As noted earlier, research cited by

As noted earlier, research cited by Gardner (1985) has generally found positive correlations among mood inducers, moods, and a number of dependent variables such as evaluations. However, studies such as Cialdini and Kenrick (1976) found that older children were more generous when self-generated thought made them sad. In a negative emotional ad, there may be more of a payoff. In this case, a sick friend is in the hospital (negative emotion), followed by a resolution (a positive emotion), in the form of a card. The point is made that in a negative emotional ad there is a higher level of activity involvement than with positive ads, where people are in a good mood, have positive thoughts, and want to stay that way with minimum elaboration. It may be likely that both the sad purchase situation and sad music manipulation resulted in more moderate levels of elaboration, leading to higher scores in purchase intentions. In addition, this particular example of a negative emotion and its resolution has high social approval and would increase motivation to purchase a card. As Gardner (1985), Park and Young (1986), and Kellaris and Cox (1993) have stated, a key factor is the congruence between associated feelings and behaviors consistent with that advocated in a message. In this situation, college students may have responded more positively to sad emotional evocations (induced by music) in the context of sending greeting cards to sick friends (with messages like ‘‘friendship is a gift’’). It makes sense intuitively to say that in this study, when happy music was paired with a sad purchase occasion, this was an incongruent situation where unexpected, irrelevant, inappropriate, or perhaps no information was conveyed and where purchase intent was low. The same was true with the other incongruent situations. In the happy music with happy occasion, and sad music with sad occasion, congruency was achieved through both expected and relevant information. The result of increased purchase intent, when there was congruity between happy music/ mood and happy purchase occasion, as well as sad music/mood and sad purchase occasion is supported by Bower (1981), who points out that people who are happy or unhappy tend to select interpersonal activities as well as social situations that will maintain their mood. Certainly, Hallmark positions (verbally and nonverbally) many of their greeting cards to appeal to these market situations. So did AT&T with their memorable ads supported by the song, ‘‘Feelings’’ (a sad song, in minor mode, that helped people resolve distance by phoning). On the other hand, visits to an amusement park may be more effectively advertised with happy music than with sad.
In addition, happy and sad may well be multidimensional constructs. Different gradations within these emotions may require different inducers and may in turn produce different responses and behavior. For example, there may be different kinds of happiness (or sadness), influenced by different factors, and may lead to different responses (relaxation after completion of a difficult task, enthusiastic expressions of joy, and the like). In addition, music has a host of elements that may be influential beyond the musical structure. These include the words, artistic interpretation, and specific memories that may be associated with the selection, type and period of music, and the interaction of all of these with the product and use situation stressed in the advertisement. Additional research may eventually be able to decompose overall effects into elements of all of these components, taking into account the effect of moderator variables, such as the respondents’ countries and cultures, demographics, personality and lifestyle, cognitive and affective involvement in the communication setting, and familiarity with the music.
The tasks in pursuing these issues are considerable, but it seems worthwhile to decompose factors such as musical influence into theoretical elements and their combinations. It is encouraging in this process of inquiry to find that predictions from musical theory may be derived that show correspondence in the emotional responses of audiences. To the extent that this phenomenon might be validated in future experiments, it may be possible to provide better explanation of this source of emotional response to commercials, as well as screen potential advertisements for predicted influences.

Hasil (Bahasa Indonesia) 1:

