ETD

VYTAUTO DIDŽIOJO UNIVERSITETAS
POLITIKOS MOKSLŲ IR DIPLOMATIJOS FAKULTETAS
VIEŠOSIOS KOMUNIKACIJOS KATEDRA
Asta Jankauskaitė
GARSINIS PREKĖS ŽENKLAS - PRIEMONĖ ĮMONĖS IDENTITETUI
FORMUOTI
Magistro baigiamasis darbas
Integruotos komunikacijos studijų programa, valstybinis kodas 621P20002
Viešųjų ryšių studijų kryptis
Vadovas (-ė) Assoc. prof. Nina Klebanskaja
(Moksl. laipsnis, vardas, pavardė)
Apginta ___________________
(Parašas)(Data)
__________ __________
(Fakulteto/studijų instituto dekanas/direktorius)
(Parašas)
(Data)
Kaunas, 2013/2014
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VYTAUTAS MAGNUS UNIVERSITY
THE FACULTY OF POLITICAL SCIENCES AND DIPLOMACY
DEPARTMENT OF PUBLIC COMMUNICATION
Asta Jankauskaitė
SOUND BRAND - A TOOL TO BUILD CORPORATION’S IDENTITY
Master’s thesis
Integrated communications study programme, state code 621P20002
Public relations studies
Supervisor Assoc. prof. Nina Klebanskaja
(Academic degree, name, surname)
Defended ___________________
(Signatures)
(Date)
__________ __________
(Dean of faculty/study institute/director)
(Signature)
(Date)
Kaunas, 2013/2014
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TABLE OF CONTENTS
LIST OF FIGURES
SANTRAUKA
ABSTRACT
INTRODUCTION……………………..………………………………………………………….7
1. Theoretical framework on corporate identity and its formation process………………….....11
1.1 Corporate identity, image and reputation………………………………………………....11
1.2 Corporate identity structure…………………………………………………………….....15
1.3 Sensory branding: touch, taste, smell, sight and sound………………………...................21
1.4 Sound and sound branding in the process of identity formation………………………….27
2. Cases of sound brands…………………………………………..............................................35
2.1 Most influential world’s sound brand cases………………………………………………35
2.2 Review and discussion of cases of sound brands in Lithuania……………………………43
3. Empirical research of sound brand application in Lithuania……….......................................46
3.1 Methodology of research……………………………………………………………….....46
3.2 Analysis of interviews…………………………………………………………………….48
CONCLUSIONS………………………………………………………………………………..53
LIST OF REFERENCES………………………………………………………………………..55
Appendix 1
Appendix 2
Appendix 3
Appendix 4
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LIST OF FIGURES
Fig. 1: Identity, image and reputation scheme (Barnett et al., 2006, p. 33)
Fig. 2: Seven dimensions of corporate identity (Melewar and Karaosmanoglu, 2006, p. 849)
Fig. 3: Brand platform (”Brand Platform Matters Because?”, 2012)
Fig. 4: Stimuli – Organism - Response model (Mehrabian and Russel, 1974, as cited in Nell,
2013, p. 5).
Fig. 5: Relationship between values and sounds (Brécheteau et al., 2012, p. 19)
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SANTRAUKA
Šio magistro darbo objektas – garsinis prekės ženklas. Nors užsienio įmonės ar korporacijos
garsinį prekės ženklą traktuoja kaip ypač svarbią identiteto dalį, Lietuvoje ši emocinio
marketingo technika nėra plačiai žinoma. Darbo rašymo pradžioje atlikta kiekybinė analizė
apklausiant 80 respondentų parodė, jog tik 2 asmenys žinojo tikslią garsinio prekės ženklo
reikšmę bei galėjo pateikti teisingus jų panaudojimo pavyzdžius. Kuomet paprasti vartotojai
dažnai nesidomi garsiniais prekiniais ženklais ir nesupranta jų naudos bei svarbos, reklamos ir
komunikacijos srityje dirbantys specialistai yra vieninteliai asmenys Lietuvoje turintys apie tai
žinių bagažą. Nors kai kurie iš jų galbūt ir nėra tiesiogiai dirbę su garsiniais prekės ženklais, kaip
komunikacijos ir marketingo specialistai jie dažnai yra girdėję šią sąvoką ir turi tam tikrą
nuomonę apie garsinio prekės ženklo svarbą. Pirminis šio darbo tikslas – trumpai apžvelgti
įtakingiausius garsinius prekės ženklus pasaulyje. Šiuo magistro darbu taip pat siekiama
išanalizuoti ir sužinoti kaip garsiniai prekės ženklai vertinami Lietuvoje. Kadangi garsinis prekės
ženklai yra gana svetimas terminas paprastiems žmonėms, šiame magistro darbe atliekamo
tyrimo metu apklausiami tik komunikacijos ir marketingo specialistai. Specialistų teiraujamasi ar
šie žino kas yra garsinis prekės ženklas, kaip vertina jų naudą, kokius panaudojimo atvejus jie
žino, ką mano apie šio įrankio ateities perspektyvas Lietuvoje ir ką jie mano apie patį garsinį
marketingą.
Siekiant atlikti tyrimą, magistro darbas pradedamas teoriniu skyriumi, kuriame
pateikiamos visos reikalingos sąvokos ir faktai susiję su korporatyviniu identitetu, įvaizdžiu ir
reputacija. Taip pat aptariamos identiteto bei jo tobulinimo galimybėmis emocinio marketingo ir
be abejo, garsinio prekės ženklo pagalba. Kitose dalyse aptariami įtakingiausi bei sėkmingiausi
pasaulio bei Lietuvos garsiniai prekės ženklai. Kadangi šiuo magistro darbu siekiama sužinoti
apie garsinių prekės ženklų žinomumą Lietuvoje, pritaikomas tyrimo metodas – interviu. Interviu
yra individualūs – pusiau struktūruoti. Siekiant sužinoti specialistų nuomonę apie garsinių prekės
ženklų panaudojimą ir garsinį marketingą Lietuvoje, imami interviu iš 4 Lietuvos komunikacijos
ir marketingo srityje dirbančių asmenų. Rezultatai parodė, jog eilinis Lietuvos gyventojas nėra
gerai susipažinęs su garsinio prekės ženklo sąvoka, kadangi tik 2 iš 80 respondentų galėjo
įvardinti tinkamus garsinių prekės ženklų pavydžius. Tuo tarpu, 4 apklaustieji specialistai yra
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puikiai susipažinę su garsiniais prekės ženklais bei galėjo pateikti įdomių pavydžių. Specialistai
taip pat patvirtino garsinių prekės ženklų naudą. Toliau jie išreiškė savo palankumą garsinio
marketingo atžvilgiu, tačiau teigė, jog šis naudingas tik tuomet jei laikomasi nuoseklumo
principo, pavyzdžiui, jei garsai atitinka prekės ženklo vertybes. Kokybinė analizė taip pat parodė,
jog sąvokos garsinis prekės ženklas ir garsinis marketingas gali būti naudojamos ir vieną keičiant
kita. Ši išvada padaryta remiantis tuo, jog specialistai, prašomi įvardinti garsinio marketingo
pavydžius įvardijo garsinių prekės ženklų atvejus.
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ABSTRACT
Sound brand is the aim of this master thesis. While foreign companies and corporations do treat
sound brand as an important element of their identities, Lithuanian companies still do not use
sound brand as widely as the whole world. The quantitative research was conducted with 80
respondents and the results have shown that only 2 persons know the exact meaning of sound
brand and can provide right examples. As ordinary consumers are not very much interested in
what is sound brand and do not know how beneficial it can be, the persons who can tell anything
about sound brands in Lithuanian are specialist working in advertising and communications
fields. Although some other do not have direct experience and haven't faced sound brands, they
may still know something about it and have their own personal opinion. The first aim of this
thesis – to review briefly the most influential sound brands in the world. Additionally, the goal is
to analyse and get to know what importance sound brands do have in Lithuanian market. As
sound brand is quite unfamiliar for ordinary people, the persons interviewed while doing
research are specialist from marketing and communications fields. The specialists are given
questions related with the concept of sound brand, its influence and importance, cases in
Lithuania, future perspectives and sound marketing in a whole.
In order to conduct a research, the vital theoretical framework regarding corporate
identity, image and reputation is provided in the beginning of thesis. Moreover, the facts on how
corporate identity can be build with the help of emotional marketing and specifically, sound
brand are included. The further parts of thesis include the discussion about most famous and
successful sound brands of the world as well as Lithuania. As the aim of this paper is to find out
what Lithuanian specialists think about the sound brands and how important it is, interview
method is applied. Interviews are individual and semi-structured. The interviews are taken from
4 Lithuanian specialists from communication and marketing field. It is accomplished in order to
get familiar with the opinion of specialists on sound brand usage and sound marketing in
Lithuania. The results show that ordinary Lithuanian person doesn’t know much about sound
brands as only 2 respondents out of 80 were able to provide correct examples of sound brands.
Meanwhile, 4 specialists of the related fields were perfectly familiar with this term and were able
to provide interesting examples. Specialists also explained the usefulness of sound brands. They
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also expressed their opinions about sound marketing and stated that consistency is very
important as sounds should correspond with the values of the brand. Finally, the qualitative
research has shown that concepts of sound brand and sound marketing can be used
interchangeably, though earlier one is a broader term, while sound brand means having a unique
sound of a logo.
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INTRODUCTION
Relevance of thesis:
21st century is the time when all the technological inventions and creativity of people leads to the
huge supply of each single thing. Beginning with the wipes and ending with the cars, nowadays,
one is given a chance to have everything he/she is dreaming about, because there are such a
plenty of things one can choose between. The question is - what is the main feature of the good
making us choose it? There are a lot of brands in the world and it would be probably impossible
to count all of them. However, some brands are more famous than others and that’s why some
good are better sold than others. The thing is that if one faces the variety of brands and knows the
name of one of them, he/she naturally chooses to buy a good with the known brand name, but not
vice versa. The other thing to consider is – what makes the brand popular? To tell the truth, there
are a lot attributes the brand can carry and the more distinctive attributes it has, the more popular
the brand is.
The tendency prevails that some corporations perfectly understand what the power of a
unique brand attribute is and invest a lot into this. Meanwhile, as always, there are some
pessimistic companies which are afraid of spending huge sums of money for developing and
advertising special brand attributes. These ones are not sure about the return on investment and
are afraid the invested money won’t bring a lot of benefit. There is no doubt that if nothing is
ventured nothing is gained. If everything is perfectly planned, investments into differentiation are
worthy by 100 %.
To begin with, the creative mind of people let so many wonderful things to be invented.
One of the most popular branches in marketing is emotional marketing when the consumer is
affected through its five senses – seeing, hearing, touching, smelling and tasting. These are the
distinctive brand attributes allowing any brand to become the most popular in the whole world.
The focus of this master thesis is affecting consumers through hearing, or in greater details,
usage of sound brand.
Sound brands and the usage of sounds in marketing is becoming more popular with each
year and gaining people’s attention. On the other hand, the main focus in this thesis is not the
sound marketing in general, but exactly the usage of sound brands. This means that the attention
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here is mostly drawn on the unique sound identity of brand’s logo. Some of the best globally
known brands as Coca-Cola, Apple, McDonald’s and etc. use sound in marketing and the CEOs
of these corporations consider sound as an inseparable element of logo or television
advertisements. Each year surveys are being conducted and the fact has been proven that some of
the most valuable brands in the world have their sound identities. People are so accustomed to
the sounds of these corporations that they can tell what commercial is shown at the moment
without looking at the screen. What is enough for them is just a sound leading the brand
everywhere it goes. And the sound is what makes the brand successful.
While the sound brand is very relevant in the lives of world corporations, Lithuanian
companies know little about this technique as there is hard to find any serious cases of sound
brand usage. On the other hand, even if the companies know about sound brands they are still
too skeptical about this and do not consider it as a powerful tool. Of course, some companies use
music in their commercials, but it’s not the focus of this thesis. What cares most is the sound
logo which is a short musical element incorporated at the beginning or at the end of the
commercial which remains in minds of people and has a great power. Otherwise, the fact that
Lithuania does not have such big corporations as Coca-Cola should also be taken into
consideration.
Novelty of thesis:
Despite the fact that sound brand is applied into many marketing strategies worldwide,
Lithuanian companies do not rely on this a lot. It is proven by the lack of sound brand usage
cases and the lack of overall data about usage of sounds. Besides, sound brands have not been
widely analysed by Lithuanian specialists and this topic is quite new for Lithuanian audience in
general.
Problem of thesis:
To find out what Lithuanian specialists working in advertising and communications field do
think about sound brand. As sound brand is an old tool for foreign countries, it is new in
Lithuanian and ordinary people usually do not know what it deals with. The key problem in this
thesis is to get to know what Lithuanian specialists of the related fields know about sound brand
as they are the only ones who can be questioned and who may have faced this concept and the
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whole sound branding technique. The main questions are: do marketing and advertising
specialist know what sound brand is, do they consider sound brand to be a powerful tool in
marketing, do they know any influential sound brand cases and what the future perspectives of
this technique in Lithuania are. Additionally, the main questions of thesis include sound
marketing which is a broader concept, meaning the usage of music and sounds in general.
