What role does the integration of music within consumer brands’ viral advertising strategies have in contributing to preferred consumer choice-making behaviour?

Evan Worm Hole

Table of Contents

I.              ABSTRACT                                                                                                         3

II.            INTRODUCTION                                                                                               4

III.          RESEARCH QUESTION AND OBJECTIVES                                               5

IV.          LITERATURE REVIEW                                                                                   6

1.     VIRAL ADVERTISING.                                                                                                              

1.1  VIRAL ADVERTISING AND CONSUMER BRANDS                         6

1.2  THE REQUIREMENTS OF VIRAL ADVERTISING FOR

CONSUMER BRANDS.                                                                          7

2.     USAGE OF MUSIC IN VIRAL ADVERTISING.                                                                        

2.1  USAGE AND EFFECT OF MUSICAL INTEGRATION

IN VIRAL ADVERTISING.                                                                    8

3.     WHERE CAN CONSUMER BRANDS DERIVE UTILITY

FROM MUSIC IN VIRAL ADVERTISING

3.1  KEY STRATEGIES.                                                                                 9

3.2  SUITABILITY AND FINDING THE SOURCE OF UTILITY.              10

V.            METHODOLOGY.                                                                                             12

VI.          CONCLUSION                                                                                                    12

4.     HOW MUSIC WILL IMPACT CONSUMER CHOICE-MAKING

 BEHAVIOUR

VII.        VALUE OF RESEARCH                                                                                    14

VIII.     LIMITATIONS AND SUGGESTIONS                                                             14

IX.          REFERENCES                                                                                                    15

I.              Abstract

This research is focused towards demonstrating how music’s integration in viral advertising provides consumer brands with the ability to influence consumer choice-making behaviour to foster ideal purchasing behaviour from consumers for consumer brands. It will do so by providing definitions for viral advertising, consumer brands and consumer choice-making behaviour before exploring three research objectives surrounding viral advertising, musical integration in viral advertising and finally, where consumer brands derive utility from this integration. Finally, the fourth research objective will be met in the conclusion of this dissertation: how will music impact consumer choice-making behaviour.

This research proposes that music is a powerful tool for viral advertising campaigns to communicate a broad yet authentic perception of their brand towards consumers, influencing which brand they decide to purchase from. Furthermore, it delineates key, scalable strategies for consumer brands of varying sizes to implement music in their viral advertising campaigns.

II.            Introduction

The intrinsic connection between music and humanity is eloquently highlighted by Matt Haig, who wrote, “Music simply uncovers what is there, makes you feel emotions that you didn’t already necessarily know you had inside you, and runs around waking them all up” (Haig, 2017). This statement finds empirical support in a 2009 study involving Cameroonian farmers and German citizens, demonstrating that individuals from diverse backgrounds can uniformly categorise music based on the emotions it elicits, underscoring music’s ability to transcend cultural barriers and market segmentation (Fritz, 2009). This insight underscores the potential for music to imbue consumer brands with positive emotions, setting them apart from competitors in crowded markets through distinctive and authentic advertising and fostering emotional connections with consumers in an age desensitised to conventional corporate messaging (Meier, 2007).

Consumer brands have increasingly recognised the advertising potential of music, embodied by examples such as Sephora's utilisation of a tailored soundtrack in post-recession 2011 to convey its brand essence while engaging its clientele (Jackson, 2013), which was preceded by Apple's iconic 'Silhouette' iPod campaign in 2003, which left a lasting cultural impact with enduring effects on its products (Allan, 2015).

This research seeks to investigate the factors that contribute to music's potential to increase the effectiveness of viral advertising in achieving common goals of consumer brands. Using these factors to explore how consumer brands can effectively harness this influence in their advertising efforts and surmount the challenges of competitive viral advertising by developing impactful and meaningful viral advertising campaigns through the integration of music, the research will form a conclusion on the impact of music integration in viral advertising on consumer choice-making behaviour (the process through which consumers identify their needs and collect information to solve how to solve this need best) which is valuable to advertising professionals working for consumer brands (Milwood, 2021).

