The study of music in commercials is well-suited for exploring the persuasive impact that music has beyond the ability to entertain, edify, and purify its audience. This book focuses on music in commercials from an interpretive text analytical perspective, answering hitherto neglected questions: What characterizes music in commercials compared to other commercial music and other music on TV? How does music in commercials relate to music ‘outside’ the universe of commercials? How and what can music in commercials signify? Author Nicolai Graakjær sets a new benchmark for the international scholarly study of music on television and its pervading influence on consumer choice.

The study of music in commercials is well-suited for exploring the persuasive impact that music has beyond the ability to entertain, edify, and purify its audience. This book focuses on music in commercials from an interpretive text analytical perspective, answering hitherto neglected questions: What characterizes music in commercials compared to other commercial music and other music on TV? How does music in commercials relate to music ‘outside’ the universe of commercials? How and what can music in commercials signify? Author Nicolai Graakjær sets a new benchmark for the international scholarly study of music on television and its pervading influence on consumer choice.

The study of music in commercials is well-suited for exploring the persuasive impact that music has beyond the ability to entertain, edify, and purify its audience. This book focuses on music in commercials from an interpretive text analytical perspective, answering hitherto neglected questions: What characterizes music in commercials compared to other commercial music and other music on TV? How does music in commercials relate to music 'outside' the universe of commercials? How and what can music in commercials signify? Author Nicolai Graakjær sets a new benchmark for the international scholarly study of music on television and its pervading influence on consumer choice.

"The Oxford Handbook of Music and Advertising assembles an array of forty-two pathbreaking chapters on the production, texts, and reception of advertising through music. Uniquely interdisciplinary, the collection's tripartite structure leads the reader through these stages in the communication of the advertising message as presented by Chris Wharton (2015). The chapters on production study the factors, activities, and people behind the music for the marketing pitch, both past and present. Prominent throughlines in the section include factors influencing the selection of music (and musicians) for advertising, the role of music in corporate branding strategies, the creative forces behind the soundscape of advertising, and industry practices that undergird all aspects of music in commercial contexts. The section on Text focuses on analytic and historical approaches to ads in various media, and includes commentaries on musical genres in ads ranging from Western European art music to American popular genre. Also covered in this section is ad music as used in different ad genres, such as political ads, public service announcements, and television commercials. The analyses used in this section draws from traditional music theory, semiotics, and hermeneutic analysis. Finally, the last section addressing "Reception"-with contributions by researchers in psychology, marketing, and other fields-involves the formulation of models and theories, and implementation of research methods to examine how the presence of music may influence peoples' attitudes, emotions, thoughts, and behaviors in the context of advertisements and within service environments such as stores, restaurants, and banks. The editors and chapter contributors of this book bring a diversity of perspectives to the topic but share a united aim: to illuminate music's vital contribution to the advertising message"--

From its 1939 “Nickel, Nickel” jingle to pathbreaking collaborations with Michael Jackson and Madonna to its pair of X Factor commercials in 2011 and 2012, Pepsi-Cola has played a leading role in drawing the American pop music industry into a synergetic relationship with advertising. This idea has been copied successfully by countless other brands over the years, and such commercial collaboration is commonplace today—but how did we get here? How and why have pop music aesthetics been co-opted to benefit corporate branding? What effect have Pepsi’s music marketing practices in particular had on other brands, the advertising industry, and popular music itself? Soda Goes Pop investigates these and other vital questions around the evolving relationships between popular music and corporate advertising. Joanna K. Love joins musical analysis, historical research, and cultural theory to trace parallel shifts in these industries over eight decades. In addition to scholarly and industry resources, she draws on first-hand accounts, pop culture magazines, trade press journals, and other archival materials. Pepsi’s longevity as an influential American brand, its legendary commercials, and its pioneering, relentless pursuit of alliances with American musical stars makes the brand a particularly instructive point of focus. Several of the company’s most famous ad campaigns are prime examples of the practice of redaction, whereby marketers select, censor, and restructure musical texts to fit commercial contexts in ways that revise their aesthetic meanings and serve corporate aims. Ultimately, Love demonstrates how Pepsi’s marketing has historically appropriated and altered images of pop icons and the meanings of hit songs, and how these commercials shaped relationships between the American music business, the advertising industry, and corporate brands. Soda Goes Pop is a rich resource for scholars and students of American studies, popular culture, advertising, broadcast media, and musicology. It is also an accessible and informative book for the general reader, as Love’s musical and theoretical analyses are clearly presented for non-specialist audiences and readers with varying degrees of musical knowledge.

The Oxford Handbook of Music and Advertising is an essential guide to the crucial role that music plays in relation to the audio or audiovisual advertising message, from the perspectives of its creation, interpretation, and reception. The book's unique three-part organization reflects this life cycle of an advertisement, from industry inception to mass-mediated text to consumer behaviour. Experts well versed in the practice, analysis, and empirical studies of the commercial message have contributed to the collection's forty-two chapters, which collectively represent the most ambitious and comprehensive attempt to date to address the important intersections of music and advertising. Handbook chapters are self-contained yet share borders with other contributions within a given section and across the major sections of the book, so readers can either study one topic of particular interest or read through to gain an understanding of the broader issues at stake. Within the book's Introduction, each editor has provided an overview of the unifying themes for the section for which they were responsible, with brief summaries of individual contributions at the beginnings of the sections. The lists of recommended readings at the end of chapters are intended to assist readers in finding further literature about the topic. An overview of industry practices by a music insider is provided in the Appendix, giving context for the three parts of the book.

Written specifically for students, this introductory textbook explores the history and meaning of rock and popular music. Roy Shuker's study provides an accessible and comprehensive introduction to the production, distribution, consumption and meaning of popular music and examines the difficulties and debates which surround the analysis of popular culture and popular music. This heavily revised and updated third edition includes: new case studies on the iPod, downloading, and copyright the impact of technologies, including on-line delivery and the debates over MP3 and Napster new chapters on music genres, cover songs and the album canon as well as music retail, radio and the charts case studies and lyrics of artists such as Robert Johnson, The Who, Fat Boy Slim and The Spice Girls a comprehensive discography, suggestions for further reading, listening and viewing and a directory of useful websites. With chapter related guides to further reading, listening and viewing, a glossary, and a timeline, this textbook is the ideal introduction for students.