Object of thesis:
Sound brands in foreign countries and Lithuania.
Aim of thesis:
Based on analysis of some well-known brands in the world and those in Lithuania, to prove that
sound is a powerful tool helping to create identity of the brand.
Tasks of the research:
1. To provide explicit theoretical framework related with all necessary concepts of
the thesis (corporate identity, image, reputation; corporate identity structure; five
senses in marketing; sound in marketing).
2. To analyse the cases of several best audio brands of 2013.
3. To find out what is the situation in Lithuanian companies regarding sound brands,
i.e. to analyse 4 interviews taken from Lithuanian specialists working in with
advertising and marketing field.
4. Taking into account the results of interviews, to get to know what Lithuanian
specialists of the related fields do know about sound brands and do they consider
it to be a powerful tools.
5. To figure out, what are the perspectives of the development of the usage of sound
brands in Lithuania.
Structure of thesis:
The thesis consists of the analysis of the theory regarding corporate identity and how this identity
can be expressed by adapting sound brand. The theory related with this type of marketing
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strategy is provided. Then, the best audio brands in the world are discussed and the cases are
provided. Similar discussion is also made with the most influential Lithuanian sound brands.
After this, the methodology of survey is explained. First of all, it is explained that the master
thesis was begun with the quantitative research. Then, the qualitative one was also accomplished.
In order to gather data for qualitative research, the interview method is applied. The aim is to
figure out what is the situation in Lithuania and how specialists evaluate the application of sound
brand among Lithuanian companies. At the end, the results are discussed and the future
perspectives of popularization of sound brands in Lithuania are being described.
Methods of research:
At the beginning of thesis, the vital theoretical framework is provided. Then, the important
examples of sound brands of foreign countries and Lithuania are analysed. After this, the
quantitative research is made with the results that only 2 respondents out of 80 know exactly
what the sound brand is. Finally, the qualitative research is made. For this, the interview method
is applied. The interviews are individual and semi-structured. Interviews are organized in order
to find out do Lithuanian marketing specialists know about sound brand, what do they think
about it, do they know any Lithuanian cases of sound brand usage and what are the future
predictions about this technique in Lithuania.
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1. THEORETICAL FRAMEWORK ON CORPORATE
IDENTITY AND ITS FORMATION PROCESS
1.1 Corporate Identity, Image and Reputation
As in the XXI century interaction and establishment of contacts is becoming vital even in the
daily lives of ordinary people, corporations are more concerned with this, because it can
predetermine its further development and success. Communication has a huge importance,
beginning from communication with yourself and finishing with interaction between company
and its business partners and stakeholders. Communication can be defined as having some
different forms, e.g. the two sides can establish the contact at the same moment and keep
communicating, while, in other case, the side can spread its idea and wait until the other side will
catch the idea and accept it and interpret in any possible way. The same truth holds for the
corporations that want to be famous and well-known – it has to establish perfect contact with the
audience in order to be heard and to become successful.
Identity, image and reputation – three keywords having a significant meaning in the life
of each corporation. Only the corporation which understands and invests a lot into these parts can
become extremely successful and stay in this position for many years. The thing is that any
corporation which creates its identity, knows and predicts how this identity can be understood
and accepted by the stakeholders can succeed to develop its honorable image. When that image
doesn’t change too often and is treated as the positive one through many years, the corporation
gains the reputation, and that’s a hard work. But let’s define everything from the very beginning.
According to Brown et al. (2006), each organization can be looked at from 4
perspectives: identity, intended and constructed images, reputation. Besides the author, there are
a lot of other specialists of the field, offering the definitions of these perspectives. For example,
Balmer, in his article “Corporate Identity, Corporate Branding and Corporate Marketing: Seeing
Through the Fog”, provides such an explicit definition of corporate identity:
“An organisation’s identity is a summation of those tangible and intangible elements
that make any corporate entity distinct. It is shaped by the actions of corporate founders
and leaders, by tradition and the environment. At its core is the mix of employees’ values
which are expressed in terms of their affinities to corporate, professional, national and
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other identities. It is multidisciplinary in scope and is a melding of strategy, structure,
communication and culture. It is manifested through multifarious communications
channels encapsulating product and organisational performance, employee
communication and behaviour, controlled communication and stakeholder and network
discourse.” (2001, p. 280).
T.C. Melewar (2003) also provides his own definition of identity: “the set of meanings by which
a company allows itself to be known and through which it allows people to describe, remember,
and relate to it” (p. 195).
Meanwhile, Brown et al. write about the other two viewpoints – intended and constructed
images. The authors (2006) claim that intended image of the corporation is “a more constrained
set of organizational attributes that they want the members of the stakeholder group to view as
more salient” (p. 103). They also add that in this case, corporation itself is completely
responsible for the attributes it wants to emphasize and besides, sometimes it may want these
attributes to be unseen for some of the audiences, while investing more into a particular
audience.
When it comes to the other perspective – constructed image – Brown et al. also have a lot
to say. According to them, constructed image is “associations that members believe are treated as
CED by individuals outside the organization” (2006, p. 104). To put it more clearly, CED means
central, enduring and distinctive. In other words, constructed image can be defined by giving it a
form of question: “What does the organization believe others think of the organization?” (Brown
et al., 2006, p. 102). Even if Brown et al. provide two sides of the image – intended and
constructed, many specialists nowadays do not divide it into parts, but just provide the clear
explanation on what they think corporate image is. For example, Bromley (2001) claims that
image is “the internal collective state of mind that underlies its corporate communications efforts
(successful or not) to present itself to others” (as cited in Barnett et al., 2006, p. 29). Hence,
image can be explained in many different ways, by choosing and putting together the words that
for every researcher thinks are the important to mention.
It is also vital to add that sometimes the concepts identity and image are used
interchangeably, though they are at the same time quite distinct as one of them is higher in terms
of hierarchy. However, this will be disclosed in greater detail a little bit later.
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The 4th perspective or viewpoint that any corporation can be looked at from - reputation.
As Brown et al. (2006) state,
“regardless of what a manager personally believes, chooses to communicate, or construes
that stakeholders believe about a company, the corporate associations formed and held in
memory by an individual member or a stakeholder representative serve as the “reality” of
the organization for that individual” (p. 105).
Truly, this “reality” is the corporate reputation – the image of the corporation in the individual’s
mind, created through many years. Balmer (2001) provides the similar interpretation on this,
claiming that reputation is “the enduring perception held of an organisation by an individual,
group or network” (p. 257). Hence, corporate reputation in the final product of the corporation
and later has to be cared upon and maintained. The below provided (fig. 1) is the scheme
summing up everything that was said about the possible viewpoints upon corporation. The
scheme presents how beginning with identity and continuing with image, the corporate
reputation is created.
Fig. 1: Identity, image and reputation scheme (Barnett et al., 2006, p. 33)
Corporate
identity
Corporate
image
Corporate
reputation
Corporate
reputation
Capital
Collections
of symbols
Impressions
of the firm
Judgements
by observers
Economic
asset
Additionally, Simões et al. (2005) in a perfect manner define the connection of identity,
image and reputation:
“the aim of corporate identity management is to acquire a favorable corporate image among
key internal and external stakeholders so that, in the long run, this image can result in the
acquisition of a favorable corporate reputation, which leads to key stakeholders having a
favorable disposition towards the organization” (as cited in Melewar, 2008, p. 11).
Hence, the identity is the starting point from which the corporate reputation building begins. If
the corporation invests a lot into developing its own identity, the result is perfect and clear image.
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If this image remains the same through many years and is quite honorable, the corporation gains
its reputation which is very worthy and predetermines the future of that corporation. Melewar
adds that “image may be changed relatively quickly while reputation requires consistency of
image and nurturing over a relatively longer time period” (2008, p. 13). Thus, beginning from
identity creation and being patient, a great reputation in many years can be built.
The previously provided fig. 1, “Identity, image and reputation scheme” explains what
goes after building and maintaining successful reputation. It is important to emphasize that a
significant reputation increases the capital of the corporation. Moreover, it makes the corporation
more valuable in the wide market. Barnett et al. (2006) add that corporate reputation capital
“includes references to the term as a resource or an intangible, financial or economic asset” (p.
33). This means that the capital of corporation includes not only the values that can be counted
and are tangible, but also those that are more abstract, i.e. the belief and trust of people, so they
can rely on the corporation more as it is more familiar and accepted in the whole wide world.
As already presented Balmer’s (2001) definition of identity reveals, the corporate identity
includes not only tangible, but also intangible components that make that corporation somehow
special and allows it to be excluded among many others. Csordás (2008) also writes about this,
claiming that existing intangible components, for example, the logo of corporation or any other
visual aids are the important parts of the identity – the elements helping to emphasize its
distinctiveness. While overviewing the explanations about what makes the corporate identity and
corporate reputation as it is, it can be easily noticed that the very starting point identity and the
very latest point – reputation, both include not only tangible elements. To make it clear, when the
corporation chooses what is acceptable for it, it also relies on intangible components, such as the
mentioned visuals or the signs that convey its culture. Later, when the reputation of the
corporation is strongly built, corporation becomes valuable in many ways, not only in the terms
of money. Even more valuable asset the corporation can treat its intangible value – the
opportunity to be well-known and trustful for the audience. However, as it was cleared out, every
corporation should begin from investing into its identity, so the image in the stakeholders’ mind
will be positive and if kept for a long time, will lead to a significant reputation.
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1.2 Corporate Identity Structure
As the key emphasis in this paper is put on the corporate identity and the components included
for making this identity more distinct from others, in this section, elements of corporate identity
and its formation possibilities are discussed.
There are a number of researchers providing the different corporate identity models,
starting with Kennedy’s model in 1977, continuing with Balmer’s model in 1955 and then,
having Melewar’s and Karaosmanoglu’s model mix created in 2006 (fig. 2 above). The mix of
the model contains 7 dimensions and is provided in the authors’ paper called “Seven Dimensions
of Corporate Identity”. The dimensions include: corporate communication, corporate design,
corporate culture, behavior, corporate structure, industry identity and corporate strategy.
Beginning with corporate communication as the dimension of corporate identity, it is
composed of three parts – controlled, uncontrolled and indirect communication. As it can be
guessed, controlled communication is everything that is spread by the corporation. It includes
three forms of communication, the one of marketing as well as organizational and management.
According to Melewar and Karaosmanoglu (2006), the latter form of communication –
management communication is essential as it is related with the ideas expressed to the internal
agents. By saying ideas, it is meant that the whole corporation should know what the main goal
of the corporation’s operation is and what is the mission and vision. If the management is able to
convey the main message of what are the most important principles and targets of the
corporation’s activity and stakeholders work towards the same direction, corporation
successfully develops. Meanwhile, marketing communication is the related with advertising and
promotion of the goods. Finally, organizational communication, as stated by van Riel (1995) “all forms of communication with stakeholders with whom an organisation has an interdependent
relationship. Investor relations and labour relations are part of organizational communication”
(as cited in Melewar and Karaosmanoglu, 2006, p. 850).
Fig. 2: Seven dimensions of corporate identity (Melewar and Karaosmanoglu, 2006, p. 849)
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In the same way, authors write about uncontrolled communication which is unplanned
one and it is explained to be the culture that is spread during the process of communication and if
the employees do not carry the proper “culture” themselves, the outsiders catch these moments
and create their own image about the corporation in mind.
The second dimension in the scheme is corporate design or in other words, visual
identity. In his book “Facets of Corporate Identity, Communication and Reputation”, while
presenting what is that visual identity, T. C. Melewar cites Napoles: “A desired image acquired
and communicated by the company to the public through consistent visual communications”
(Napoles, 1988, p. 93, as cited in Melewar, 2008, p. 40). To put it simply, it is usually defined as
the chosen typography and color, and then the presented name of the corporation, its logo and
finally slogan. On the grounds of the statements in Melewar’s and Karaosmanoglu’s research
paper, the created elements can be used and expressed everywhere, beginning with marking the
packages of the products and finishing with decoration of buildings or offices possessed by this
corporation. Besides, the number of elements and tools that can covey the visual identity of the
corporation increases more and more, as web pages are now extremely important part of the
corporation’s self-demonstration.
The other dimension of corporate identity scheme is culture. As it can be seen, this
dimension includes 10 other sub-components. In Melewar’s and Karaosmanoglu’s research
paper, there is a clear definition of culture provided: “Corporate culture is what really goes on in
our companies. It is the true reality of how employees feel about working for us” (2006, p. 854).
It is also claimed that culture has its key components, such as philosophy, values, mission,
principles, guidelines, history as well as country of origin, founder of company and subculture.