III.          Research Question & Objectives

‘What role does the integration of music within consumer brands’ viral advertising strategies have in contributing to preferred consumer choice-making behaviour?’

Four research objectives will support this research question:

RO1: To delineate viral advertising within the context of consumer brands

The first objective aims to narrow the broad definition of viral advertising by defining consumer brands and what role viral advertising plays specifically in consumer brands.

RO2: To investigate the multifaceted use of music in viral advertising

The second objective serves to introduce music as a factor in viral advertising and the methods of implementing music in the viral advertising campaigns of consumer brands.

RO3: To compare and contrast where the consumer brands derive utility from the relationship between music and viral advertising

Objective three will reach a conclusion on what benefits there are to consumer brands of using music in viral advertising

RO4: To identify How music will influence consumer choice-making behaviour

Finally, objective four will provide a detailed conclusion of music's effect on consumers' purchasing behaviour.

IV.          Literature Review

1.     Viral Advertising (RO1)

1.1  Viral Advertising and Consumer Brands

A consumer brand is inherently focused on direct business-to-consumer (B2C) sales. Consumers engage in purchasing directly from a company for personal use, which underscores the definition of a consumer brand as one that is fundamentally motivated to cultivate an intimate connection between its products and individual consumers. This connection facilitates the establishment of a distinctive brand perception that differentiates it from competitors within the industry (Undag, 2023). In their influential work, Kirby and Marsden (2006), alongside fifteen collaborators, underscore the crucial role of innovative viral strategies through compelling consumer brand case studies in the evolution of modern viral advertising. They define viral marketing as the strategic dissemination of persuasive brand messages among consumers, chiefly via online platforms. Given that consumer brands are intrinsically designed to distinguish themselves from their competitors by fostering relationships between the products they offer and the consumers who procure them, it becomes evident how the synergy between compelling viral advertising and the consumer brand framework is constructive. This relationship enhances the efficacy of viral advertising as a powerful medium, intricately designed to convey a singular, resonant message to a broad audience. In this way, it fosters meaningful connections not only between consumers and brands but also among consumers themselves, through shared engagement with the brand experience.

Scott (2017) substantiated the findings of Kirby and Marsden, underscoring the persistent significance of these strategies within the dynamically evolving landscape of digital communication. Furthermore, Scott introduced innovative viral advertising tactics that both small and large brands can leverage to cultivate meaningful connections with consumers. This analysis suggests that viral advertising lacks a universal approach; rather, brands must meticulously devise a viral advertising strategy that is specifically aligned with their unique identity, objectives and target markets.

1.2  The Requirements of Viral Advertising for Consumer Brands

Conversely to Scott, Stratten (2010) advocates for a more fundamental approach to contemporary viral advertising techniques, emphasizing the importance of cultivating consumer relationships through traditional advertising practices. Stratten underscores the significance of social currency and relevance; however, his conclusions lean more toward anecdotal observations than empirical substantiation. While he prioritizes authenticity, the strategies he proposes for achieving this are largely rooted in his personal frustrations and experiences as a consumer, rather than being supported by established case studies, forecasts, or empirical evidence from consumer brands. Thus, his contributions to the discourse on viral advertising for consumer brands may be interpreted as a reflection of the sentiments held by consumers within his demographic regarding modern viral advertising methods. Stratten's perspectives highlight the necessity for a viral advertising strategy that engages consumers at their level, rather than adopting a condescending tone that may alienate them.

In the study conducted by Portsmouth (2003), the effectiveness of viral advertising in generating a lasting impact via customer-driven promotion is emphatically demonstrated. This research underscores the imperative for such campaigns to be innovative, multi-dimensional, and appealing to successfully cultivate enduring consumer awareness. Additionally, the technical dimensions of viral advertising are emphasized; Portsmouth asserts that these campaigns must operate reliably, functioning around the clock without interruptions to maximize their efficacy.

