20 4 月, 2012



论文代写题目: Music Advertising for Chinese arts Aim – finding the correct marking tool(music) for Chinese arts exhibition in European countries.(different music with different paintings)


Problem Outline

This research project concerns the implementation of music advertising to examine the better music adverts to fit with Chinese Arts – Paintings during the exhibitions in England. Also making suggestions on effective and efficient different types of music and paintings for Seed Art Gallery in China.

Among the many types of Executional cues available in an advert, music is particularly important because of its preeminence in most commercials (Stewart and Furse 1986) and its potential to enhance viewer arousal (Dowling and Harwood 1986; Stout and Leckenby 1988) and affect (Alpert and Alert 1986; Gorn 1982; Mitchell 1988; Park and Young 1986; Stout and Leckenby 1988). David Huron (1989) therefore chooses six categories (Entertainment; Structure and Continuity; Memorability; Lyrical Language; Targeting and Authority Establishment) in which “music can serve the overall promotional goals in one or more of several capacities.” However, those six attributes have to interdependent and interrelated to each other to create a better advert. By choosing the right music in the right advert, marketers always find it challenging to identify the kind of music that will be accepted by different consumers (Gottlieb, 1992). The role music plays must be considered carefully because it attracts attention, transports implicit and explicit messages, generates emotions and helps one retains information. The “messages” of music are more effective than cognitive, for example clam or sedate music decreased subjects’ anxiety, and the structural elements of music such as major (happy) and minor (sad) modes influenced the listener’s feelings. (Farnsworth, 1969; Hevner, 1935; Rohner and Miller 1980; Galizio and Hendirck, 1972).

Already in the fifteenth century, before the development of artistic specialization, Leonardo da Vinci, who was both master painter and master musician, had noted that: “Painting is superior to music because, unlike unfortunate music, it does not have to die as soon as it is born …. Music which is consumed in the very act of its birth is inferior to painting which the use of varnish has rendered eternal” (Benjamin, 1969: 249).

Arts exhibition requires invisible interaction between the provider and the customers. It is important that arts exhibition providers understand the paintings, and music is especially useful in this regard, according to Griffitt and Guay (1969), a direct affective reaction may be viewed as a conditioned response when there are direct linkages in associations in memory between mood states and affective reactions and between mood states and behaviour (Gardner, 1985, Additional References). Clark and Isen (1982); Goldberg and Gorn (1987) also claimed that mood may affect evaluations by evoking mood congruent thoughts and affect the performance of the behaviour by increasing the affect the performance of the behaviour by increasing the accessibility of positive associations to the behaviour. However, little attention has been paid to the Chinese painting industry in relation to music advertising from both cross culture and arts marketing field. Nevertheless, the existed studies are largely focusing on music influencing (i.e. music advertising influencing choice behaviour) rather than applying the theories within Chinese painting exhibitions in practices. Moreover, music advertising and their importance varies between different Chinese arts exhibitions in different countries. It is critical for providers of exhibitions and Chinese arts to identify the important dimensions of the music to customers, allowing the modification of practices and effective allocation of resources.

To achieve in-depth understanding of what types of music fit with Chinese paintings, this essay will analyse how music can change choice behaviour, and discuss the effect that music has had on painting and animation, then look into synaesthesia as this is a possible link between music and art. Also look into different types of Chinese paintings and English paintings as culture differences. Moreover, the lighting and temperature will be considered within this investigation, as costumers’ behaviour also can be affected by both of them. To make a better match with the music and the paintings, in order to guide Art Seed Gallery in the future to have better performance in England.

Art Seed Gallery

Art Seed Gallery is a nascent commercial gallery, located in Zhengzhou, Henan Province of China. It has realistic and contemporary works by two different well known groups of artists. The company shows only original art in all its forms and support national and local artists, and holding new exhibitions every eight weeks. There are three exhibition spaces, each with its own individually designed environment (i.e. living space – creates the feel of a home; commercial space – creates the concept of a business; natural light space – creates the airy feel similar to a summer room or conservatory). The gallery also provides private views by appointment, corporate purchasing for properties, office spaces and restaurants, private and corporate commissions, hire of venue for corporate, private and charity events. The Art Seed Gallery is intend to do the exhibition in England in order to open the gate for Chinese artists learning experiencing and exchanging the art culture differences.