All of these are extremely important, because are the parts allowing the corporation to be
distinct, excluded from the other, to have it own “culture” which later builds an identity.
The fourth dimension of corporate identity, presented in Melewar’s and Karaosmanoglu’s
paper is corporate behavior. As usually, the explanation on what it really is can be also found:
“corporate actions in their entirety, both those that are planned and congruent with corporate
culture and those that occur spontaneously” (2006, p. 858). Truly, the actions taken by the
corporation can significantly affect the future of the corporation, so, have to be attentively
focused on and carefully accomplished. Moreover, the behavior of both managers and employees
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is taken into account, clearly explaining that the behavior of the first should be an example on
how the rest of the corporation is required to act. Finally, it is important to add the corporate
behavior is understood to be the reflection of corporate identity.
Then, after shortly analyzing four dimensions, 5th can also be described, and it is
corporate structure. It can also be characterized as having two fundamental parts –
organizational and brand structure. To put it simply, the organizational structure is the one
“associated with the organisational hierarchy, lines of communication and reporting
responsibilities” (Melewar and Karaosmanoglu, 2006, p. 859). To add more details, if the
corporation advocates centralized way of operation, the subsidiaries have no chance to try
conveying its own identity, hence, the whole identity of the corporation is unified. Other things
can be said while considering the brand structure as branding strategies are necessary for
creating strong brands. Well-appreciated and well-known brands are itself the identities which
are sometimes more important and significant to the consumers, so these often even don’t know
much about the corporation, only about the brands itself. In their paper, authors emphasize that
both organizational and brand structures as being the dimensions of corporate identity are quite
two-fold. The thing is that there are quite a few opinions about relationships between these parts.
Beginning with organizational structure, some specialists say that this type of structure can be
simply modified, while the corporate identity itself is formed through many years, hence only
organizational structure can be reorganized. At the same time, others claim that corporate
identity is influenced by the organizational structure and the way it is shaped affects the
formation of identity. The same situation is with brand structure and corporate identity, where
there is no common decision on which is an influence for the other.
Industry identity is the sixth dimension of corporate identity which is claimed to be very
meaningful. The authors write that industry identity and the way it is accepted by the consumers
at the particular moment of time predetermines the success of the corporation itself and forms the
viewpoint upon corporation. For example, if there are any scandals related with the exact
companies belonging to a particular field of activity, people do not trust these companies and
even more, they think that the other companies selling the same good or providing the same
service shouldn’t be relied on. Thus, the scandals shape not only the identity of the corporation
having a bad reputation, but also of many other, existing in the same industry. Hence, it is quite
18
complicated as the corporation is not able to change anything and cannot improve its identity in
the eyes of the stakeholders.
The 7th dimension presented in “Seven Dimensions of Corporate Identity” is corporate
strategy. It can be described as the plan and the most fundamental principles of the corporation
which it follows while taking part in the wide market. In addition, the strategy “determines what
the company produces, the level of profit made and stakeholder perceptions about the company”
(2006, p. 861). What is more, the strategy itself has two aspects – differentiation and positioning.
According to the authors, “differentiation strategy is an aspect of overall corporate strategy
pertaining to the specific strengths of a company and how it chooses to compete by using these”
(2006, p. 861, 862). Oppositely, “positioning strategy is associated with the identity that a
company strives for” (ibid.). Sincerely, it is possible to find more easily understandable
explanations on difference between these two aspects. In other words, differentiation strategy
includes the features which should exclude the product or service from many others. The
company decides what these components that will attract the consumer should be. Then, the
company wants to popularize and distribute the product, so it has to affect the consumer in the
way he/she will be fascinated and persuaded to buy it. Thus, positioning is during which the
mind of the consumers are filled with the ideas that the product is the one that he/she has always
wanted to have.
After presenting all 7 dimensions, let’s shortly go back to the 5th dimension – corporate
structure, or more exactly, to its component – brand structure. It is important, because it is
closely related with what is crucial in this master thesis.
The main focus of this thesis is the usage of sound brand - widely adapted method which
is used to create a strong, well-known and distinguishable brand. Meanwhile, brand structure is
the dimension dealing exactly with the creation of worthy brands sometimes standing alone and
representing the corporation better than the whole image of it. However, to create and develop a
reputable brand is not an easy task and requires investment, time and energy.
What fits here is the fig. 3, the brand platform, presenting how the process of brand
structuring. In the scheme, one can see brand attributes section which includes special attributes
19
allowing the brand to be distinctive and well-recognizable among others. The same holds true for
the simplest things in the world, as Trout and Rivkin (2008) write:
“What makes a person or product unique is being known for one of these attributes. Marilyn
Monroe was known for her attractiveness. Crest toothpaste is known for its cavity
prevention. Marilyn could have had a high degree of intelligence, but it wasn’t important.
What made her special was that pinup beauty. The same with Crest—it’s all about fighting
cavities. What it tasted like wasn’t important” (p. 104).
Hence, coming back to the concept of sound brand it is essential to claim that exactly the sound
can be this special attribute of the brand making it worthy to remain in the minds of people.
Fig. 3: Brand platform (”Brand Platform Matters Because?”, 2012)
Mission
Brand
promise
Vision
Brand
attribut
es
BRAND
PLATFORM
Brand
pillars
Brand
position
ing
Summary
statement
Persona
lity
traits
Brand
messagi
ng
Tagline
Commun
ication
scenarios
Nonetheless, nowadays, sound brands go in the same line with other sensory attributes,
such as touch, taste, smell and sight, so all of them are described in more details in the following
section.
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1.3 Sensory Branding: Touch, Taste, Smell, Sight and Sound
Five senses are necessary for all human beings to orientate in the world, create perception of the
surroundings and adapt ourselves. None of them can be excluded as all are necessary for us and
make our lives complete. Although in marketing, some of them are defined as more important
taking into account the effect that is made upon us. A great specialist of the field, Martin
Lindstrom, has written about the importance of all five senses in marketing, in great details. The
author and his colleague Millward Brown (2005) claim that sight is of the greatest importance,
then smell in the second place, leaving the sound in the third and finally, taste and touch at the
end.
Martin Lindstrom, in his book Brand Sense (2005), states that the methods of affecting
people and leaving them impressed used some time ago now doesn’t work and the brand creators
have to find and focus on something new. He broadly speaks about all five senses, its
importance, how powerful they are when we try to perceive the world and how we can be
influenced through it. He begins with sight which, according to him, is the most essential and the
strongest sense of all. The author proves it by giving the example of the experiment performed in
1988 by Dr. H. A. Roth. With this test, he tried to find whether it is true that sight makes us
believe in illogic things and persuade us that false is a true leaving the other senses behind. Roth
took a lemon-and-lime drink and colored it. The thing is that the sweetness of the drink didn’t
depend on the strength of color, but the students thought in the other way, making themselves
believe that the stronger and more vivid the color of the drink, the sweeter it was. Hence,
students were fooled because they relied on their sight and we are normally accustomed that the
more vivid the color is the stronger is the effect. So, the sense of the taste was left behind.
Moreover, Martin Lindstrom writes about powerful and unforgettable Coca-Cola brand
and the effect it has. The sight is also significant here, because the combination of two colors –
red and white – that everyone sees is a business card of this corporation. The consumer is
affected through sight, because cannot forget the brand which is visually strong and is known for
decades. When we think about red and white, what comes to our minds firstly is probably the
Coca-Cola.
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In general, there are no doubts that what we see is very important, because eyes lets us
establish the contact with the environment more quickly than any other sense. The colors, the
shapes – everything means a lot, because it helps us to memorize. Corporations work a lot with
this and invest huge sums of money in order to obtain the preferable effect which is composed of
many elements like a shape, a color, a typography and etc. Interestingly, Eiseman (2000)
provides the presentation and explanation about the impact of colors and what effect can be
created by using one or another hue. Let’s start with the famous red which is very popular in
food industry because it stimulates the appetite. Besides, red is a strong color and increases the
blood pressure. This is the color which is hard-to-forget. Then about orange which is a little bit
lighter than red, but is still quite powerful, that’s why it is used by some enormous food
corporations, such as Dunkin Donuts or Burger King. Meanwhile, pink is a light color and
doesn’t have such a strong effect, but still can be used in food industry, especially when dealing
with sweets. Then yellow which is very mild color, but is very strong in a combination with
black, because reminds people of insects. After this, green is presented as a color related with
healthiness and vegetables but should be used carefully, because if not properly used can become
avoidable. Then blue, is suitable when advertising water, because reminds of sea and sky something pure and clean. However, white and black are very specific colors and fit only in the
specific context. For example, white should be used at restaurants where customers want to see
clean and neat environment with perfectly served desks. While black doesn’t fit here, because it
can only create the effect of dirtiness, despite the fact that black usually means quality.
The other sense presented in Lindstrom’s book is smell which is in the second place
taking into account its importance in marketing. You can try not to touch, but you cannot stop
breathing, so you cannot stop smelling. This sense lets us remember a lot of things and allows us
not to forget the most important ones. Smell means a lot in our lives, because it can remind us
about our childhood experiences, the smell of the cake which your mother has been baking every
Sunday, and many more. Smell is also most hard to describe and it is not easy to find the exact
word to name what we smell. Valenti and also write about smell by citing other authors: “a
pleasant smell influence positively the evaluation of the customer on a point of sale (and some of
its products), the intent of walk-through, of buying, as on the time spent inside (real and
perceived)” (Spangenberg, Crowley & Henderson, 1996, as cited in Valenti, Riviere, 2008, p.
13). Nonetheless, smell marketing is more complicated than it can seem. It is because there is no
22
such thing as ideal odor and the smell which can attract the person can be very different for each
of them. What must to be considered, as Lindstrom writes, is gender, race and age of a person, so
the ideal smell can the one that fits to anyone and impresses everyone. On the other hand, it
seems that some corporations are very successful in creating powerful smells and adapting it to
their goods. For example, Cadillac or Rolls-Royce maybe wouldn’t be so salable cars if it
wouldn’t have the odors developed specifically for these cars allowing it to get the luxurious
smell and attract the buyers, so they fall in love with the car at the same moment they sit in it and
smell the odor they can never forget.
Although touch, as stated in Lindstrom’s book, is only in the fifth place according to its
importance and powerfulness in marketing, it is everything for those who were born blind and
deaf. On the other hand, tactile organs are important for all people, not excluding or including
anyone. The impression what we get about the product depends a lot on the feeling when we
touch it and if it is pleasant for us that impression in great.
For many year Coca-Cola has been producing and selling drinks in glass bottles which
was the feature making consumers feel special about buying this drink and letting them
distinguish this brand among many others just because of this packaging. Nonetheless, around
1996, Coco-Cola corporation decided to start selling drinks in cans and truly, it was a huge
mistake, because that glass bottle was an icon for fans of the drink. Despite the fact that the cans
were presented later, allowing plastic bottles to come into market, neither plastic nor cans didn’t
have such a strong tactile effect which was made by glass bottles. As many years have passed,
Coca-Cola lost a lot of customers just because of one decision and let the other corporations to
take over the place in the market. Nowadays, Coca-Cola is usually sold in big cups as people
normally get this soft drink in fast food restaurants and they throw the cup off just after finishing
the drink. Even 59 percent of consumers would love to drink Coca-Cola from their beloved glass
bottle, but, for example, in USA that’s impossible because people cannot find glass bottles here,
while other countries around the world still take pleasure in this.
Any particular tactile effect that corporations create can carry meanings, make
consumers believe more in the idea which is tried to be conveyed and increase the value of the
product itself. For example, as Valenti and Riviere (2008) write, Valvert mineral water producers
want consumers to feel like they are touching the mountain when they carry the bottle of this
water. Hulten, Broweus and van Dijk (2009) also provide the case of successful decision which
23
allows customers to go through wonderful tactile experiences. Authors write about Volvo XC60
which includes improved shape, material and surface of interior creating unforgettable
atmosphere and making customers feel like kings in their thrones. This was done by choosing
white surfaces, so customers feel like sitting in mild snow. Besides, this color usually speaks
about quality and is the hue of luxury. What is more, as the future perspective should be taken
into account, this car weights less, so it is cheaper to maintain it. Then, it is made of the material
which is environmentally friendly, so people can feel well about not making damage to our
mother nature. Every detail in this car is steady, but not harsh and even oppositely, very soft, so
improved technology is combined with the feeling of being in nature.
The fourth sense analysed in Martin Lindstrom’s book Brand Sense is taste. Although it
is the weakest sense out of all five, this sense is the one that no one could feel happy without. On
the other hand, taste is very much influenced by smell and if for some reason, we fail to smell,
we normally cannot the taste in the way we should. So these two senses are closely related and
taste depends much on smell. That’s why most of McDonald’s consumers usually like or hate
both smell and taste of food, while they cannot love one of them, because these elements are
interlinked.