Nelson-Field (2013) further enriches the discourse on viral advertising by employing scientific methodologies to investigate the social prerequisites essential for achieving success in this domain. He astutely warns against the potential pitfalls of overlooking established scientific laws pertaining to buyer behaviour. The principles that Nelson-Field emphasizes are largely those identified in Sharp’s (2010) extensive research. Sharp's analysis, which encompasses a multitude of product categories and diverse geographic locations, convincingly demonstrates that a viral advertising campaign characterized by broad reach and universal appeal is markedly more effective than one that narrowly targets brand-loyal customers. This insight suggests that focusing on acquiring new consumers yields a greater impact than striving to increase sales among existing customers. Consequently, brands are confronted with a critical strategic decision: which new consumer segment should they prioritize in their viral advertising endeavours?

Wilde (2014), a preeminent authority in the domain of viral advertising, delineates branding, calls to action, and information dissemination as fundamental functions of this marketing strategy. He underscores the critical significance of scalability, the strategic leveraging of prevalent consumer motivations, the utilization of established communication networks, and the integration of existing resources, such as music, to evoke emotional responses and articulate brand identity. This multifaceted approach not only reinforces the existing fan base but also facilitates the pivotal transition of consumers into customers.

2.     Usage of Music in Viral Advertising (RO2)

2.1  Usage and Effect of Musical Integration in Viral Advertising

Wilde posits that the efficacy of viral advertising hinges on variances in culture, trust, and intimacy; a campaign that fails to meticulously align with consumers' cultural nuances, foster trust, and establish a meaningful connection on an individualized cultural level is likely to encounter failure. However, it is essential to recognize that viral advertising does not occur in isolation, even the most meticulously crafted campaigns cannot guarantee successful outcomes for brands, as unpredictable external factors inevitably arise that can significantly impact the effectiveness of the campaign. The implications of Wilde’s research suggest that the incorporation of music within viral advertising strategies must adhere to the stipulations he delineates, particularly emphasizing the necessity for music to resonate with distinct cultural differences. In contrast, Fritz's (2009) research contends that music possesses a unique capability to universally elicit comparable emotional responses across varied cultural contexts, thereby reinforcing music's integral role in augmenting the psychological allure of viral advertising. Through his real-world experimentation, Fritz demonstrated that music can prompt uniform emotional reactions from culturally diverse groups, effectively dismantling barriers between different market segments and facilitating the creation of expansive campaigns that embody Sharp’s previously noted principles of buyer behaviour.

Meier (2017) expands on Fritz’s findings, suggesting that music-induced emotions, especially positive ones, can be associated with brands, thereby distinguishing them in the marketplace through unique, credibility-building positive associations. Meier posits music as a pivotal tool for augmenting brand differentiation and cultural resonance across varied market segments.

Conversely, Jackson (2013) presents a compelling challenge to the assertions made by Meier and Allan (2015), advocating for music's primary role as a facilitator of brand identity rather than merely an emotional stimulant. Jackson underscores the critical nature of music selection that resonates with brand ideology, emphasizing its profound psychological impact and consequential influence on consumer behaviour. Certain brands have even advanced the concept of a 'sonic logo'—a concise and memorable soundbite comprised of distinct chimes or notes that seamlessly integrate with a brand's identity. Jackson posits that when employed to convey brand identity, the sonic logo functions more as an ancillary application of music in viral advertising compared to contemporary uses. Further expanding on the interplay between music and branding, Jackson asserts that a brand's values ultimately reside within the consumers; irrespective of the strategic planning invested in articulating these values, it is the consumer who possesses the agency and importance in shaping their perceptions of these values. Consequently, the brand's foremost objective is to consistently align with the shared values of its consumers—managing the articulation of its chosen values through sound across time, geographical contexts, and various touchpoints, all while ensuring a sustained positive presence. Raja (2019) further accentuates the influential capacity of music in shaping consumer choice, drawing attention to the necessity for alignment with consumers’ values and interests, the universal appeal of musicality, and its practical utility.

