In the introductory chapter, the editors for The Oxford Handbook of Music and Advertising provide the foundation for the three main sections of the volume, in accordance with three stages of communicating the advertising message established by Wharton (2015): “Production,” “Text,” and “Reception.” The discussion of “Production” considers the contexts for the creation of audiovisual advertising, first as studied in the scholarly literature, and then according to practices and producers. Also under examination is the cultural work music performs for advertising, with special emphasis on branding. The section on “Text” focuses on the various forms and functions of music in advertising media. Text analysis in multimedia formats include discussions of how music combines with visual images and speech to convey an emotion, meaning, or ethos to an ad. Also under discussion in this part of the chapter is how music functions in commercials, both as foregrounded text and as background. Finally, the section addressing “Reception” discusses specific challenges facing researchers undertaking empirical studies on music and advertising, explores the psychological underpinnings of theory and research in this area, and points to the opportunity for more cross-fertilization of ideas between fields and greater interdisciplinary collaboration.
No abstract
Though out of vogue in the twenty-first century, the jingle was a mainstay of radio and television advertising in the late twentieth century. What made it so popular was its affinity with popular music with which it was contemporaneous. This chapter draws upon linear diagram analysis to highlight the structural similarities of commercial jingles with American popular songs. Citing works on form in American popular song by Allen Forte and John Covach, and the “beginning-middle-ending” paradigms of William Caplin and Kofi Agawu, the chapter demonstrates how the musical structure of jingles such as “See the U.S.A. in Your Chevrolet,” “Like a Good Neighbor, State Farm Is There,” and others resemble American popular songs of their time. The success of these jingles lies not only in their structural similarity with these popular songs but also in the audience’s ability to reimagine the complete structure of the tunes and to draw upon a collective cultural memory of intertextuality—what Papson calls “alreadyness”—to these advertising texts.
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