Audio Branding 2009
DOI: 10.5771/9783845216935-36
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From Brand Identity to Audio Branding

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Cited by 14 publications
(5 citation statements)
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“…Music can be associated with a brands' uniqueness (Kemp et al, 2012) and sounds can have an impact on brand meaning (Klink and Wu, 2014). There is a distinction between different types of tourism and hotels establishments with branding like in the category of brand sounds (jingles, sound logos, brand soundscapes, and themes), and sound identity (which need not include music) which is developed specifically for the brand compared to music collaboration, including compilations, music sponsoring and events, and product/brand name placement (Kilian, 2007;Andersson, 2009). There needs to be as much depth in strategy for the audio logo as for the visual logo (Fahey 2014;Kotsi et al, 2018).…”
Section: Logo Impact Tourism and Hotels' Brandmentioning
confidence: 99%
“…Music can be associated with a brands' uniqueness (Kemp et al, 2012) and sounds can have an impact on brand meaning (Klink and Wu, 2014). There is a distinction between different types of tourism and hotels establishments with branding like in the category of brand sounds (jingles, sound logos, brand soundscapes, and themes), and sound identity (which need not include music) which is developed specifically for the brand compared to music collaboration, including compilations, music sponsoring and events, and product/brand name placement (Kilian, 2007;Andersson, 2009). There needs to be as much depth in strategy for the audio logo as for the visual logo (Fahey 2014;Kotsi et al, 2018).…”
Section: Logo Impact Tourism and Hotels' Brandmentioning
confidence: 99%
“…For a long time, sound and music have been recognised as important means for communication in marketing under the label of sonic branding (Gustafsson, 2015), audio branding (Bronner & Hirt, 2009), or sound branding (Steiner, 2014). The approved ability of music and sound to affect listeners emotionally (Juslin & Västfjäll, 2008;North & Hargreaves, 2008) and convey socio-cultural meaning and values (Stone, 2016;Tagg, 2013) is the main reason why marketing practitioners increasingly rely on music as a powerful channel for brand communication (Jackson, 2003;Kilian, 2009). Focusing specifically on music as a central means for communicating brand identity, we will only use the term music branding (Müllensiefen & Baker, 2015) throughout this work.…”
Section: Music Brandingmentioning
confidence: 99%
“…In a typical music branding scenario, marketing strategists describe their campaign goals in terms of a certain brand identity to be conveyed (Kilian, 2009). While a broad range of conceptualisations of brand identity have been proposed over decades, brand personality and brand value are essential concepts throughout these works (Burmann, Jost-Benz, & Riley, 2009;Chernatony, 1999;Nandan, 2005).…”
Section: Music Branding As Communication Processmentioning
confidence: 99%
“…Synthetic sonic gestures can be designed as signals, or as audio-branding elements such as sound logos, to improve brand experience and customer satisfaction [Kilian 2009]. The reported experiments shed light on how spatio-temporal sound trajectories are perceived and translated into actions, facilitating the design of auditory-display elements.…”
Section: Introductionmentioning
confidence: 98%