Interestingly, taste is the sense which means a lot in food industry, so the other industries
can hardly incorporate this sense into their strategies. However, there are some cases when
corporations still do incorporate taste and do it extremely successfully. Let’s say Colgate which
gives the exceptional taste to the toothpastes it produces. On the other hand, this corporation
forgot to provide other goods with this unique taste, e.g. dental flosses or toothbrushes, but still,
it was not an obstacle to conquer the market.
The fact which also has to be mentioned is that taste is usually related to color and every
color has equivalent in taste. As Valenti and Riviere write, “scientists now know that the 4 basic
gustative sensations, sweet, sour, bitter and salty, are respectively linked by consumers to the
red, green, blue and yellow colours” (Célier, 2004, as cited in Valenti, Riviere, 2008, p. 14).
Lindstrom adds that “we associate certain colors with certain tastes: red and orange are sweet,
green and yellow are sour, white is salty” (Koch and Koch, 2003, as cited in Lindstrom, 2005, p.
96). What is not a secret is that Coca-Cola’s red color brings a huge success and is very well
known worldwide. Hence, maybe this is because many consumers want to have a sweet and soft
drink and by purchasing red Coke they have expectations about the taste. On the other hand,
24
Coke doesn’t only have a sweet taste and it is even stated that consumers of this drink are
extremely satisfied with the distinctive sharpness of the taste they feel when they get the first
gulps of the drink. At the same time, Pepsi consumers do not consider this drink as aggressive in
its taste as Coke, though Pepsi has a blue color as its brand which is equal to bitter.
So, after shortly overviewing 4 senses – sight, smell, touch and taste and the opportunity
to make use of them in marketing, let’s switch to the final one – sound. Maybe there is a slight
inconsistency here, in this chapter, but the sound was skipped earlier because of its importance.
Sound and its role in sensory marketing is the main focus of this thesis. Hence, this fifth sense is
described in the following sentences as well as in the next chapter.
Sound is defined as 3rd sense, getting 41% and becoming one of the most important
senses, after sight and smell. According to Valenti and Riviere (ibid.), sound is the cheapest way
to create the mood, but by no means, the meanest. Oppositely, it is very powerful and can help
convey any idea or mood. Here is what some authors about the power of sound say:
“Music aims to put customer in a state of mind corresponding to the articles that are sold:
play rock music in a guitar shop and the person will imagine himself playing with what
could be his future purchase. Music can then, if connected to the product, be a way to act
on the buying behaviour of the customer. It is also proved that high volume music in a
bar will increase the consumption of the customers” (North, Hargreaves, 1996, as cited in
Valenti, Riviere, 2008, p. 12).
Sound is truly very advantageous tool in marketing and many biggest worldwide corporations
use it and incorporate into its brand creation. The examples presented in Lindstrom’s book are
suitable. For example Intel which has its unique sound occupying better positions and being
more familiar even when the logo. Then, Bentley Continental GT created in 2003 which has an
original sound. Specialist worked a lot with the sound, because they wanted customers to feel
special when they inside this car, do not hear too much of hum, when the engine is started, but
still hear an inspiring and energetic sound. So, it results in the fact that customers now pay much
attention to the sound of the car.
As it was explained before, the sound brand is a key target in this paper, hence, the
remaining chapters are dedicated exactly for the sense of sound, so that’s the reason why this
chapter includes only several sentences on this topic. Before focusing only on the sense of sound,
what has to be discussed in the end of this chapter is the harmony of all 5 senses in marketing
25
which is a task quite complex. The thing is that it is not easy to adapt all five senses into the
marketing strategy of the corporation and not a big number of corporations are capable of this.
The adaptation of all 5 senses is called multi-sensory branding. According to Martin
Lindstrom “a multisensory appeal directly affects the perception of the quality of the product,
and therefore the value of the brand (…)/Multisensory brands can carry higher prices than
similar brands with fewer sensory features (2005, p. 70). So maybe that’s why we find products
of some brands more expensive than others, even though they sell the same goods. This can be
the case of Starbucks which is one of those brands capable of combining all 5 senses and in the
same way, having increased prices comparing with the enemies, e.g. McDonald’s or Dunkin
Donuts.
The founder of Starbucks, Howard Schultz always believed that this coffee shop has to be
more than just a shop and the cup of coffee, more than just a simple cup. Event at the beginning
of development he has such ideas and vision on what Starbucks should really be: “Starbucks
offer the following resonance and benefits as seductive as coffee itself: a taste of romance; an
affordable luxury; an oasis; and casual social interaction” (Schultz, Yang, 1997, p. 5). The
founder of this corporation also carried the idea that “Starbucks brand is more than coffee. It is
romancing the coffee bean. It also involves romancing the customer and romancing all the senses
in the store experience” (ibid., p.12). Hence, this means that by spending their time in Starbucks,
customers can not only have a cup of great and perfectly served coffee, but also maintain their
social relations, find themselves in wonderful surroundings and have the best time of the day.
Howard Schultz, in his book Pour Your Heart into It: How Starbucks Built a Company
One Cup at a Time then claims to incorporate all five human senses in everyday life of Starbucks
and allowing the customer to be engaged in an unforgettable experience: “Every Starbucks store
is carefully designed to enhance the quality of everything the customers see, touch, hear, smell,
or taste”/“All the sensory signals have to appeal to the same high standards. The artwork, the
music, the aromas, the surfaces all have to send the same subliminal message as the flavor of the
coffee: Everything here is best-of-class.” (Schultz, Yang, 1997, as cited in Newkirk, Crainer,
2003, p. 3). Without a doubt, Schultz poured a huge part of his heart into developing Starbucks.
As stated in Sardelli’s article, “Starbucks also provides entertainment, wireless internet, a
community online, mobile application, and the Starbucks reward card in their communications
effort to romanticize customer experiences around their beverages and snacks” (Schultz, Yang,
26
1997, as cited in Sardelli, 2013, p. 10). So, Starbucks can give customer everything he/she needs,
so this place can even become like a second home, especially for people spending a lot of their
time outside home, taking care of business, working.
Well, it seems that the efforts of Howard Schultz give only benefit, making Starbucks
undefeatable in its branch of activity. The core of the success is a non-stop improvement and
entrepreneurship, combination of and enhancement of what customer wants to be engaged into –
hearing, smelling, tasting, seeing and touching – and everything of the best quality.
1.4 Sound and Sound Branding in the Process of Identity Formation
In one of the earlier chapters about the components of corporate identity, it was said that one of
the including parts of the identity is corporate structure, itself composed of brand structure and
organizational structure. Brand structure is topical here, because the ways of brands structuring
are of a great importance. For brand to be excluded among others, it must have quite a few
unique attributes. Sound is treated as a very powerful attribute and becomes more and more
useful every day.
Hearing is known to be an important human sense helping to assume the surroundings.
Every distinct sound means different things and affects us in many different ways, making us
sad, happy or neither one nor another. Sound can be a perfect tool for corporations seeking to
form their brands in the way that it would be easier for customers to remember it. As mentioned
previously, brand which is very strong itself, i.e. has many distinct attributes and differentiates
itself among other can stand alone perfectly, so, the customer will not need to know anything
more about the corporation who owns the brand.
From Nokia tune to the classic music played in Victoria’s Secret shops - sound is a
powerful tool. According to Heartbeats International, “brands no longer compete on a product
level, but on building a brand that people connect to emotionally” (Lusensky, 2008, p. 8). Sound
is a great attribute of any product or service in the world and let’s is to be differentiated and then
of course, position itself. That’s how the sound brand or whatever is it called – acoustic, audio,
music or sonic brand has emerged. Sound branding means taking a special sound and making it a
part of the brand and its identity. However, “just having music is not enough; it has to be the
27
right music for the brand and based on the preferences of the target group” (Lusensky, 2008, p.
6). It is stated that “consistent acoustic brand management allows better brand differentiation,
higher brand recognition, stronger emotionalization and thus an improved experience of the
brand” (Bronner, 2008, Kilian, 2008, as cited in Moosmayer and Melan, n.d., p. 3). Many
sources claim that sound brands include such tools as sound logo, brand music, brand theme or
jingle. As Melan says,
“we define a sound logo as an identifying acoustic element of a brand with a short
running time (between 0.5 and 3 seconds). As ideal-typical basic forms, a distinction can
be drawn between melodious, “noise-like”, and vocalized sound logos” (Melan, 2008, as
cited in Moosmayer and Melan, n.d., p. 5).
Besides, it is usually played either at the beginning or at the end of the commercial. On the other
hand, very often nowadays jingles are adopted and join the visual logos. Jingles “can be defined
as mostly vocalized, set-to-music central brand messages” (Moosmayer and Melan, n.d., p. 4) or
“musical messages written around the brand" (Keller, 2008, p. 164, as cited in Moosmayer and
Melan, n.d., p. 4). There a lot of very-well globally known jingles including Coca-Cola’s
“Always Coca-Cola”, McDonald’s “I’m lovin it”.
In 2008, Heartbeats International conducted a much revealing survey called Sounds Like
Branding™ where 70 respondents from top global brands were questioned. Of course, there are
no doubts that brands are more successful when they contain sound, but not every corporation
has enough time and investments to create a unique sound of its brand.
To begin with, 97% of the respondents of this survey claimed that they think music can
really make their brand stronger. At the same time, 76% actively use music in their marketing,
then 74% are sure that music will mean much in the future. Finally, 68% claim that “music is an
important tool for building a consistent and unique brand” (Lusensky, 2008, p. 5). Additionally,
20% claim that music can help build loyalty within target groups and 12% that it can help drive
sales. Other authors also agree with the findings stating that “music can be used to effect buying
behavior of consumer in desired direction” (Rieunier, 2009, as cited in Khanna and Mishra,
2013, p. 114). On the other hand, only 2 brands out of 10 have their own sound logotype. Hence,
the corporations not owning the sound of their brand yet have their own opinions and
explanations on why it is so. The survey shows that one of the reasons making some corporations
exist without sound elements is the complexity of measurement of the value invested (38%) and
28
of estimation of costs of legal rights (19%) as brands are responsible for it. Then, 6% stated that
“it is hard to find qualified music partners” (Lusensky, 2008, p. 22). Besides, 38% responded in
many ways providing such obstacles: low innovation factor, not our core business; regulations;
difficult to find the right music for audiences; expensive and difficult to use in commercial space.
The main reason why big number of corporations are still not ready to adopt a music into
the brand is the thinking that “it is not considered to be a serious and strategic tool in branding”
(ibid., p. 25) and “still seen as a complimentary element in branding” (ibid.). Nonetheless, future
is about to change everything. According to survey, music brand will be considered not only as
the additional tool, but as one of the most important elements, pushing corporations to think
about getting their own sound logotypes, if they don’t have ones. While music is now mostly
used in commercials, it will be implemented in more platforms, including the creation of sound
logotypes.
The skeptics of nowadays and the ones carrying the opinion that music shouldn’t be
considered as an important marketing tool really have to investigate this field more deeply and
take a look at the biggest and strongest brands in the world and pay closer attention on how these
brands are composed. The thing is that they have a sound incorporated which makes a brand as
powerful as it is.
Khanna and Mishra, in their research paper write that when respondents were asked
whether they agree that Coca-Cola is identified through jingle, 30% answered that they agree
with the idea, while 5% said they strongly agree. Of course, it is only a little survey conducted in
Allahabad’s university. On the grounds of other data, Coca-Cola’s music components are more
influential.
According to Audio Branding Academy’s annual Barometer survey of 2013, the world’s
leading audio brands are the ones of Intel, Audi, Coca-Cola, Deutsche Telekom, McDonald’s,
Nokia and continuing with Apple, BMW, 20th Century Fox, Mercedes-Benz, MGM and Yahoo!.
What is more, the survey also includes the aspects of future fields, where audio brand could be
applied most widely: Mobile apps; point of sale; web; TV sports; advertising; user interface;
physical environments; radio; games; and digital media. Hence, the corporations leaving music
products (e.g. ringtones) in almost the last place in Sounds Like Branding™ survey were wrong,
29
because mobiles should be taken into account very seriously as people, especially young ones do
not know how to live without these appliances. So, the easiest way to affect them and make them
remember the brand is to take a place in their mobile phones.
Hence, each sound which is used marketing, no matter if it is a logo sound or just a music
played in the store in order to attract consumers, should be properly chosen in order to make
better impression, but not to worsen it.
Fig. 4: Stimuli – Organism - Response model (Mehrabian and Russel, 1974, as cited in Nell,
2013, p. 5).
Environmental stimuli
Emotional state
Behavior
Senses
Pleasure
Approach
Information rate
Arousal
Avoidance
Dominance
A very much revealing research was conducted in South Africa, Tshwane. It included the
investigation on all senses and sound was one of these. As sensory marketing is dedicated for
making a brand familiar and also for driving sales, the aim of the study was to find out how all
five senses incorporated into the store, influence the buying behavior of consumers.