3.     Where Can Consumer Brands Derive Utility from Music in Viral Advertising (RO3)

3.1  Key Strategies

Allan elucidates the multifaceted role of art direction, among other elements, in harnessing music for the development of effective viral advertising strategies. He contends that music alone necessitates complementary components to construct a fully impactful advertising campaign capable of engaging consumers. While music undeniably enhances a brand’s advertising efforts, it is imperative that the campaign simultaneously enriches the music to effectively captivate consumers. This enhancement can be achieved through various innovative approaches; certain brands may employ distinctive visuals that resonate with the music, while others may engage in collaborations with recording artists on performances or even dedicated product lines, thereby augmenting the utility for both the consumer and the brand. In contrast, Anglada-Tort et al. (2021) emphasize music's intrinsic potential in crafting a brand's 'sonic logo,' highlighting its frequent underutilization in viral campaigns despite Allan's plethora of examples. This critique suggests that the role of music in viral advertising remains in a developmental phase, necessitating the discovery of novel and unique strategies to enhance the consumer's experience.

Vermeulen and Beukeboom (2016) underscore the critical importance of aligning musical selections with the preferences of the target audience, as evidenced by their findings derived from three empirical experiments investigating liked and disliked songs. In contrast, Craton (2011) presents an alternative viewpoint, asserting that the selection of an appropriate beat and groove should take precedence over the choice of artist. This perspective challenges Allan’s assertion that artist selection and involvement play a pivotal role in determining the success of viral advertising campaigns.

3.2  Suitability and Finding the Source of Utility

In Allan's book, a series of case studies elucidate the challenges associated with inflated advertising budgets that may arise when leveraging music in viral advertising, particularly for smaller brands constrained by less flexible financial resources. Noteworthy consumer brands such as Nike, Pepsi, and Mitsubishi serve as salient examples of successful musical integration within viral advertising campaigns. These case studies not only illustrate music as a pivotal factor in enhancing brand iconography but also function as cautionary tales regarding several critical issues that can render certain musical selections unsuitable. Among these issues are the complexities involved in obtaining the rights to an artist's work, the potential reputational risks associated with the chosen artist, and the peril of crafting a campaign that is overly reliant on a single song. This dependency can leave brands vulnerable to incurring additional costs or grappling with the repercussions of sunk costs associated with the advertising initiative should they have to abandon it.

Anglada-Tort et al. critically assess Allan's examples, postulating that although advertising professionals tend to associate heightened quality and credibility with music from prominent artists, this perception is not necessarily shared among non-professionals. This observation calls into question the prevailing assumption that substantial financial investments are indispensable for achieving success in viral advertising through music. While employing music from high-profile artists may offer a more reliable avenue for enhancing a campaign's visibility with fewer complexities, emerging brands can attain comparably successful outcomes by meticulously evaluating the appropriateness of a smaller, lower-budget artist's catalogue.

Vermeulen and Beukeboom's research reveals a minimal influence of music on product perception, casting doubt on the overall effectiveness of music in viral advertising. However, it is crucial to recognize that product perception may not be the primary avenue through which utility is derived. Raja's 2019 study highlights a significant correlation between music and consumer purchasing decisions, thereby emphasizing the critical role of music's characteristics in the efficacy of viral advertising. It is evident that music is not necessarily required to exert a strong effect on product perception; rather, brands typically manage this aspect through a variety of strategic means, including the marketing mix. In viral advertising, music aims to navigate consumers toward selecting one brand over another, effectively influencing their brand perception. This approach, as Raja articulates, affirms strategies identified by Sharp, constituting a broader strategy designed to enhance the likelihood of consumers—who may not exhibit loyalty to your brand or to any brand—choosing your products. While consumers invariably seek to maximize their own perceived utility, this perception is intricately linked to branding. Consequently, music emerges as an exceptionally effective tool for cultivating brand iconography. Furthermore, it plays a vital role in the consumer decision-making process, wherein individuals identify their needs and gather information to determine which products will best meet these needs. (Milwood, 2021).

V.             Methodology

This research relied solely on secondary data collection to address the outlined research objectives, collected from Google Scholar and the University of Westminster’s Library. Existing studies on viral advertising, musical integration, and consumer choice behaviour provide a robust data pool from experts in the field, which enhances the research's credibility. Conducting primary research poses challenges, as obtaining insights from industry professionals is often time-consuming and difficult (Vartanian, 2011). While primary research on consumer behaviour could be feasible due to the accessibility of participants, it would require securing rights to relevant music, which may incur significant costs and prove impractical (University of York, 2016).

