Acoustic brand management

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Acoustic branding (also: audio branding , sound branding , sonic branding or acoustic branding ) is the German umbrella term for processes in which audible components of brands or complete audible brands are developed and used.

Acoustic markings have been taking place since important, sometimes vital functions have been assigned to certain sounds. Audible brand elements have been produced commercially and used strategically since the beginning of the 20th century. These brand management processes build characteristics for recognizing, recognizing, distinguishing, remembering and binding. In marketing, sounds complete the corporate identity of companies, which for a long time has mainly appeared visually. Length, language content and the positioning of sounds in the foreground or background of advertising measures are common criteria that distinguish acoustic brand elements. In practice, the forms audio logo , jingle , brand voice , brand song and soundscapes appear most frequently . A critical dissenting voice to acoustic branding is sound ecology .

Concept and delimitation

In practice and literature, no (international) uniform designation is used for the comprehensive process of acoustic branding. The development of brands or brand elements is generally called branding , whereas the property of audibility of brand elements is expressed literally through several attributes such as audio , sound , sonic , music or acoustic .

By autumn 2010, the combination of the two word components audio and branding , i.e. the technical term audio branding , seemed to have established itself . However, a study carried out by the Hamburg Audio Branding Academy in September 2010 showed that the term sound branding is preferred in business practice. However, this was asked in connection with finding a linguistic counterpart to visual branding. Surveyed with 32 agencies that produce acoustic brand elements in 13 countries, the survey showed that 46 percent of those involved consider the term sound branding instead of audio branding (32 percent of the votes) to be correct. With regard to the naming of audible brands, the sound logo clearly outweighed the audio logo with 45 percent compared to the audio logo, which was only approved by 6 percent. This means that the term that has been used most frequently in the Anglo-American region for a long time could soon establish itself in German-speaking countries: sound branding . Instead of branding, there is often talk of identity. Acoustic corporate identity , corporate sound and similar terms are just such synonyms for the audible overall concept of a company and / or the brands it manages.

The German term acoustic branding is also not very precise. Since the aim is to perceive brands, the word does not work acoustically enough. Acoustics only describes the physical level of sound. The physiological level of hearing is only correctly spoken of when it is about auditory , i.e. audible, perceptible things.

history

The beginnings of acoustic branding go back a long way: (Church) bells have shaped the acoustic landscape of cities and regions for around 4000 years thanks to their strong recognition value. Different pitches and melodies of the bell have been assigned functions for, for example, fire protection, calling for church services or showing the time. Also fanfares are to be regarded as the first applications. They were used in hunting, were used to announce kings and are still used by indigenous peoples.

The commercial idea of ​​acoustic branding emerged at the beginning of the 20th century; with the use of a piece of music for advertising purposes in 1905 in the then emerging automotive industry. The Oldsmobile Motor Company's song " In My Merry Oldsmobile " formed the basis of the company's marketing communications. In 1920 Erik Satie invented the so-called developmentless music against all profit orientation. He was the first composer who created sound carpets with his pieces without development, from which he founded the style Musique d'ameublement . Then, in the radio era, the rapid rise of radio commercials took place. The Muzak company has existed since 1934 and has achieved success with functional music . The background music or department store music should be heard but not consciously perceived. This development towards an everyday use of sound elements took place in the USA until then. In the 1950s, advertising jingles finally found their way into Europe.

With regard to its commercial use and scientific research, acoustic branding can be described as a young discipline in which no uniform practice has yet emerged. But it is increasingly establishing itself on the market and is being used by an increasing number of companies.

Corporate identity and acoustic branding

Brand management is to be seen as part of marketing and includes measures to build a brand as a feature for recognizing, recognizing, differentiating, remembering and binding in order to distinguish it from the mass of similar offers. This should enable a clear assignment to the specific brand and create an unmistakable identity. The brand exists analogously to the corporate identity, the corporate identity, a self-contained corporate personality. This is made up of: corporate design (appearance of the company), corporate behavior (behavior of the company) and corporate culture (culture of the company). This is how the company presents itself to the public. Using auditory components, the corporate identity is expanded to include the corporate sound (sound of the company), which is always part of the holistic brand management. Audible stimuli are particularly successful for conveying emotions as well as information. They influence the attitude towards a brand, the willingness to buy and the purchasing behavior.

The entire process of acoustic brand management can be broken down as follows: At the strategic level, an analysis of external and internal factors that are related to the brand is carried out. The information and data obtained are then transferred to an acoustic foundation. Operationally, the sound-musical form is finally reacted. The sound identity created in this way is strongly oriented towards the corporate identity and determines the design of the acoustic brand elements.

Acoustic elements from brands

Acoustic elements of brands together with visual components such as colors, fonts and shapes result in the specific shape of a brand.

Distinguishing criteria

Acoustic brand elements can be classified on the basis of various characteristics: The length of the acoustic stimulus can be divided into short (less than 3 seconds), medium (3 to 7 seconds) and long (more than 7 seconds). The combination with verbal stimuli provides information on whether language is involved or not. A distinction can also be made according to whether the integration takes place in the background or foreground in the advertising measure. With regard to the meaning of the content, it can be further classified into natural meanings, such as the chirping of a bird, and metaphorical or acquired meanings, such as sequences of tones, which, for example, are metaphors for human steps.

Acoustic brand elements (selection)

The brand elements most frequently used in practice are listed here.