The model of Mehrabian and Russel provided in Nell’s paper is widely used and is
extremely beneficial as it can help “to explain the effect that physical store environments have on
consumer’s buying behavior” (Liu and Jang, 2009, p. 494, as cited in Nell, 2013, p. 4). The
model begins with stimuli - senses of touch, scent (smell), sight and sound. These stimuli lead to
the emotional states of pleasure, arousal and dominance. While pleasure is quite understandable,
arousal shows on what level the consumer is stimulated, i.e. he/she becomes more active or
passive. Dominance defines the level of the control, i.e. whether consumer feels in control of the
surroundings. These states then influence consumer to behave in two ways – either approach or
avoid. The survey was conducted on the grounds of the presented model as well as other
30
schemes. In this master thesis, the attention should be paid only on the results related with the
effects of sound.
The results show a few tendencies in consumers’ behavior. The first one is that if the
music is too loud, users spent less time in the store or if they hear the music from very far they
do not enter the shop at all. The conclusion is based on the comment of one of the participants of
the survey: “...if the music is too loud, it will reduce my buying behaviour, if the music is
pleasant and not in your face, it will probably enhance or add to me” (Nell, 2013, p.113). The
next result of the survey is that participants stated they do not always notice that music is played
in the store, but if they still do and the music is not appropriate, it makes them avoid the place.
Besides, they claim that radio played in the store is the worst thing ever and that it irritates a lot.
Silence or music is the choice, but not radio. Here is one of the comments of the participants:
“I would agree that a noise can be irritating and it might encourage you to leave or just
quickly buy what you need and leave, but I also wouldn’t say, if they play a nice song, I
am going to buy more, so, if it is good music and its calming and everybody can listen to
it, then I feel more people will be inclined to visit the store and look around and buy
products but I also won’t say that if they play this music you are going to buy, I think you
still buy what you need” (ibid., p.123).
Thus, it is easily understandable that the choice of the music, the loudness and everything related
means a lot if one wants to get the best out of the sound. Now let’s switch to more specific field
where music is used – the creation of sound logos. Here is what Julie Winther in her paper
“Sound Brand Fit” writes about this procedure:
“Sound logos are often developed based on the idea that specific auditory expressions
convey close links to attributes such as corporate values. The procedure is often like this:
1) Brand identity is analysed and attributes are chosen, 2) attributes are converted to
sound and 3) tested to see if the composed sound express the chosen attributes” (2012, p.
15).
The rightness of the procedure is also approved in Sounbranding.com website, where the team of
specialists describes THINK – DESIGN – DO procedure. They say about it: “We carefully
create the sound design briefs and detailed descriptions that makes sure that the brand value
proposition is embedded in the sound design. We set and evaluate: business value,
communication value, brand value, organizational value” (Soundbrading.com). The process of
31
sound branding is thoroughly provided in the case study of Sennheiser, one of the biggest audio
device manufacturers in the world, written by Brécheteau et al. (2012).
Fig. 5: Relationship between values and sounds (Brécheteau et al., 2012, p. 19)
Instrument
Accordion
Pianio
Violin
Popular
Artisanal
Traditional
Conviviality
Originality
Fun
Sobriety
Humanity
Innovation
Simplicity
Freedom
Passion
Complexity
Premium
Performance
Passion
Serious
Pitch
Tempo
Octave 1
Serious
Sobriety
Artisanal
Traditional
Tempo 80
Serious
Complexity
Octave 3
Conviviality
Popular
Freedom
Tempo 120
-
Octave 5
Technology
Innovation
Originality
Fun
Performance
Tempo 160
Conviviality
Proximity
Fun
Originality
Firstly, as it is needed to do, the core values of corporation are defined. “Sennheiser”
states that innovation, technology and independence are these values. Then, the emotions related
with Sennheiser are defined – serious, surprising, exciting and sensual. After this, the specialists
pay attention to the sounds and the associations they have and then connect the values with the
sounds. The selected final variant is piano, pitch 3 (medium) with 160 tempo. What is most
important is to be sure that sound fits to the brand, the message conveyed and its is “when
elements of a stimulus set correspond with other items in the set, the individual parts are not
perceived as separable, do not compete with one another for cognitive resources, and hence
create ‘emergent meaning’” (Zender, 2006, p. 467, as cited in Winther, 2012, p. 17).
At the same time, fig. 6 (see Appendix 2) presents the framework showing how each
brand feature can be defined as having an exact sounding. For example, sincerity → cheerful →
friendly → POP music. As Gobé says,
32
“people attach certain meanings to different types of sounds and music genres. This can be
regarded as an important source of motivation and information in relation to making an
association with specific organisations, stores, brands or products” (Gobé, 2009, p. 73, as
cited in Nell, 2013, p. 27).
As the step-by-step process of sound identity creation is very meaningful, GROVES Sound
Branding GmbH has presented a detailed report of a case study, where the whole process of
sound identity creation for DATEV eG is described. The client, DATEV, is a German company
working in the accountancy, business and human resource management, tax and other fields,
providing services and goods. Company has a green and quite s strong logo and perfectly knows
how important is to invest into brand. In 2003, the company decided to reposition the brand and
when the process proceeded they realized how significant is music and its helps to emphasize
some of the attributes of the brand. Later, in 2008 they decided that they finally need make use of
sounds. And they did. However, it wasn’t consistent and GROVES Sound Branding GmbH was
the one to harmonize everything.
The first step was a brand audit. The image of the brand was investigated and the core
attributes were found, those that could be conveyed with the help of music. The further step was
a market review, when the competitors and their use of music was analysed. The results have
shown that some of the competitors really employed music, but the usage was a little bit
inconsistent. After this, the following step was called applications analysis when it was tried to
identify the touch points to implement sound identity. The fourth step taken was a sound
workshop. Here, the employees were provided with the results of three earlier researches and
they have become participants as their comments were very much appreciated after the samples
of a potential sound identity were provided.
Involvement of the employees of some field is vital, because they feel worthy, understand
the aim better and the application of sound identity becomes easier later. The following step is a
creative briefing when sound designer is given instructions and data necessary to create a
consistent sound identity. The data consists of the groups of target, competitors, applications,
objectives, style, genre, volume and similar. Later, sound and music production takes place.
Sound logo samples are presented and the employees engaged in the process have to decide
which sound is the best. They have to decide by judging on such criteria as concise, distinct,
flexible, memorable and brand fit. DATEV eG got sound identities created in many areas, e.g.
33
sound logo, classical trailer for shows, ringtone and etc. Later on, the market research was
conducted as it was necessary to get to know what target groups think about the sound identities.
What was done next is the creation of brand sound manual which redirected where and when the
exact sounds should be used. The further action taken is a sound check, to find out whether the
client consistently uses its brand sound elements. The conclusions of the case study include a
statement on how beneficial is music in marketing: “it can not only measurably improve brand
awareness, but also help to create an affinity to the brand, which can be expected to lead to
increased sales or whatever other “bottom line” goal the enterprise has” (Groves, n.d., p. 132).
Consequently, there can be no doubts that music is one of the most influential tools in marketing
nowadays.
34
2. CASES OF SOUND BRANDS
2.1 Most Influential World’s Sound Brand Cases
This part of the thesis contains the review and the examples of the most powerful audio brands
in the world, made on the grounds of the classifications of Audio Branding Academy and its
annual Barometer survey of 2013. To remind, according to this survey, the world’s leading audio
brands are Intel, Audi, Coca-Cola, Deutsche Telekom, McDonald’s, Nokia, Apple, BMW, 20th
Century Fox, Mercedes-Benz, MGM and Yahoo!. The examples of the audio brands prove that
having an unforgettable sound brand in advertising allows brands to take over the best places in
market. Quite a few best audio brands of 2013 are also included in Forbes’ list of the most
valuable brands in the world.
The first corporation in the list of the most powerful audio brands in the world is Intel.
Moreover, Intel is in the 8th place in Forbes’ list of the most valuable brands with 29.5 billion
dollars.
Intel got its popular sound trademark in 1994: http://youtu.be/QRLyMjvug1M. It was
created by Walter Werzowa who needed only “two weeks to create the audio mark” (Kaufman,
1999). The creator was told to invent “tones that evoked innovation, trouble-shooting skills and
the inside of a computer, while also sounding corporate and inviting” (ibid.). The sound
trademark
is
kept
until
these
days
and
used
in
every
commercial
of
Intel:
http://youtu.be/uITHEheZlDQ. Here is an explicit Werzowa’s description about Intel’s sound:
“The first tone is an audio "sparkle" of more than 20 sounds, including a tambourine, an
anvil, an electric spark and a hammer on pipe. The four notes that follow are a mix of
xylophone, marimba, bells and other sounds” (ibid.).
Well, Intel truly succeeded to get the world’s most recognized sound in an extremely short
period of time.
Then, Audi is the second having strongest audio brand and it is earned by putting a lot of
efforts. Margarita Bochmann, Project Manager at AUDI AG says that their goal while creating a
sound was to provide the opportunity for “customers to be able to recognize an Audi commercial
even with their eyes closed”/“from the start we were determined to create a clear, recognizable
brand sound” (“Three red dot awards for Audi Corporate Sound”, 2010). The link provided
35
demonstrates the evolution of Audi sound logo from 1999 until 2010, while the latest sound is
used until these days: http://www.youtube.com/watch?v=8tcvP4dB0Gw. That’s how the creation
process of the new sound identity is commented:
“Audi wanted to define a corporate sound concept for all areas in which sound is used to
present the brand, be it in commercials, at trade shows or at events. To do so, the team
recorded the characteristic sounds of all Audi engines, while also compiling specific tone
sequences, instruments, tone qualities and musical compositions created specifically for
Audi. The variety of the recorded sounds allows them to be used flexibly in new, everchanging compositions for all media channels – and offers maximum creative freedom to
agencies and producers” (ibid.)
The latest sound identity presented in 2010 again contains elements of heartbeat and is very
much praised and appreciated by Audi members. According to Head of Brand and Customer
Strategy at AUDI AG, Dr. Alexander Urban, “the heartbeat has become an acoustic icon for the
Company” (“The new Audi heartbeat”, 2010). On the other hand, it is stated that ”the new Audi
“heartbeat” is shorter, more dynamic, and mixed with technical sounds to give it a greater
emotional appeal” (ibid.). Urban expresses more ideas about the new “heartbeat” claiming that it
is more alive and reminding the normal human heartbeat. This sound is believed to be very
memorable and leaving a huge impression as it “really gets under your skin” (ibid.). The new
sound debuted in Audi A8 commercial: http://www.youtube.com/watch?v=rZICEWuTvoo.
According to the Forbes’ list of the most valuable brands in the world, Audi is in 43th
place with 10.9 billion dollars.
The third place of the best audio brands is taken by Coca-Cola. On the grounds of the
Forbes’ data, Coca-Cola is the 3rd most valuable brand in the world with 54.8 billion dollars. To
begin with, Coca-Cola considers music as a vital element and seems that it does work. CocaCola has a huge number of jingles as it has quite a lot of slogans which were changed from time
to time, sometimes the consumers were presented with the new slogan after five years, but
sometimes even after the year. Coca-Cola has about 50 slogans in total which were presented
during 127 years of its reign in the market. This company was established in 1886 and has its
slogans presented everywhere in the newspapers. According to “A Short History of Coca-Cola”,
consumers were able to see the first newspaper ad in the same year. Meanwhile, the first
television commercial was introduced in 1950, during the Thanksgiving day. Here, you can
watch the whole commercial: http://www.youtube.com/watch?v=QN_UqvcynYw. Nonetheless, the
36
slogans here are said in words until the jingles were introduced. Coca-Cola has a variety of
jingles which are very well known worldwide as some of them have really stuck in the minds of
people. Consumers usually still remember some jingles, despite that these were presented when
they
were
children.
Here
are
http://www.youtube.com/watch?v=nQvkIgMdHa4;
some
of
the
examples:
http://www.youtube.com/watch?v=tcXQimc6Fiw;
http://www.youtube.com/watch?v=jhNxrf2tqRE;
The other important part of Coca-Cola’s sound brand is a logo sound or theme. As stated
in the official page of this company, the five-note melody was invented in 2006 and for the first
time presented in “Happiness Factory” commercial. Once can see the samples here:
http://www.youtube.com/watch?v=FEpFlymH6RQ; youtube.com/watch?v=yGjBV9roQhA; Of
course, there are some variations of this melody: http://www.youtube.com/watch?v=zdrkcljdlIg.
Coca-Cola’s newest commercial, published at the end of 2013 also includes this significant and
powerful five-note melody: http://www.youtube.com/watch?v=3dm3m4pkcVc; Well, it seems
like Coca-Cola really considers music as an important attribute of brand which is one of the
greatest decisions of this company. To sum up, one can find the section Music included in the
official page of the company where all the news related with the music of Coca-Cola, are
provided.