Secondary research will facilitate comparative analysis to identify patterns between viral advertising strategies and musical integration impacts. It is essential to consider the diverse backgrounds of existing studies to assess the differential effects on consumer behaviour. Careful evaluation of research authorship is necessary to mitigate bias, especially concerning potential financial motives linked to music rights. The investigation will primarily draw from peer-reviewed books and academic journals, ensuring the credibility and relevance of sources to address the research question. Favourable sources will be utilized to illuminate key debates and inform data comparisons, ultimately achieving the research objectives.

VI.          Conclusion (RO4): How music will influence consumer choice-making behaviour

A brand's optimal consumer choice-making behaviour is inherently aligned with actions that drive consumers to select its products over competitors. This research endeavours to elucidate the growing role of music in viral marketing and its contribution to the cultivation of ideal consumer behaviour. A thorough examination of viral advertising reveals its function as a critical vehicle for brands to articulate a personal, authentic, and easily comprehensible identity to a wide consumer audience. It is imperative for a viral advertisement to be meticulously planned to embody the brand's DNA, incorporate a compelling call to action, and provide pertinent information. While scalability is essential, it must not come at the expense of authenticity during the planning process, especially considering that Gen-Z—the demographic most responsive to viral advertising (Adz, 2013)—is increasingly desensitized to traditional advertising methods, which they often perceive as inauthentic (Newman, 2022; Lineup, 2021). By leveraging existing communication networks, existing media resources, universal motivations, and common consumer purchasing behaviours, brands can devise authentic campaigns that resonate with consumers effortlessly (Wilde, 2014). This observation suggests that younger generations may exhibit a stronger preference for lower-effort advertisements; however, a more nuanced interpretation reveals that Gen-Z and millennial audiences are more responsive to brands that engage with them authentically, aligning with their consumer interests. Consequently, music emerges as a vital component in the arsenal of viral advertising campaigns for consumer brands; it serves as a recognized method of communication and media, and as demonstrated by Fritz’s research, it has the capacity to evoke common motivations and behaviours across a diverse consumer landscape (Fritz, 2009).

in light of the growing evidence supporting the efficacy of music in viral advertising campaigns, it is imperative for consumer brands to critically evaluate the potential utility they can derive from incorporating music into such strategies. Research indicates that music significantly influences consumer choice-making behaviour by fostering a favourable brand perception among a diverse audience in a relatively short time frame. This favourable perception can be achieved through two primary strategies: either imbuing brand DNA and building iconography with a less well-known artist or contributing to the works of an artist of high notoriety, gaining favour among a large existing fanbase with a shared interest. The former strategy is better suited to smaller consumer brands, but the integration of music in viral advertising is scalable, enabling popular consumer brands to take advantage of the latter strategy. By strategically integrating music into their viral advertising initiatives, consumer brands can effectively fulfil the essential criteria for a successful viral advertisement, thereby enhancing brand perception through authenticity and ultimately cultivating preferred buyer behaviour across a wide spectrum of consumers.

VII.        Value of Research

This research provides critical insights into effective strategies for viral advertising in consumer brands. In the digital era, the integration of music can significantly influence consumer decision-making, supporting brands in achieving their objectives. (Meier, 2017). Analysing the outcomes of music integration in viral advertising will enhance brand awareness and foster more strategic approaches to influencing consumer choice-making behaviour. The insight of music’s impact on consumer choice-making behaviour will also be of great academic value in studies of consumer behaviour (Fritz, 2009), while being suited for consumer brands as a tool to navigate the complexities of planning a viral advertising campaign which meets the needs of an emerging consumer brand or one seeking to sustain their notoriety. Record labels and other music rights holders can also draw utility from this research to persuade consumer brands to purchase rights from them business-to-business (B2B).

VIII.     Limitations and Suggestions

Despite numerous case studies that explore the role of music in viral advertising, there exists a notable gap in secondary research specifically analysing how each individual case study influences consumer behaviour. This deficiency presents a missed opportunity, as the findings from such research could provide significant value to consumer brands and music rights holders. It is imperative that these stakeholders invest in primary research that investigates the nuanced ways in which music in viral advertising impacts consumer perceptions.

