to achiev- sic cognition literature, is used to denote these oper- ing advertising objectives (Middlestadt, Fishbein, & ations. The primary goals of the article are to (1) de- Chan, 1994; Morris & Boone, 1988; Park & Young, scribe how these mechanisms affect consumer response 1986). to advertising music, (2) illustrate implications of the Psychology & Marketing, Vol. 34(1): 19–39 (January 2017) View this article online at wileyonlinelibrary.com/journal/mar © 2016 Wiley Periodicals, Inc. DOI: 10.1002/mar.20971 19 new multimechanism framework in music cognition for chometric approaches are discovering more valid effectively incorporating music into commercials and correlates of music preferences such as personality achieving advertising objectives, and (3) provide sug- (Rentfrow, 2012; Rentfrow et al., 2012) and musical gestions for future research. intelligence (Krishnan, Machleit, Kellaris, Sullivan, & For the sake of brevity, it was necessary to restrict Aurand, 2014). the scope of coverage. First, the article only addresses This article takes a complementary approach to music listening (not music making, dancing, and com- the emerging literature on correlates of musical taste posing). Second, it draws primarily on cognitive meth- by considering the implications of particular music- ods used to study music listening. A cognitive approach processing mechanisms for between-consumer variabil- regards advertising music as a form of communication ity in musical response. Research in music cognition using acoustic information to initiate a variety of men- reveals that some of these mechanisms may lead to in- tal processes that operate on this information and elicit dividual differences in musical response. For instance, a variety of conscious experiences (Bharucha, Curtis, although basic features of music are perceived simi- & Paroo, 2006). Third, the article is concerned pri- larly by all listeners, some mechanisms depend a great marily with recent work coming out of music cogni- deal on that person’s “listening biography”—all of that tion proposing a multimechanism framework and this person’s previous exposures to, knowledge about, and work’s implications for broadcast (TV and radio) and experiences with music (Huron, 2006; Margulis, 2014). digital (online and social media) advertisements incor- Because consumers in a given target market now have porating music. This approach does not seem to have virtually unlimited online access to the entire catalogue been addressed in the most recent reviews of the mar- of recorded music, their listening biographies are likely keting literature (e.g., Allan, 2007; Kellaris, 2008). to differ—and, consequently, so are their responses to advertising music. The second kind of variability in musical response Two Types of Variability in Musical is within-consumer variability. As two of the authors Response have discussed previously (Lantos & Craton, 2012), an individual’s response to the same piece of advertising Music is ubiquitous in advertisements (Allan, 2008; music may be very dissimilar on two different listening Marshall & Roberts, 2008). But does music always occasions. This can occur, for instance, if the listening enhance a commercial’s effectiveness, that is, shape situation (ongoing activities, social context, program consumer responses so as to achieve advertising content, voluntary vs. involuntary exposure) changes. objectives? Although this may seem to be a safe as- This article focuses on a subtler kind of variability in an sumption, two of the authors have argued elsewhere individual’s musical response: variability that occurs that this is not always the case (Craton & Lantos, during a single listening occasion. The marketing liter- 2011; Lantos & Craton, 2012). In the marketing litera- ature’s tacit assumption is that a consumer’s musical ture, this assumption has sometimes been supported response is essentially uniform at any given moment— (Galizio & Hendrick, 1972; Hoyer, Srivastava, & a person either likes, dislikes, or feels neutral about a Jacoby, 1984) but often disputed (Allan, 2007; Haley, given piece of ad music (Alpert & Alpert, 1991; Birkett, Richardson, & Baldwin, 1984; Englis & Pennell, 1994; 2012; Holbrook & Schindler, 1989; Verstreken, 2013). Macklin, 1988; Sewall & Sarel, 1986). Given the im- Although this assumption seems intuitively reason- portance of achieving desirable consumer responses to able, a multimechanism approach suggests otherwise. advertising music, this article evaluates this assump- Because each mechanism can affect musical response tion further by addressing two related questions: (1) differently, an individual’s musical response is multi- “How variable is musical response between listeners faceted and often a mixture of contrasting responses. (between-consumer variability)?” and (2) “How variable For instance, negative cognitive evaluations may occur is musical response within a given listener (within- along with positive emotional responses (e.g., “guilty consumer variability)?” The more variable are con- pleasures”), and emotional responses themselves may sumer responses to ad music, the less confident adver- be mixed (e.g., “bittersweet” feelings, “pleasurable sad- tisers can be in achieving their advertising goals. ness”). After reviewing mechanisms identified by mu- Between-consumer variability refers to individ- sic cognition researchers, the article discusses how ual differences in musical response. The tradi- understanding the simultaneous operation of these tional marketing assumption—that advertising mu- mechanisms may help marketers assess the trade-offs sic can be favorably received by specific target involved in selecting advertising music. markets based on demographic and psychographic Identifying the mental mechanisms at work when market segmentation criteria believed to correlate a consumer listens to ad music casts doubt on the with musical tastes, namely, generations, ethnic- assumption that music always enhances advertising ity, sex, lifestyle, and so on—now seems unrealis- effectiveness. These mechanisms produce variability

Load more