Well, despite that Deutsche Telekom is not among 100 most valuable brands in the world,
it is still among the corporations having the best audio brands. T-mobile, the international mobile
telephone division of Deutsche Telekom owns the second most recognized audio logo in the
world. It was created by Lance Massey in 1999. Here is the sample of the trademark:
http://youtu.be/bPB-2RwqH0U. Here is one of the newest commercials where the significant
sound mark is attached to a logo: http://youtu.be/9FVETgTsE0Y. Unfortunately, there is a huge
lack of data regarding T-mobile’s sound logo, e.g. there are no comments about the sound both
from developer and from the corporations itself.
McDonald’s is the next corporation with an impressive sound identity. During 73 years of
existence McDonald’s has presented quite a lot of advertisements. The very first was launched in
1963
where
McDonald’s
is
called
“the
favorite
place
in
town”:
http://www.youtube.com/watch?v=NPNKsgwj8aQ. After this, in late 1960s, McDonald’s presented
the first slogan “The closest thing to home”: http://www.youtube.com/watch?v=mHbY3VdaoPQ.
37
Later on, there were a lot of slogans introduced to the world, around 35. Otherwise, the first
slogan to be converted into a jingle was “You deserve a break today”, launched in about 1971:
http://www.youtube.com/watch?v=BqRH8wEsaVQ. Then, there were a number of jingles
introduced, like “McDonald’s and You”, “Good time, great taste”, “Have you had your break
today”: http://youtu.be/J4Z7fjaCEy0; http://youtu.be/bfjqJz80TL8; http://youtu.be/lbgao2keSjc;
In 2003, McDonald’s launched the first global advertising campaign which was began in
Germany, with the slogan “I’m lovin’ it” and the jingle: http://youtu.be/dI-xHMM8wXE. This
campaign was special as the slogan was translated in many languages and, according to Brand
Republic, advertising was presented “in almost all of the 118 countries where the fast food giant
can be found” (“McDonald's prepares to roll out first global advertising”, 2003). As Charlie Bell,
McDonald's president and chief operating officer stated, “I'm lovin' it” will be a unifying element
for the global creative approach... that connects with customers as only McDonald's can” (ibid.).
The popular slogan is used until these days, even with the short whistle which stands instead of
“ba-da-ba-ba-ba” which is the beginning of the slogan: http://youtu.be/Ff9T4q2RkVI.
The other corporation having the significant sound identity is Nokia. In Forbes’ list of the
most valuable brands, Nokia is in 72nd place. What is related with the music, Nokia is best known
for its classical tune invented in 1994: http://www.youtube.com/watch?v=_fQlplL5unE. The
melody was created by combining Francisco Tarrega’s “Gran Valse” http://youtu.be/Hsp6dRfL4A and Frederic Chopin’s “Grande Valse” http://youtu.be/tLQ-6_OIds4. The created tune
became very powerful and according to the sources of 2011, “is now heard worldwide an
estimated 1.8 billion times per day, or about 20,000 times per second” (“7 Nokia world records
that will blow your mind”, 2011). According to the article “Nokia’s Triumph in 2007 Registrability of Sound Marks and Areas of Concern”, later, in 2007, because of its influence on
people’s mind, the special Nokia tune was registered as the official sound trademark of the
corporation: http://www.youtube.com/watch?v=HjH5gzV8S-Y. On the other hand, there is
impossible to find any usages of this sound identity. It is not used in Nokia commercials, as
corporations normally do.
On the ground of many sources, including “Nokia will give you $10 000 to remake its
ringtone” article, in 2011, Nokia launched a contest for an improved to Nokia tune melody to be
improved. The winner’s prize was $10 000. As stated in “Remember the Nokia Ringtone
38
Contest? Presenting the winner: Nokia Dubstep Edition Ringtone” article, “the goal was to create
a 24 second ringtone (977kb) that would embody Nokia”/”The winner is Italian DJ Valerio
Alessandro Sizzi who created a Nokia Tune Dubstep Edition”. Here is the sample of the new
tune: http://youtu.be/WunwStjTeFw. There were a lot of different opinions about the new Nokia
tune version, but then it was explained that the old original tune will not be replaced and the
dubstep version will only be the optional choice in the phones. It was said that “the Italian DJ’s
version has divided listeners who seem to either love it or hate it”/” But there’s no need to panic,
it was never intended to replace the much-loved, original Nokia Tune” (Davies, 2011”). Then, in
2013, Nokia presented a new tune again: https://soundcloud.com/nokia-design-team/nokia-tune2013. It was explained that “the latest renewal is not a radical revolution, but more of a subtle
evolution” (Saura, 2013). To sum up, the newest tune is more praised than the dubstep version of
2011. No doubts, as Nokia is always ready for the changes, the new incredible sound identities
will be introduced in the future.
The other corporation to discuss is Apple. Well, this honorable corporation is in the 1st
place in the Forbes’ list, having the most valuable brand in the world, costing 104.3 billion
dollars.
The sounds of Macintosh Apple are perfectly recognizable and familiar since it was
created. The most famous is the startup sound, invented by Jim Reekes. Here is what he tells
about the process of creation which took place in his home studio:
“(It’s) played with both hands stretched out as wide as possible (with 3rd at the top, if I
recall). This just sounded right to me. I wanted something really fat, heavy bass, high
notes, and a sharp attack. The chiffy sound was from pan pipes and something like a stick
hit (I'm testing my memory here). I wanted lots of evolving timbres, stereo phasing, and
reverb for further richness” (Whitwell, 2005).
At the end of 2012, according to a number of sources, including “Audio Branding: Apple Finally
Trademarks Startup Chime” (2012), Apple registered the startup chimes of Mac as trademark of
this corporation. The startup sound fit to the rules as the trademark only can be such a sound that
is “inherently different or distinctive that it attaches to the subliminal mind of the listener…an
association with a source or event with which it stuck” (Lizerbram, 2013). Here, you can listen to
the startups of Mac: http://youtu.be/GSuVacw8I-o. Since that time, chimes were started to be
used in commercials, as sound logos. The sound logos are not exactly the copies of startup
39
chimes, but they both still contain only one note. It is possible to recognize piano
http://youtu.be/C1QLMHgX_VU or guitar http://youtu.be/kK0_OVn_uxA instruments used.
The next is this discussion goes BMW which is a car and motorcycle manufacturing
company. In Forbes’ list, it has its honorable 11th place with 27.9 billion dollars. That’s the value
of BMW brand.
In the sound branding world, BMW is very well-known for its sound logos. Many years,
since the sound logo was presented in 1998, BMW commercials were perfectly recognizable
because of its special sound. The sound is often described as “double-gong”. Nonetheless, in
2013, BMW presented the new sound logo. Joachim H. Blickhäuser, head of Corporate and
Brand Identity at BMW Group talks about this:
“Acoustic elements are an important aspect of the BMW brand appearance. As part of the
evolution of our acoustic branding, we are replacing the “double gong” used for the past
14 years with a new sound logo, which gives the brand a distinctive modern, aesthetic
and dynamic recognition factor and can be used in many different ways worldwide”
(Napoleone, Bilgeri, 2013).
The new sound was designed Thomas Kisser from HASTINGS media music tries to explain how
he managed to create an interesting new audio identity for BMW:
“It was a very intensive process and a wonderfully exciting challenge right from the start.
The questions I asked myself at the outset were: What does the BMW brand sound like to
me? Which sound themes represent the values I associate with BMW, such as Sheer
Driving Pleasure, aesthetic appeal and power? And how can I create a sound logo that
clearly differentiates the brand from other brands – especially other automotive brands?
Important criteria for the development process included global cultural compatibility,
variability of application, brand fit and recognition value” (ibid.).
Here is a great presentation of old and new sound logo: http://youtu.be/qZ7IWJLrxZo. Also, the
commercials with the old sound logo http://youtu.be/NJizIhZrYgA, and with the new
http://youtu.be/ujmadGhBFhk. Well, as the improved sound logo is now on top, the audience
will have to wait for the new edition to be launched again.
Meanwhile, 20th Century Fox is the 9th leader with one of the most influential audio
logos. Fox is in the 46th place in the list of most valuable brands.
20th Century Fox has an unforgettable sound logo – a fanfare which was created by
Alfred Newman in 1935. It is known that “the familiar fanfare…accompanies the studio logo at
40
the beginning of Fox's productions, and still introduces Fox pictures today” (“Alfred Newman”).
Here is the popular sound of Fox: http://youtu.be/7EIIEQpE2MU. On the other hand, the familiar
fanfare was modified as the corporation established a new media and entertainment company,
21st Century Fox: “News Corporation has chosen the name 21st Century Fox for its new media
and entertainment company, which will include Fox News, Fox Broadcasting and its Hollywood
television and movie studio” (Chozick, 2013). Here is the sample of sound logo:
http://youtu.be/6UreY3OANks. Well, as everyone was very accustomed to see the old logo and
hear the old sound, it may be quite hard to hear the new sound identity, as each movie of 20th
Century Fox was began by the significant and hard-to-forget fanfare.
The following corporation owning an interesting sound identity is Mercedes-Benz which
is a car manufacturer. The first sound logo of this company was introduced in 2007:
http://youtu.be/X0EB_vl4rik. At that time, Vice President Brand Communications MercedesBenz Cars, Dr. Olaf Göttgens talked about the new sound logo in this way:
“Our new sound logo is going to make the Mercedes-Benz brand not only visually, but
also acoustically distinctive, and thus more quickly recognizable”/“This acoustic
trademark is a perfect fit for Mercedes-Benz - it is emotional, elegant, and unmistakably
associated with our brand” (Hodzic, 2007).
Nevertheless, after two years, Mercedes-Benz company refused its sound logo and stopped using
it. Without a doubt, a decision probably seems quite strange as sound identities can only bring
benefit. Still, Mr. Anders-Sundt Jensen, Vice President Brand Communications Mercedes-Benz
Cars explains the choice to get rid of sound logo: “It is obvious that you always question whether
you have achieved certain objectives. Regarding the Sound Logo we have analyzed that the
brand Mercedes-Benz is strong enough without one.” (Illner, 2010). Well, the decision is quite
questionable and can be criticized. On the other hand, it’s really not an obstacle for MercedesBenz to be one of the most valuable brands in the world, taking the 16th place.
In 2013, Mercedes introduces “Sound with Power” campaign which is dedicated to
explore “how sound has the power to incite a range of emotions, such as excitement, happiness
and
nostalgia”
(Brockington,
2013).
It
can
be
noticed
that
in
the
video,
http://youtu.be/Z8dgAXpl0w4, the visual logo is followed by the sound of engine – here is how
the new sound logo of Mercedes may have born - “a simple sound of engine”.
41
To tell the truth, that’s quite strange to see the campaign, stating that the power of sound
is huge, while the corporation has refused to have the sound identity of its logo. Maybe, the
sound logo wasn’t successfully created, but still, at least it did exist.
Then, what goes after Mercedes-Benz and, according to Audio Branding Academy and its
Barometer survey of 2013 is named as the corporation with one of the best audio brands in
world is MGM.
Most likely, an incredible number of animation fans remember the popular sound
trademark of MGM: http://youtu.be/URZjy81KP-w. This sound trademark had funny variations,
dedicated for particular animations: youtu.be/fz1msVXTWFg; http://youtu.be/IYW2rOYj22w.
The familiar lion’s roar reigns until these days.
Yahoo! which, unfortunately, is not in the list of the most valuable brands of 2013, is still
a holder of a powerful sound trademark. The popular yodel was invented in 1996, by Wylie
Gustafson. Here is the sample: http://youtu.be/bFxkgsAwBr8. As it is stated, the creator “sang
the three-note signature yodel for Yahoo’s first television ad in 1996” (Manoj, 2008). Since that
time, the popular “yahooooo” is used everywhere and in ads also. Here are the examples of the
videos with a yodel used as a sound trademark at the end of each advertisement:
youtu.be/UmSG8DAPF8w;
youtube.com/watch?v=brRaOeAaedM;
youtu.be/eNfm0Fhkmi4.
But everything didn’t go perfectly as the developer of the yodel sued Yahoo! in 2002, claiming
that “Yahoo continued to use his yodel without compensation and, as a result, allegedly violated
his registered copyright” (Mariano, 2002). Here is how the position of the yodel’s creator is
expressed:
“Gustafson said he yodeled for Yahoo in 1996 in its first television commercial and was
paid $590. But he said Yahoo took his audio track for that commercial and began using it
in subsequent commercials beginning in 1999, including TV commercials broadcast from
the Academy Awards and the Super Bowl. He said that he wanted to be paid for residual
royalties” (ibid.).