By utilizing a diverse array of case studies, this research could effectively categorize the perceptions elicited by various brands, while examining a broad spectrum of consumers from different backgrounds. Such an approach would yield a comprehensive understanding of the similarities and differences in consumer perceptions shaped by music and sonic identity.

Moreover, the current body of literature is limited by a scarcity of peer-reviewed studies, which undermines the credibility and robustness of findings in this area. Thus, any primary research that seeks to further the dialogue in this field should prioritize rigorous peer review. By doing so, we can enhance the academic integrity of the research and, in turn, equip brands and rights holders with additional validated insights that underscore the strategic importance of music in advertising.

IX.          References

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T. Fritz, S. Jentschke, N. Gosselin, D. Sammler, I. Peretz, R. Turner,A. D. Friederici and S. Koelsch (2009) ‘Universal Recognition of Three Basic Emotions in Music’, Current Biology. Leipzig, Germany: Max Planck Institute for Human Cognitive and Brain Sciences.

Meier, L.M. (2017) Popular music as promotion : music and branding in the digital age. Cambridge, England ; Polity.

Jackson, D.M., Jankovich, R. and Sheinkop, E. (2013) Hit brands how music builds value for the world’s smartest brands. P.92. Basingstoke: Palgrave Macmillan.

Allan, D. (2015) This note’s for you: popular music + advertising = marketing excellence. P.111. First edition. New York, New York (222 East 46th Street, New York, NY 10017): Business Expert Press.

Millwood, A. (2021). Understanding the Consumer Decision Making Process. [online] Yotpo. Available at: https://www.yotpo.com/resources/consumer-decision-making-process-ugc/.

Undag, Carl. “What Is Consumer Branding and How to Build It?” Evolvbam.com, Evolv Branding Advertising & Marketing, 25 July 2023, www.evolvbam.com/post/what-is-consumer-branding-and-how-to-build-it.

Kirby, J. and Marsden, P. (Paul S. (2006) Connected marketing the viral, buzz and word of mouth revolution. Oxford: Butterworth-Heinemann

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Stratten, S. (2010) Unmarketing : stop marketing, start engaging. 1st edition. Hoboken, New Jersey: John Wiley & Sons, Inc.

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Nelson-Field, K. (2013) Viral marketing : the science of sharing. Edited by B. Sharp. South Melbourne, Vic. ; Oxford University Press.

Sharp, B. and Ehrenberg-Bass Institute. (2010) How brands grow : what marketers don’t know. Oxford ; Oxford University Press.

Wilde, S. (2014) Viral marketing within social networking sites : the creation of an effective viral marketing campaign. 1st ed. Hamburg: Diplomica Verlag.

Raja, M.W., Anand, S. and Allan, D. (2019) ‘Advertising music: an alternative atmospheric stimulus to retail music’, International journal of retail & distribution management, 47(8), pp. 872–892. Available at: https://doi.org/10.1108/IJRDM-08-2018-0157.

Anglada-Tort, M. et al.(2021) ‘The Impact of Source Effects on the Evaluation of Music for Advertising: Are There Differences in How Advertising Professionals and Consumers Judge Music?’, Journal of advertising research, 61(1), pp. 95–109. Available at: https://doi.org/10.2501/JAR-2020-016.

Vermeulen, I. and Beukeboom, C.J. (2016) ‘Effects of Music in Advertising: Three Experiments Replicating Single-Exposure Musical Conditioning of Consumer Choice (Gorn 1982) in an Individual Setting’, Journal of advertising, 45(1), pp. 53–61. Available at: https://doi.org/10.1080/00913367.2015.1088809.

Craton, L.G. and Lantos, G.P. (2011) ‘Attitude toward the advertising music: an overlooked potential pitfall in commercials’, The Journal of consumer marketing, 28(6), pp. 396–411. Available at: https://doi.org/10.1108/07363761111165912.

Adz, K. (2013) The stuff you can’t bottle : advertising for the global youth market. London: Thames & Hudson.

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