Theoretical framework

Music Advertising

Music in High- and Low-Involvement

Musical structure consists of elements such as sound, harmony, melody, and rhythm, to impact these elements on the ad and the product are the consumer, through different levels of involvement and cognitive or affective processing, the consumer’s subjective perception of the appropriateness of the music as it relates to the central idea of the advert (“fit” as defined by Maclnnis and Park, 1991), and the organization of musical elements. Therefore, music has two dimensions: 1. Its fit with the advertised message and its ties to past emotion- laden experiences; 2. On low- and high-involvement consumers’ ad processing. In addition, knowledge of cultural and social conditioning in forming musical taste as well as products can help in this prediction (Farnsworth, 1969; Holbrook and Schindler, 1989). In other words, to choose the right music in the ad, marketers have to analyse different cultural and social condition in different place for different consumers that focused. Petty et al, (1983) claimed that the level of involvement and processing may vary across individuals and situations. In Dowling and Harwood’s (1986), music becomes a conditioned stimulus for prior experiences, and emotions become the conditioned response. Although, music may be associated with either positive or negative emotion-laden memories. As a characteristic of music, indexicality often is unrelated to the advertised message. It may, however, affect high- and low- involvement consumers’ message based processing. Specifically, the strong emotions that are associated with high- indexicality music may enhance low-involvement consumers’ interest in the ad and its music and, therefore, stimulate incidental learning of the message. However, its impact on attention to the music and the retrieval of emotions may interfere with high-involvement consumers’ message processing (Eysenck 1982). While indexicality may have different effects on the message processing of low- and high-involvement consumers, it may have similar effects on their affective processing. Specifically, it may retrieve favourable emotions from memory, influencing high- and low-involvement consumers’ feeling and ad attitudes. The notion that fit facilitates information processing has a long history in Gestalt psychology. Pomerantz (1981) and Bruner (1957) propose that, when elements of a stimulus set complement 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.” Each acts on the reinforcing and complementary properties of the other to guide stimulus perception. While these facilitating effects should be higher for high- than for low- involvement consumers, music’s fit with the main theme of the ad may also enhance message processing for low- involvement consumers, helping to create emergent meaning for the message when processing capacity is relatively low.



这一研究项目涉及音乐,研究更好的音乐广告的广告,以适应中国艺术 – 绘画展览在英国期间的实施。同时建议有效和高效的种子画廊在中国不同类型的音乐和绘画。

在众多类型的广告在执行人员的线索,音乐是特别重要的,因为其卓越的大多数广告(1986年斯图尔特和•福尔斯)和它的潜力,以提高观众兴奋(Dowling和哈伍德1986年Stout和Leckenby 1988),影响( 1986年Alpert和警报,高恩1982年,米切尔1988年,1986年公园和青年;烈性黑啤酒和Leckenby 1988)。因此,大卫·休伦湖(1989)选择6个类别(娱乐,结构和连续性,可记忆性,抒情语言定位和管理局成立),其中“音乐可以成为宣传的整体目标中的一个或几个能力。”然而,这六个属性相互依存和相互关联,必须创造更好的广告。通过选择合适的音乐在右边的广告,营销人员总是觉得难以确定什么样的音乐,会接受不同的消费者(1992年,戈特利布)。必须仔细考虑,因为它吸引注意力的作用音乐播放,传输隐式和显式的消息,产生情绪,帮助人保持信息。 “消息”的音乐是更有效的认知,,例如蛤或减少受试者的焦虑和结构的音乐元素,如主要(快乐)和次要(SAD)模式的影响听者的感受,安静的音乐。 (法恩斯沃斯,1969年,1935年; Hevner罗纳和米勒1980年Galizio和Hendirck,1972年)。


艺术展览需要无形的提供者和客户之间的互动。重要的是,艺术展览供应商了解画,音乐是特别有用的,在这方面,根据到Griffitt和盖伊(1969年),一个直接的情感反应可以被看作是一种条件反应,当在内存之间有直接联系的协会情绪状态和情感反应和情绪状态和行为(加德纳,1985年,其他参考资料)之间。克拉克和ISEN(1982年); Goldberg和高恩(1987)也声称,这种情绪可能会影响评估,唤起情绪一致的想法和影响性能的行为增加的影响表现的行为,增加的可访问性的正相关的行为。然而,很少注意已经支付给中国画界在音乐,广告,跨文化和艺术营销领域。然而,存在的研究主要集中于音乐的影响(即音乐广告影响选择行为),而不是在实践应用的理论在中国的画展。而且在不同的国家之间不同的中国艺术展览,音乐广告,其重要性各不相同。这是非常重要的展览和中国艺术的识别音乐的重要方面,为客户的提供者,允许修改的做法和资源的有效配置。



