(#16). La Canción Perfecta

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(#16). La Canción Perfecta (#16). LA CANCIÓN PERFECTA Bueno, casi perfecta. Alcanzar la perfección es algo demasiado atrevido, pero podemos aprovechar los conocimientos existentes en marketing para diseñar un producto que sea lo más cautivador posible. En mis clases suelo poner el ejemplo de las canciones que, al fin y al cabo, son también un producto (musical, en este caso), para ilustrar algunos elementos que debemos gestionar para que nuestra creación final (sea del tipo que sea) genere el máximo nivel de emoción. En este post vamos a intentar aproximarnos a una fórmula para el éxito porque, aunque las emociones que siente cada persona son complejas y tienen matices únicos, sí que es cierto que existen numerosas investigaciones que nos ayudan a diseñar un producto con una alta probabilidad de cautivar. Incluso diría que es relativamente sencillo hacerlo (luego matizaré esta frase). Además, y de paso, algunos de vosotros seguramente miraréis a partir de ahora las canciones desde otra perspectiva. Preparaos, porque es un post largo, pero creo que merece la pena leerlo entero. La canción “casi” perfecta Aunque podría utilizar canciones más famosas, me decanto por una prácticamente desconocida para seguramente el 99% de las personas que leáis este blog. Se trata de “Hold back the night” de la extraordinaria Robin Beck, canción que salió a la luz en 1989, en su disco “Trouble or nothing”. Probablemente muchos de vosotros recordéis otra canción de este disco “The very first time”, que sí que fue un hit y la utilizó Coca-Cola para una campaña. Os recomiendo que pongáis los altavoces casi a tope para disfrutarla con mayor emoción. Una vez escuchada la canción, vamos a desgranar los elementos que la hacen “casi” perfecta. Primer elemento: Belleza Este es el factor más relevante: que la canción sea bella, y que quien la cante también. ¿Y qué significa eso? Pues que cumpla con unos patrones muy sencillos de simetría y proporción. Pero, primeramente, repasemos un poco la importancia del concepto de belleza. Las personas se ven afectadas por la apariencia, algo que puede provocar en ellas placer por encima de la inmediata utilidad del objeto. El diseño de productos estéticos está incrementando su importancia en el mercado donde las necesidades básicas de los consumidores han sido satisfechas. Atributos de los productos, como pueden ser la calidad y la funcionalidad, se están volviendo cada vez más homogéneos en las empresas, y éstas están centrando la diferenciación hacia aspectos menos tangibles, como la estética. Esta tendencia hacia lo estético en la diferenciación del producto se basa en la percepción de que, con independencia del consumo, los diseños estéticos pueden favorecer las respuestas de los consumidores, como un inmediato deseo de adquirir el producto, una gran disposición a pagar por él y de presumir de éste (Reinman et al., 2010). Incluso en productos con alto grado de funcionalidad, como pueden ser los productos bancarios, la estética es importante (Townsend & Shy, 2010). Las respuestas a los estímulos estéticos se encuadran dentro del dominio de los afectos (Rozin et al., 2006). Por ejemplo, se pueden concebir como simples respuestas placenteras (como comer chocolate o escuchar a Mozart), o como una evaluación sensorial más elaborada. Como indica The Economist (2011), los hombres y mujeres atractivos ganan más que los que no lo son, incluso en industrias o trabajos donde aparentemente el físico no debiera importar. Por ejemplo, en la liga profesional de fútbol americano (NFL) los quarterbacks guapos ganan más que los que no lo son, la gente guapa consigue un préstamo más rápidamente que la que no lo es, aunque tenga menor probabilidad de devolverlo. Gervás & Pérez (2013) indican que las personas jóvenes, bellas, con buena apariencia, son mejor tratadas por los médicos que aquellas que no lo son. La importancia de la belleza es capital en la sociedad; incluso una encuesta en Estados Unidos indicó que la mitad de las mujeres jóvenes preferiría ser atropellada por un camión que ser gorda. Desde el punto de vista del consumidor, los hombres son más susceptibles a ser “embrujados” por la belleza femenina a partir de los 30 años, porque mantienen su libido mientras que en las mujeres va descendiendo. No obstante, el efecto de la belleza sobre las ventas es complejo. Como indican Buunk & Dijkstra (2011), las mujeres tienen la voluntad de pagar más por un producto cuando este es anunciando por una modelo atractiva. Sin embargo, cuando en esa misma investigación, los autores deliberadamente estimularon a las encuestadas con la importancia de su identidad de género, entonces los resultados fueron opuestos, y el efecto de la belleza sobre la intención de pagar más fue menor. Según Festjens et al. (2014), la literatura