5. DiscussionThe results of this st

5. Discussion
The results of this study support the hypothesis that variations in the formal music structure of background music in commercials may have significant influence over the emotional responses of an audience. Prior research in consumer behavior had shown that varying specific background music selections along dimensions of familiarity and liking could affect responses to ‘‘advertised’’ products. The present article extends the discussion concerning the effect of musical content that may lead to emotional and affective responses among consumers. It does so by determining whether congruity between musical advertisement ‘‘messages’’ and nonmusical variables that are part of the communications context but outside the advertisement itself (e.g., occasion) increases or blocks affect and behavior.
Different profiles of musical structural elements of modality, tempo, dynamics, and rhythm may, all things being equal, lead to a perception of happy or sad musical content. In this study, equally liked musical backgrounds that differed in their profile of these structural elements were shown to affect audience moods in directions predictable from analysis of the musical structure, confirming earlier research by Hevner (1935) and Alpert and Alpert (1990). This finding has direct relevance to those interested in the impact on mood from factors such as the structural elements in background music. It was noted earlier that simultaneous variation of the entire profile of elements (major/minor, tempo, rhythm, and volume) precludes inferences from this study regarding their relative influence on moods and other dependent variables of interest. Other research suggests the dominance of major versus minor melodies (influencing moods to be happy versus sad), all else equal. To test the possibility that other factors might confound the study (Kellaris and Kent, 1993), a second factor of affective responses corresponding to ‘‘arousal’’ was extracted and found to vary in a manner consistent with the fast/slow tempi of the musical excerpts in the treatments. However, individual-level regression analyses showed that the feelings dimension ‘‘happy/sad’’ was correlated with buying intentions while feelings of arousal/nonarousal were not. More important, having found that musical structure does make a difference to moods and behavioral intentions towards products ‘‘shaded’’ with music, it may be appropriate to extend the present work with carefully controlled manipulations of specific structural elements of music. To this end, the methodologies employed by Holbrook and Huber (1979) and Kellaris and Kent (1993) may be productively used.
Some advocates of classical conditioning might criticize the use of a single exposure to the messages and lack of reinforcement. However, evidence of mood-induced conditioning is demonstrated by the effect on purchase intent in ‘‘appropriate’’ situations. Perhaps, ‘‘affective transfer’’ (of music to mood to purchase occasion ‘‘fit’’) is an alternative explanation to ‘‘learning.’’ Earlier research has shown that single exposures to background music-induced moods may affect buying intentions in the absence of significant intervening effects on the perceived sadness and even stated liking for a card and may be supportive of peripheral path processing in this setting (Alpert and Alpert, 1990). Given that the advertisements presented no verbal claims and that subjects were not told they would have to make an actual purchase choice (Petty et al., 1983), motivation to process information via the central route may have been diminished. The presence of music that evokes emotions and other ‘‘noninformational’’ aspects of the ad may also stimulate peripheral processing, and there were no central-route arguments involving objective claims presented in these target ads. Embedding the target ads in a series of control and distracter ads may also lower cognitive ad involvement to levels similar to typical ad viewing behavior.

Hasil (Bahasa Indonesia) 1:

5. diskusiHasil studi ini mendukung hipotesis bahwa variasi dalam struktur formal musik musik latar belakang iklan mungkin memiliki pengaruh signifikan atas tanggapan emosional dari penonton. Penelitian sebelumnya dalam perilaku konsumen telah menunjukkan bahwa berbagai pilihan musik latar belakang yang spesifik sepanjang dimensi keakraban dan keinginan dapat mempengaruhi tanggapan '' diiklankan '' produk. Pasal meluas diskusi mengenai efek dari konten musik yang dapat menyebabkan tanggapan emosional dan afektif antara konsumen. Ia melakukannya dengan menentukan apakah kesepadanan antara musik iklan '' pesan '' dan variabel nonmusical yang merupakan bagian dari konteks komunikasi tetapi di luar iklan itu sendiri (misalnya, kesempatan) meningkatkan atau blok mempengaruhi dan perilaku.Different profiles of musical structural elements of modality, tempo, dynamics, and rhythm may, all things being equal, lead to a perception of happy or sad musical content. In this study, equally liked musical backgrounds that differed in their profile of these structural elements were shown to affect audience moods in directions predictable from analysis of the musical structure, confirming earlier research by Hevner (1935) and Alpert and Alpert (1990). This finding has direct relevance to those interested in the impact on mood from factors such as the structural elements in background music. It was noted earlier that simultaneous variation of the entire profile of elements (major/minor, tempo, rhythm, and volume) precludes inferences from this study regarding their relative influence on moods and other dependent variables of interest. Other research suggests the dominance of major versus minor melodies (influencing moods to be happy versus sad), all else equal. To test the possibility that other factors might confound the study (Kellaris and Kent, 1993), a second factor of affective responses corresponding to ‘‘arousal’’ was extracted and found to vary in a manner consistent with the fast/slow tempi of the musical excerpts in the treatments. However, individual-level regression analyses showed that the feelings dimension ‘‘happy/sad’’ was correlated with buying intentions while feelings of arousal/nonarousal were not. More important, having found that musical structure does make a difference to moods and behavioral intentions towards products ‘‘shaded’’ with music, it may be appropriate to extend the present work with carefully controlled manipulations of specific structural elements of music. To this end, the methodologies employed by Holbrook and Huber (1979) and Kellaris and Kent (1993) may be productively used.Some advocates of classical conditioning might criticize the use of a single exposure to the messages and lack of reinforcement. However, evidence of mood-induced conditioning is demonstrated by the effect on purchase intent in ‘‘appropriate’’ situations. Perhaps, ‘‘affective transfer’’ (of music to mood to purchase occasion ‘‘fit’’) is an alternative explanation to ‘‘learning.’’ Earlier research has shown that single exposures to background music-induced moods may affect buying intentions in the absence of significant intervening effects on the perceived sadness and even stated liking for a card and may be supportive of peripheral path processing in this setting (Alpert and Alpert, 1990). Given that the advertisements presented no verbal claims and that subjects were not told they would have to make an actual purchase choice (Petty et al., 1983), motivation to process information via the central route may have been diminished. The presence of music that evokes emotions and other ‘‘noninformational’’ aspects of the ad may also stimulate peripheral processing, and there were no central-route arguments involving objective claims presented in these target ads. Embedding the target ads in a series of control and distracter ads may also lower cognitive ad involvement to levels similar to typical ad viewing behavior.