Seperti diperhatikan sebelumnya, penelitian yang dikutip oleh Gardner (1985) umumnya telah menemukan korelasi positif antara inducers suasana hati, suasana hati dan sejumlah variabel dependen seperti evaluasi. Namun, studi seperti Cialdini dan Kenrick (1976) menemukan bahwa anak-anak lebih tua yang lebih murah hati ketika memikirkan diri yang dihasilkan membuat mereka sedih. Dalam iklan emosi negatif, mungkin ada lebih dari hasil. Dalam kasus ini, seorang teman sakit adalah di rumah sakit (emosi negatif), diikuti oleh resolusi (emosi positif), dalam bentuk kartu. Intinya adalah dibuat dalam iklan emosional negatif ada tingkat yang lebih tinggi aktivitas keterlibatan daripada dengan iklan yang positif, yang mana orang berada dalam mood yang baik, memiliki pikiran positif, dan ingin tetap seperti itu dengan elaborasi minimal. Mungkin kemungkinan bahwa situasi pembelian sedih dan menyedihkan musik manipulasi mengakibatkan pada tingkat yang lebih moderat elaborasi, mengarah ke nilai yang lebih tinggi dalam pembelian niat. Selain itu, contoh khusus dari emosi negatif dan resolusi memiliki persetujuan sosial yang tinggi dan akan meningkatkan motivasi untuk membeli kartu. Gardner (1985), Park dan muda (1986), dan Kellaris dan Cox (1993) telah menyatakan, faktor kunci adalah harmoni antara terkait perasaan dan perilaku yang konsisten dengan yang dianjurkan dalam pesan. Dalam situasi ini, mahasiswa mungkin telah merespon lebih positif sedih emosional evocations (yang disebabkan oleh musik) dalam konteks mengirimkan kartu ucapan ke teman-teman yang sakit (dengan pesan seperti '' persahabatan adalah hadiah ''). Masuk akal intuitif untuk mengatakan bahwa dalam studi ini, ketika senang musik dipasangkan dengan kesempatan pembelian sedih, ini adalah situasi kongruen yang mana tak terduga, tidak relevan, tidak pantas, atau mungkin ada informasi disampaikan dan mana pembelian tujuannya adalah rendah. Sama adalah benar dengan situasi yang lain selaras. Dalam musik senang dengan kesempatan yang bahagia, dan menyedihkan musik dengan menyedihkan, adanya kesesuaian dicapai melalui informasi yang diharapkan dan relevan. Hasil dari peningkatan pembelian maksud, ketika ada kesepadanan antara senang musik / suasana hati dan kesempatan pembelian bahagia, serta musik/suasana hati yang sedih dan sedih pembelian kesempatan ini didukung oleh Bower (1981), yang menunjukkan bahwa orang-orang yang bahagia atau tidak bahagia cenderung memilih interpersonal kegiatan serta situasi sosial yang akan mempertahankan suasana hati mereka. Tentu saja, Hallmark posisi (secara lisan dan tanpa kata-kata) banyak kartu ucapan mereka untuk menarik ini pasar situasi. Begitu pula AT & T dengan iklan mereka berkesan didukung oleh lagu, '' perasaan '' (sedih lagu, dalam mode yang kecil, yang membantu orang mengatasi jarak dengan menelepon). Di sisi lain, kunjungan ke sebuah taman hiburan mungkin lebih efektif diiklankan dengan senang musik daripada dengan sedih.In addition, happy and sad may well be multidimensional constructs. Different gradations within these emotions may require different inducers and may in turn produce different responses and behavior. For example, there may be different kinds of happiness (or sadness), influenced by different factors, and may lead to different responses (relaxation after completion of a difficult task, enthusiastic expressions of joy, and the like). In addition, music has a host of elements that may be influential beyond the musical structure. These include the words, artistic interpretation, and specific memories that may be associated with the selection, type and period of music, and the interaction of all of these with the product and use situation stressed in the advertisement. Additional research may eventually be able to decompose overall effects into elements of all of these components, taking into account the effect of moderator variables, such as the respondents’ countries and cultures, demographics, personality and lifestyle, cognitive and affective involvement in the communication setting, and familiarity with the music.The tasks in pursuing these issues are considerable, but it seems worthwhile to decompose factors such as musical influence into theoretical elements and their combinations. It is encouraging in this process of inquiry to find that predictions from musical theory may be derived that show correspondence in the emotional responses of audiences. To the extent that this phenomenon might be validated in future experiments, it may be possible to provide better explanation of this source of emotional response to commercials, as well as screen potential advertisements for predicted influences.