muestra que los hombres, en presencia de una mujer atractiva son más impacientes para las recompensas monetarias (Wilson & Daly, 2003), toman riesgos financieros mayores (Baker & Manner, 2008), le dan más importancia a bienes materiales (Roney, 2003) y gastan más en productos de consumo conspicuo, es decir, ostentoso (Griskevicius et al., 2007). Pero aunque esos estudios no encuentran efectos en mujeres, el estudio de Festjens et al. (2014) sí que lo hace cuando analiza si una mujer toca un producto masculino que suscita sexualidad, como unos calzoncillos. Como indican Morales et al. (2007), es más probable que ayudemos a personas atractivas. Por ejemplo, en 1976, se hizo un estudio donde se dejaba en una cabina una solicitud para entrar en un instituto, la cual estaba rellena y dispuesta a ser enviada. Cuando la foto era de una persona atractiva la probabilidad de que se enviara era mayor (47%) frente a cuando no era atractiva (35%). Una muestra amplia de estudios que indican la importancia de la belleza sobre el éxito social de personas, o sobre la preferencia de los productos puede verse en Meert, Pandelaere & Patrick (2013). Finalmente, y como indican Keltner & Haidt (2003), la apreciación trascendente del talento extraordinario de otra persona, o de la extrema belleza de cierto arte, produce una mezcla entre temor y admiración, que cala en lo más hondo del individuo. Una vez descrito la importancia de la belleza en marketing, no vamos a entrar ahora a analizar la exultante belleza de Robin Beck (algo que ya doy por hecho que es incuestionable), sino que nos vamos a centrar en la belleza de la melodía. Armonía y melodía bella Como he comentado al principio, los elementos de simetría y proporción son capitales para diseñar productos bellos. Las notas musicales son sonidos caracterizados por una frecuencia de vibración, al igual que los colores son radiaciones electromagnéticas con una frecuencia determinada. La diferencia entre sonidos y colores es que, por ejemplo, en los primeros tenemos una onda mecánica (que necesita un medio físico para transmitirse) y en los segundos una onda fotónica (que se propaga incluso en el vacío). Si para los colores tenemos una combinación de frecuencias que producen ciertos efectos sobre la percepción, para los sonidos también. Por ejemplo, podemos emplear el círculo cromático para combinar colores que generen un mayor contraste. Esa combinación de frecuencias fotónicas de la luz (los colores no son más que la descomposición de la luz blanca en diferentes frecuencias) genera un efecto, digamos “tangible”, sobre la percepción. Del mismo modo, combinaciones de sonidos de una frecuencia determinada puede hacer que se perciba un sonido como más o menos agradable. Es decir, la proporción de frecuencias de las diferentes notas combinada de manera adecuada influye en nuestra percepción de la armonía y melodía. Al igual que los pintores, escultores o arquitectos han empleado a lo largo de la historia diferentes patrones de proporcionalidad para sus creaciones (como el número aúreo, por ejemplo), en música existen unos patrones de combinación de notas muy conocidos y sencillos que provocan placer al escucharlos. Recordemos que una combinación de notas tocadas a la vez se llama acorde, y cuando se tocan secuencialmente se llama arpegio. Esos patrones pueden combinarse de diferente forma, siendo una de las más conocidas y empleadas la de Sol Mayor, Re Mayor, Mi menor y Do Mayor. Esa combinación sonaría exactamente igual pero con diferente tono si la transportamos de tonalidad a, por ejemplo, Do Mayor, Sol Mayor, La menor y Fa Mayor, o a La Mayor, Mi Mayor, Fa# menor y Re Mayor. Este vídeo del divertido Aldo Narejos lo ilustra a la perfección (él emplea la combinación Sol Mayor, Re Mayor, Mi menor y Do Mayor) : Aunque la proporción es muy importante, la simetría no se queda atrás. La simetría es simplemente la repetición del mismo patrón o secuencia de datos o elementos respecto a un eje. Normalmente, los objetos simétricos son percibidos como mucho más bellos, al igual que una persona con simetría respecto al imaginario eje vertical que lo dividiese en dos mitades es mucho más bella que aquella que presenta asimetrías (por ejemplo, una oreja más grande que la otra, unos dientes torcidos, un pómulo más subido que el otro, etc.). La asimetría, además, en ocasiones es sinónimo de insalubridad, y ese es uno de los motivos por los que evolutivamente tendemos a preferir los objetos simétricos. Una persona asimétrica puede representar divisiones defectuosas de sus células, que no han conseguido dividirse de la manera adecuada para completar órganos vitales que tienen que tener la misma longitud o forma, por ejemplo. De igual modo ocurre con la proporción (una cabeza desproporcionadamente grande, una nariz demasiado puntiaguda,
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