However, Yahoo! successfully continued using yodel in their marketing. In 2009 Yahoo!
launched a new ad campaign. The advertisement of “It’s You” campaign is provided in the
following link: http://youtu.be/i81AUKpQoOw. One of the aims of this campaign was to renew
the old yodel and make it more interesting to the customers, provide the opportunity to use a
42
more personalized version of yodel. According to the source, “Yahoo gives its famous yodel a
musical makeover, adapting it to 22 music genres” (Guevin, 2009). There is a chance to listen to
some fresh yodels here: http://news.cnet.com/8301-17938_105-10377013-1.html. Well, that’s an
interesting and charming decision and campaign of Yahoo!.
2.2 Review and Discussion of Cases of Sound Brands in Lithuania
While some worldwide brands can demonstrate and praise their sound identities, some
Lithuanian companies can also do this. Although sound identities of these companies are not
known by the rest of the world, without a doubt, Lithuanians do remember them. Even if
consumers never pay attention to it, Lithuanian sound brands stuck into mind while you are
watching television or listening to the radio. To tell the truth, the worst part here is that if you
ignored one or another sphere for a longer period of time, you may miss some sound brands and
may have never heard them. If you are a decent television watcher you may know significantly
more sound brands than those people who have no time for TV.
The fact is very clear that if one watches television very often, most probably the sound
brands that remain in memory are those belonging to communications companies, e.g. Bitė
Lietuva or Omnitel. To tell the truth, despite the fact that I personally watch television very
rarely, when I turn it on, the first sound brands that I notice are those of the presented
communications companies. Maybe it is because the commercials of these companies are more
interesting and original than the rest of others or maybe the sound brands are truly influential.
Well, in my opinion, both reasons fit. The provided reference contains sound brand of Bitė
Lietuva: http://www.youtube.com/watch?v=WzjKiqzuAIM. What regards Omnitel, as it can be
noticed, there are two sound brands which are used interchangeably. As much as I managed to
find, one of them is older and as for me, known better, while the other is newer. Here are the
samples
of
older
youtube.com/watch?v=JkgYrwyhq8E
and
newer
youtube.com/watch?v=SW8eCbAMU7Y one. To add, there was an attempt to get unpublished
data about sound brands of Bitė and Omnitel and representatives of these companies were
provided with questionnaires. These included questions on the exact data when sound brands
were invented, who initiated it and what benefit can was brought. The representatives promised
to provide such information, but finally, it didn’t happen. Unfortunately, an attempt to get the
43
data which cannot be found anywhere wasn’t successful, though it would be very beneficial and
interesting.
The next sound brands which can be met while watching television of course are the ones
of TV channels. The main three televisions LRT, TV3 and LNK have their interesting sound
identities:
youtube.com/watch?v=yeh-ZbXLZME;
youtube.com/watch?v=a6t4EzDhsT4;
youtube.com/watch?v=Bs9zRl3z7rc. These sound brands most likely are the most easily
recognizable, because they are played together with the logos which are shown before and after
the sets of commercials.
As well as the presented in previous chapter, most powerful sound brands of the world
are maybe more successful and valuable thanks to sound identities, some Lithuanian brands can
be also called one of the most valuable because of the sound they have. Even if the list named
„Lithuania Superbrands 2007“ was made on the grounds of other criteria, sound identity is
always an important part, allowing some Lithuanian brands to be recognized more other than
others. Brands of Bitė Lietuva and Omnitel can be also called superbrands of Lithuania. LNK is
also not an exception, while TV3 and LRT do not fall into the list of Lithuanian superbrands.
Well, this fact is quite strange as for example, TV3 is equally popular television as LNK and
LRT is a national television and is also watched by many citizens. One way or another, sound
identities have probably played its part here and made some mentioned brands much more
widely recognized.
If previously presented sound brands of Bitė Lietuva and Omnitel are very much seen
on television commercials, there are some kinds of others which can only be heard while
listening to radio. To make it more clear, the radios having the same intros for many years can
claim to have a powerful and never forgotten sound brands. The first to introduce is the intro of
M-1 plus radio station: http://www.youtube.com/watch?v=HA0UDlAV75w. The next is the
intro of Radiocentras radio station: http://www.youtube.com/watch?v=E34NsYx4Lbg. In both
cases, the name of the station becomes the sound identity together qith a special sound elements.
At the same time, the brand of M-1 plus station also falls into the category of superbrands of
Lithuania. Most probably, the sound identity of this radio station makes the brands more
popular and better recognizable.
44
To conclude, it is a very hard task to find any data about sound brands of Lithuania and
even those of world. Despite the fact that such brands as Coca-Cola or BMW are worldwide and
everyone know about it, its not easy to find reliable data. The problem is even bigger with
Lithuanian sound brands as this sphere of marketing is quite new, specialists almost do not talk
about this publicly as well as the owners of brands do not publish any useful data.
45
3. EMPIRICAL RESEARCH OF SOUND BRAND
APPLICATION IN LITHUANIA
3.1 Methodology of Research
To begin with, the research made in this master thesis is both quantitative and qualitative.
Quantitative research is done when the aim is to get familiar with the common tendencies of
public opinion. A lot of sources write about both types of researches. Qualitative research is
described as flexible where the researcher is free to make some interpretations of findings. The
guide on “Qualitative vs Quantitative Research” provides features of both types of researches,
claiming that qualitative research is made “to provide insights into the setting of a problem,
generating ideas and/or hypotheses for later quantitative research” (“Qualitative vs Quantitative
Research”, n.d.). Moreover, the outcome of the research is also provided: “Exploratory and/or
investigative. Findings are not conclusive and cannot be used to make generalizations about the
population of interest. Develop an initial understanding and sound base for further decision
making” (ibid.). Hence, qualitative research allows researcher to get answers and make some
open-ended conclusions.
In this master thesis, the qualitative research is made in order to get to know what simple,
ordinary people know about sound brands. Respondents are provided with 2 research questions.
Meanwhile, the other type of research conducted in this master thesis is an interview. The
interviews are taken from specialists from advertising and marketing fields.
The qualitative research was firstly conducted in order to find out what ordinary people
know about sound brands and first of all, whether they know what this concept means. If they
don’t know the concept, most probably they do not know any exact and accurate cases of sound
brands. That’s exactly what was found out when the research was conducted and answers were
collected. The qualitative research includes two questions asking whether respondent is familiar
with the concept of sound identity and secondly, whether he/she can name some cases of sound
brands. The questions and the table with the results can be found in Appendix 3. In total, 80
respondents were questioned and the results have shown that only 11 of them answered “Yes”
when they were asked about the concept of sound brand. This means that the rest 69 respondents
46
didn’t continue and didn’t try to answer the second question. Meanwhile, those who answered
the first questioned, continued, and tried to answer the second. Unfortunately, only two
respondents out of 11 answered correctly, naming right examples of sound brands while the
remaining 9 provided the cases of sound marketing not of sound brands. Finally, 13.75 percents
answered “Yes” to the first question, but only 2.5 percents answered correctly while naming
examples of sound brands, not confusing it with sound marketing.
To sum up, as only 2.5 percents out of 80 respondents, answered correctly about sound
brands, the qualitative research will is made by interviewing specialists of the related field as
they are the only ones who most probably have the biggest amount of knowledge about this.
What regards qualitative research, 5 respondents are chosen. The interviews taken are
personal, because these are considered to be very advantageous. To begin with, personal
interviews are flexible. This means that the whole situation of the interview can be controlled
and observed by the interviewer. If the respondent finds some questions unclear, the interviewer
can easily explain it in more details. Then, the interviewer can control the flow of the interview.
If it is needed, he/she can change the order of the questions, decide to include or exclude
anything if it is necessary. Finally, personal direct interviews always ensure that the answer will
be given, comparing with the questionnaires, when interviewer doesn’t always get the response.
The type of interview of this survey is semi-structured. This type of interview is discussed in
article “Using Interviews As Research Instruments”:
“in this type of interview the order of the questions can be changed depending on the
direction of the interview. An interview guide is also used, but additional questions can
be asked/In addition, the researcher can explain or rephrase the questions if respondents
are unclear about the questions” (Kajornboon, 2011, p. 5, 6).
Thus, semi-structured interviews are more free, not strictly planned and can in case it is needed,
can be adjusted.
The interviews are taken from 4 specialists working in marketing field. The sample of the
interview is provided in Fig. 7 (see Appendix 1). Interviews are analysed by counting on the
usual procedure of qualitative data analysis.
As the interviews are taken and the data is
47
collected, it is put in one place, entered to one table and then, patterns and relationships are being
searched for. Finally, the findings are summarized.
3.2 Analysis of Interviews
The analysis is made on the grounds of the answers of the interviews taken from 4 Lithuanian
specialists of the related fields: Asta Ivanauskienė (chairman of the board at GAMADIGI
(Digital design agency)), Mindaugas Sinkevičius (Marketing specialist at Enigma Software
Group (Computers and servicing)), Gintaras Šeputis (the Chairman of the Board of the KOMAA
(Association of Lithuanian communication agencies)) and Saulius Kazlauskas (the owner of
Onyx BMT (Advertising agency)).
The 6 interview questions are presented in Appendix 1. The results/answers of the
interview are provided in Appendix 4. There were no restrictions on how the respondent can
answer the questions. If there were any inaccuracies, the respondent was explained in greater
details.
When starting to analyze the collected answers, it is clearly seen that the first question,
asking whether respondents are familiar with the term sound brand, was answered very shortly
by two respondents. They only approved that they know the concept of sound brand – answering
with “Taip/Yes” and “Teko/Yes”. The other two respondents answered in greater details.
Gintaras Šeputis’ answer makes it clear that he knows the term for a long period of time and that
he himself have participated in the processes of sound branding. Šeputis claims that sound brand
as phenomena “exists for a long period of time”. His answer makes it clear that people got to
know much about sound brands only a decade ago. The other respondent, Mindaugas
Sinkevičius, also approved that he knows the term and besides, added some beneficial
information. He claimed that “USA and Asia uses sound identity for a long period of time”.
Moreover, while answering first question, he named some examples of sound brands - sound of
Intel and Audi.
Well, the answers of the specialists show that they all perfectly know what sound brands
are and that they also can tell some useful information about this.
48
The second question asks about the influence of sound identity on the brand and the
increase of popularity of the brand thanks to the sound. The explanations of specialists show that
sound is undoubtedly a very beneficial element of the brand. According to Asta Ivanauskienė,
“the whole identity includes 2 – 10 percents of sound”. Also, she shortly added that sounds really
make the brand more recognizable. Meanwhile, Gintaras Šeputis approves that sound brings
benefit to the brand. He also provided the source proving that sound identity increases the
popularity of the brand. The third specialist, Saulius Kazlauskas, agreed that sound identity
makes the brand well-known. Finally, Mindaugas Sinkevičius agreed with specialists and said
that “it is easier to remember sounds as they affect our subconsciousness”. What should be also
noted – the ideas of Saulius Kazlauskas and Mindaugas Sinkevičius about visual identity. While
answering the second questions, both specialists emphasized the power of combination of sound
and visuals. Saulius Kazlauskas stated that “sound identity is not less powerful than the visual
one”. Mindaugas Sinkevičius said that “visual identity is more powerful when in combination
with sound elements”. As Martin Lindstrom in his book “Brand Sense” claims, “all
communication techniques used today have one thing in common: they’re all based on two
senses – sight and sound” (2005, p. 16). There is no surprise as sight is the most important sense
while sound or hearing is the third.
The third question of the interview asks to name any examples of the sound brand usage
in Lithuania. Three respondents answered in greater details, while Saulius Kazlauskas said that
he knows the examples of the sound brands in Lithuania, but none of them are professionally
made. The rest of the specialists named some interesting examples of sound identities of
Lithuanian brands. To begin with, Asta Ivanauskienė named a list of examples: M1; M1 plius;
Radiocentras; TV3; LNK; LRT; smspinigai.lt; BMW (youtube.com/watch?v=tqZcSPXPhcc);
Intelinside; At the same time, Gintaras Šeputis said that “all bigger brands of Lithuania have
tried to obtain sound identities”. He added that according to him, the successful cases are the
ones of IKI and RIMI shop centers, more specifically, the sounds of scanners. Then, Mindaugas
Sinkevičius told that Lithuania knows very little in this sphere and that only first steps are made
in this field. However, he named two examples of influential sound brands in Lithuania – the
ones of Bitė Lietuva and Omnitel.
It is important to note that none of the specialist named the same examples and that all of
them were different and interesting. To sum up, such sound brand cases as Radiocentras, M1
49
plus, Bitė, Omnitel, TV3, LNK, LRT were also presented in section 2.2 where most influential
sound brands of Lithuania were introduced.
The further question that specialists were asked is related with the future perspectives of
the usage of sound brands in Lithuania. Specialists were asked to express their opinion and tell
whether more Lithuanian companies will decide to obtain sound identities, or it will be ignored
and not paid attention to. Well, the review of the answers of specialists allows making a
conclusion that sound brands will become more and more popular with each year. Asta
Ivanauskienė claimed that sound brands will become well-known little by little. Saulius
Kazlauskas then stated that people will assume the importance of sound brands, but not on a
huge level and it will still remain the secondary tool as other types of tools will be still more
popular. Mindaugas Sinkevičius and Gintaras Šeputis also presented some revealing ideas about
the development of the usage of sound brands. Šeputis said that budgets of advertising are about
to grow, so companies will probably invest more into the inventions of sound identities.