艺术种子库,位于中国河南省郑州市,是一个新兴的商业画廊。它由两个不同的知名的艺术家群体的现实和当代艺术作品。该公司仅显示原始艺术的一切形式和支持国家和地方的艺术家,并举办新的展览每八周。有三个展览空间,每一个与自己单独设计环境(即生活空间 – 创建一个家的感觉,商业空间 – 创建一个商业的概念,自然光的空间 – 创建一到夏天室或温室通风的感觉类似)。画廊还提供了私人的意见任命,企业购买物业,办公场所和餐厅,私人和企业委员会,聘请企业,私营部门和慈善活动的场地。艺术种子库是打算在英国做展览,以打开大门,为中国艺术家学习体验和交流艺术文化的差异。


论文代写之音乐广告: 在高和低参与的音乐

音乐结构的组成元素,如声音,和声,旋律,和节奏,以影响这些元素上的广告和产品的是消费者的,通过不同的参与和认知或情感的处理,消费者的主观感知的恰当性音乐,因为它涉及到的核心理念的广告(“合体”所定义的Maclnnis和公园,1991年),和组织的音乐元素。因此,音乐有两个方面:1。适合公布的消息,其关系过去忘情的经验; 2。在低和高参与度的消费者对广告的处理。此外,知识,文化和社会状况形成的音乐品味以及产品可以帮助预测(法恩斯沃斯,1969年,霍尔布鲁克和迅达,1989年)。换句话说,选择合适的音乐在广告,市场营销,重点是针对不同的消费者在不同的地方有不同的文化和社会条件来分析。小资等人(1983)声称,参与和处理水平的个人和情况可能会有所不同。 Dowling和哈伍德(1986),音乐变成了条件刺激,以前的经验,情绪成为空调的反应。虽然,音乐,可伴有或正或负的忘情回忆。作为一个音乐特点,的indexicality往往是无关的广告信息。这可能,但是,影响高,低涉入消费者的,基于消息的处理。具体而言,强烈的情感,都与高indexicality音乐可提高低涉入消费者的利益,在广告和音乐,因此,刺激附带学习的消息。然而,其关注的音乐和检索的情绪的影响,可能会影响与高参与消费者的信息处理(艾森克1982年)。 ,虽然indexicality可能有不同的影响,在低和高参与度的消费者的消息处理他们的情感处理上,也可能有类似的效果。具体而言,它可能会从内存中检索良好的情绪,影响高,低涉入消费者的感觉和广告的态度。适合有利于信息处理的概念,即在格式塔心理学有着悠久的历史。波默朗茨(1981)和布鲁纳(1957)提出的是,当刺激集中的元素组中的其他项目的补充,个别部位不被认为是可分离的,没有竞争与彼此的认知资源,因此创建“紧急意义“每一个行为的增强和互补性质的其他,指导刺激的感知。虽然这些便利的效果应该是较高的高的比低参与度的消费者,音乐的契合的主要主题的广告也提升信息处理为低参与度的消费者,帮助以创建紧急意义的消息时,处理能力是相对的低。







这项研究已经发现,全国的背景音乐诠释的影响正好与最近的工作在心理学的电影音乐。有些这样的工作建议,将音乐直接影响视频的解释。的含义的音频系统影响的意义的视频 – 音乐的确切含义是归因于膜。例如,可以改变背景音乐的诠释抽象绘画(林德纳和Hynan的,1987年)。同样,科恩和司徒(1955年)显示,背景音乐,直接影响到一个简单的几何图形的意义。有三个不同的高度(低,中,高)的电脑动画球反弹节奏(慢,中,快)一个科恩和司徒(1955)的研究表明,悲伤和幸福的球在隔离更大的高度和节奏,更快乐,可以形容为幸福的增加而增加的音调和节奏的旋律。考尔斯(1935)讨论了高度评级的心情的音乐的选择和评价的绘画选择了代表的选择之间的协议。西蒙和Wohlwill(1968)也表现出视觉的图案和音乐的选择,选择代表的模式选择之间的协议。林德纳和Hynan(1987)建议音乐和视觉艺术可能会经历以及常见的尺寸,这是只有一种形式,在严格意义上,保留。例如,某些绘画和音乐响亮而有节奏,一般仅限于听觉体验,或明亮,圆形,的条款一般仅限于视觉(林德纳和Hynan,1987年)。










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