Meanwhile, Mindaugas Sinkevičius added that despite the growing development of the usage of
sound brands, it is quite an expensive pleasure for a company to have its own sound identity.
According to Sinkevičius, most of Lithuanian companies are not so huge to have their own logo
sounds.
The remaining two questions of interview are related not exactly with the sound brands,
but with broader concept – sound marketing. In question 5, specialists were asked to present their
opinions about sound marketing and tell whether they consider it beneficial.
To begin with, all specialists answered quite explicitly. Importantly, 3 specialists out of 4
emphasized the importance of consistency. To make it more clear, they claim that sounds should
be used consistently and fit to the values of the brand. For example, Saulius Kazlauskas stated
that “sound marketing is very beneficial, especially if it corresponds with the identity and values
of the brand“. Asta Ivanauskienė then claimed that sounds are used inconsistently in many cases.
If they are used properly, the opinion of the consumers about the brand becomes more positive.
At the same time, Mindaugas Sinkevičius and Gintaras Šeputis named some examples of the
sound marketing. Gintaras Šeputis claimed that the choice of the right music can influence the
length of consumer's shopping process. To tell the truth, this fact was already proven by the
research conducted by Nell and introduced in earlier chapter. As it was said, „if the music is too
loud, users spent less time in the store or if they hear the music from very far they do not enter
50
the shop at all” (Nell, 2013, p. 113). While answering question 5, Gintaras Šeputis also metioned
the mantra of Maxima shop center which was often played instead of music. The mantra says
„everything is and will be okay“ which is a positive thing for costumers during economical crisis
of the country. Mindaugas Sinkevičius ends with the ideas of combining two sensory elements,
sound and smell. As an example, he provides „Singapore Airlines“ which is also described in
Martin Lindstrom’s book. The author states that “even the announcements from the captain were
carefully scripted by the advertising agency” (2005, p. 14). What regards smell, “Singapore
Airlines” presented their unique smell named Stefan Floridian Waters in 1990s. This smell has
been used everywhere, beginning from towels and ending with the clothes of the flight
attendants.
While specialists have earlier provided examples of sound brands, 6th question asked
them to provide influential cases of sound marketing. It is interesting to note that answers of the
specialists allow making a meaningful conclusion. While Saulius Kazlauskas didn’t provide any
examples of sound marketing, two other specialists repeated that the provided cases of influential
sound brands can be treated as examples of sound marketing. At the same time, Mindaugas
Sinkevičius introduced Radiocentras and M-1 radio stations as good examples of sound
marketing while these are more examples of sound brands than of sound marketing. Importantly,
the answers of three specialists of the related fields show that concepts of sound brand and sound
marketing can be used interchangeably. Although, sound marketing means a usage of the sounds
and music in a whole and sound brand is a musical element of a brand, the latter one can shortly
be presented as a technique of sound marketing.
51
CONCLUSIONS
The aim of master’s thesis is fully accomplished and the tasks are completely finished. As it was
planned, the thesis firstly includes the explicit theoretical framework explaining the most
significant concepts, beginning with corporate identity and finishing with five senses in
marketing. Then, the most influential and powerful sound brands in the world are provided and
discussed. Lithuanian brands are also not forgotten, so it is possible to find the analysis of the
existing influential sound brands of the country. The last part of the thesis included the empirical
research. The first section encompasses the description of the methodology of survey. The
second section of the last part of the thesis provides analysis of the interviews taken from 4
Lithuanian specialists working in advertising and communication fields.
The qualitative analysis of interviews let important findings to be revealed. To remind,
the interviews were firstly taken in order to get to know what Lithuanian specialists of the related
fields know about sound brands and do they consider them to be a powerful tools. The secondary
aim was to find out what are the perspectives of the development of the usage of sound brands in
Lithuania, according to specialists. Finally, the answers of the respondents should provide the
opinions about sound marketing.
The qualitative research where public opinion was the aim have shown that ordinary
Lithuanian people do not know much about sound brands as only 2 respondents out of 80
provided correct examples of Lithuanian sound brands. After this, it was decided that specialists
of the related fields are the only persons able to provide some useful data about sound brands,
especially those of Lithuania. After the analysis of interviews, several conclusions can be made.
Firstly, that all 4 specialists are familiar with the term sound brand and that, according to some
of them, it is not new at all. While public knowledge about sound brands is very poor, specialists
know a lot about it. Secondly, 4 specialists of the related fields approved the usefulness of
sounds. In general, they claimed that sound identity can really make brand more recognizable.
Additionally, they emphasized that visual tools in marketing are not as useful as they are when in
combination with sounds. Then, 3 out of 4 specialists were able to provide real examples of
sound brands of Lithuania. This demonstrates that specialists are familiar with Lithuanian sound
brands what cannot be said about ordinary people. After this, it can be claimed that sound brands
will become more and more popular with each year which is a great new. Although it will
52
happen very slowly, more and more Lithuanian companies will stop being skeptical about the
benefit of sound identities and return on investments. When asked about sound marketing in
general, specialist stated that sounds in any marketing platform are very useful, but if used
consistently. Sounds affect our minds, so, by playing a particular type of music it is possible
even to make consumers act differently. Finally, the analysis of the question 6 has shown that
concepts of sound brand and sound marketing can be used interchangeably as they claimed that
the examples of sound brands are also the examples of sound marketing.
53
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http://thenextweb.com/mobile/2011/09/08/where-did-that-nokia-themetune-really-come-from/. 2013-11-01.
65. Trout, J., Rivkin, S. 2008. Differentiate or Die: Survival in Our Era of Killer
Competition. 2nd ed. Hoboken, New Jersey: John Wiley & Sons.
66. Valenti, C., Riviere, J. 2008. “The Concept of Sensory Marketing” (doctoral
dissertation,
University
of
Högskolan
i
Halmstad).
Accessed:
http://stosowana.files.wordpress.com/2010/12/the_concept_of_sensory_marketing.pd
f . 2013-09-11.
67. Van Riel, C. B. M. 1995. Principles of Corporate Communication. London: PrenticeHall.
68. Whitwell, T. 2005. “Tiny Music Makers: Pt 4: The Mac Startup Sound”. Accessed:
http://musicthing.blogspot.com/2005/05/tiny-music-makers-pt-4-mac-startup.html.
2013-11-09.
69. Winther, J. 2012. “Sound Brand Fit” (master’s paper, Copenhagen Business School).
Accessed:
http://www.kommunikationsforum.dk/log/multimedia/PDF%20og%20andre%20doku
menter/Specialer/Thesis_Julie_Winther_Sound_Brand_Fit_a_cross_modal_study_of_
the_perception_of_fit_between_sound_logo_and_brand_2703.pdf. 2013-10-15.
57
70. Zander, M. F. 2006. “Musical Influences in Advertising: How Music Modifies First
Impressions of Product Endorsers and Brands, Psychology of Music, 34(4), pp. 465480.
58
Appendix 1
Interview questions
1. Ar teko girdėti apie prekės ženklo garsinį identitetą (angl. sound (audio, sonic)
branding)? / Is the term Sound (Audio, Music) branding familiar to you?
2. Jūsų nuomone, kokios įtakos prekės ženklui (brandui) turi jo garsinis identitetas? Ar
unikalus garsas gali prisidėti prie prekės ženklo atpažįstamumo? / In your opinion, how
does the sound identity influence the brand and does it make the brand more
recognizable?
3. Ar žinote garsinio prekės ženklo (angl. sound logo) pritaikymo atvejų Lietuvoje? Kaip
juos vertinate? / Do you know any sound branding cases in Lithuania? How would you
evaluate it?
4. Jūsų nuomone, ar garsinio prekės ženklo įgyjimas Lietuvoje ateinančiais metais tik
populiarės ar nesulauks didelio įmonių vadovų ir auditorijos susidomėjimo? / In your
opinion, what are the future perspectives of sound branding in Lithuania? Will it become
more popular and more used or will it remain only the secondary tool in marketing
strategies of Lithuanian companies?
5. Ką manote apie garsinį marketingą (angl. sound marketing) kaip emocinio marketingo
šaką? Jūsų nuomone, ar muzikos naudojimas kurioje nors iš įmonės platformų gali atnešti
naudą? / What do you think about sound marketing which is a branch of emotional
marketing? In your opinion, do you think that the usage of music in any platform of the
company can be beneficial?
6. Ar žinote sektinų garsų marketingo pritaikymo pavyzdžių Lietuvoje? Ar šios įmonės
garsus naudoja tikslingai ir ar laikosi nuoseklumo? / Do you know any good examples of
59
sound marketing in Lithuania? Do these companies rely on the sound marketing
consistently and purposefully?
60
Appendix 2
Fig. 6: Audio branding personality communication framework (Müller and Kirchgeorg,
2010, p. 197, as cited in Winther, 2012, p. 20)
61
Appendix 3
Research on sound brands
1. Ar teko girdėti apie prekės ženklo garsinį identitetą (angl. sound (audio, sonic)
branding)?/Is the term Sound (Audio, Music) brand familiar to you?
2. Ar galėtumėte pateikti garsinio prekės ženklo pavyzdžių?/ Can you provide any examples
of sound brands?
Respondento
nr./Respondent
no.
1. Ar
teko
apie
1. Ar galėtumėte pateikti
garsinį
garsinio prekės ženklo
identitetą (angl. sound
pavyzdžių?/ Can you
(audio,
provide any examples
prekės
girdėti
ženklo
sonic)
branding)?/Is the term
Sound
(Audio,
of sound brands?
Music)
brand familiar to you?
1.
Taip/Yes
Manau, jog parduotuvėse
grojanti muzika pritraukti
žmonėms/I think that the
music played in shop in order
to attract contumers
2.
Ne/No
-
3.
Ne/No
-
4.
Ne/No
-
5.
Ne/No
-
6.
Ne/No
62
7.
Ne/No
-
8.
Nežinau/I don’t know
-
9.
Ne/No
-
10.
Ne/No
-
11.
Ne/No
-
12.
Taip/Yes
Kompiuterio garsas jį
įjungus/The sound of computer
bootup
13.
Ne/No
-
14.
Galbūt/Maybe
-
15.
Ne/No
-
16.
Taip/Yes
Įmonės muzikinis video/Music
video of company
17.
Taip/Yes
Muzika parduotovėje/Music in
a shop
18.
Ne/No
-
19.
Ne/No
-
20.
Manau, kad ne/I think not
-
21.
Ne/No
-
22.
Ne/No
-
23.
Tikriausiai kad ne/Most
probably not
-
24.
Ne/No
-
25.
Veikiausiai ne/I think no
-
26.
Taip/Yes
Radiocentro muzikėlė/Sound
identity of Radiocentras radio
station
63
27.
Taip/Yes
Garsai naudojami per
reklamas/Sounsd played on
advertisements
28.
Ne/No
-
29.
Ne/No
-
30.
Ne/No
-
31.
Ne/No
-
32.
Ne/No
-
33.
Ne/No
-
34.
Ne/No
-
35.
Ne/No
-
36.
Ne/No
-
37.
Ne/No
-
38.
Ne/No
-
39.
Ne/No
-
40.
Ne/No
-
41.
Ne/No
-
42.
Ne/No
-
43.
Ne/No
-
44.
Ne/No
-
45.
Ne/No
-
46.
Taip/Yes
Muzikėlė internetiniam
puslapyje/Music on website
47.
Ne/No
-
64
48.
Ne/No
-
49.
Ne/No
-
50.
Ne/No
-
51.
Manau taip/I think yes
Galbūt muzika
restorane/Maybe music in
restaurant
52.
Ne/No
-
53.
Ne/No
-
54.
Ne/No
-
55.
Ne/No
-
56.
Ne/No
-
57.
Ne/No
-
58.
Ne/No
-
59.
Ne/No
-
60.
Ne/No
-
61.
Ne/No
-
62.
Ne/No
-
63.
Ne/No
-
64.
Ne/No
-
65.
Ne/No
-
66.
Taip/Yes
Muzika radijuje/Music on the
radio
67.
Ne/No
-
68.
Ne/No
-
69.
Ne/No
-
65
70.
Ne/No
-
71.
Ne/No
-
72.
Ne/No
-
73.
Taip/Yes
Muzika IKI
parduotuvėje/Music played in
IKI shop
74.
Taip/Yes
Reklaminė muzika/Advertising
music
75.
Ne/No
-
76.
Ne/No
-
77.
Ne/No
-
78.
Ne/No
-
79.
Ne/No
-
80.
Ne/No
-
66
Appendix 4
Answers of the interviews
67
68
69