The audio logo , also called acoustic logo , sound logo , sonic logo , identification motif , acoustic signature or sound mark , is short, concise, memorable, in the broadest sense noisy to melodic and can be instrumental, spoken or sung.

Jingle

A melodic piece that contains lyrics and is mostly sung is called a jingle . This contains the advertising slogan or the central message and, once it has been established, can also be used by listeners without text.

Brand voice

Brand voice , also known as brand voice , corporate voice or company voice , is a specific speaking voice that is used consistently and over the long term for verbal communication in a company.

Brand song

A brand song, also known as a brand song or corporate song , can on the one hand be an already popular third-party composition that was not created for the company. On the other hand, this song can be developed according to the guidelines of acoustic identity.

Soundscape

Soundscape describes a designed, atmospheric sound space that is used in real environments such as sales rooms or in media such as the Internet.

Other types of sound

Acoustic brand elements are to be distinguished from sound types that are acoustically connected to the product and its design and are included in the acoustic brand management.

Conceptual sound

This is an onomatopoeic painting of brand names or slogans, which is supposed to easily evoke associations.

Product sound

Noises from products are specifically designed, for example closing a car door, or unwanted noises are reduced.

Interactive sound

Also called sound objects , they replace mechanical noises that have been lost due to technological improvements.

Review: sound economy vs. Sound ecology

As a counterpoint to the growing market for sound products that emerged from acoustic branding, so-called sound ecology has existed as a scientific research direction since the 1960s. It is the critical perspective on the development of auditory impact on humans. With regard to acoustic brand management, too, she deals with the barely given limits and the justification of auditory stimulation, which has not yet been sufficiently investigated scientifically. Habitualization processes and the potential for manipulation are keywords in sound ecology.

The concept of an ecology of sounds and their pollution was coined by R. Murray Schafer . In Germany, Rüdiger Liedtke drew attention to the dangers of an increasing expulsion of silence with his publication of the same name from 1988.

literature

  • Nada Endrissat, Claus Noppeney: Sonification and organization: Of work songs and corporate songs / sounds . In A. Schoon, A. Volmar (ed.): The trained ear: A cultural history of sonification. Transcript, Bielefeld 2012, pp. 251-269.
  • John Groves: Sound Branding - Strategic development of branded sound. In: H. Meyer (Hrsg.): Brand Management 2008/2009: Yearbook for Strategy and Practice of Brand Management. Deutscher Fachverlag, Frankfurt am Main, pp. 125–148.
  • Wilbert Hirsch, Patrick Langeslag: Acoustic Branding. New ways for music in brand communication. In: Klaus Brandmeyer, Alexander Deichsel, Christian Prill (eds.): Yearbook Markentechnik 2004/2005. Frankfurt am Main 2004, pp. 231–245.
  • Wilbert Hirsch, Michael Schneider: Brand Aesthetics & Acoustic Branding. In: Alex Buck, Christoph Herrmann, Frank G. Kurzhals (eds.): Brand aesthetics 2000: the leading corporate design strategies. Frankfurt am Main 2000, pp. 36-51.
  • Sonja Kastner: Sound makes brands. Sonic branding as a design process. Wiesbaden 2008.
  • Karsten Kilian: From brand identity to brand tone as a brand element. In: Kai Bronner, Rainer Hirt (Ed.): Audio-Branding. Development of application, effect of acoustic identities in advertising, media and society. Munich 2007, pp. 54-69.
  • Jörg Klußmann: Music in public space. An investigation into the music system at Hamburg Central Station. Osnabrück 2005.
  • Mark Lehmann: Voice Branding: The voice in brand communication. Munich 2007.
  • Andreas Pysiewicz: sound | contexts between ecology and branding. Aachen 2009.
  • Cornelius Rings: Audio Branding. Music as a trademark of companies. Berlin 2005.
  • Ingo Roden: Rock'n'Brands. Ways to acoustic branding using the example of audio branding and music sponsorship. Saarbrücken 2009.
  • Simone Roth: Acoustic stimuli as an instrument of brand communication. Wiesbaden 2005.
  • Ralph Salzmann: Multimodal conveyance of experiences at the point of sale. A behavioral analysis with a special focus on the effects of music and scent. Saarbrücken 2007.
  • Raymond. M. Schafer: Sound and noise. A cultural history of hearing. Frankfurt am Main 1988.
  • Georg Spehr: Audio branding - everything new? In: Kai Bronner, Rainer Hirt (Ed.): Audio-Branding. Development of application, effect of acoustic identities in advertising, media and society. Munich 2007, pp. 32-39.
  • Paul Steiner: Sound Branding. Basics of acoustic brand management. (= Gabler Edition Science ). 2nd Edition. Gabler, Wiesbaden 2014, ISBN 978-3-8349-1639-6 . (Dissertation University Krems 2008)
  • Christian Tallau, Markus Ballhausen: Unbelievably important! In: Markenverband eV (Hrsg.): Markenartikel: The magazine for brand management. Volume 70, 9, Wiesbaden / Hamburg 2008, pp. 110-115.
  • Peter Philippe Weiss: Corporate Sound: Marketing Instrument of the Future? THEXIS marketing book, Thexis Verlag, St. Gallen 1995.
  • "Sound Branding" Current literature list , compiled by the ZBW - German Central Library for Economics

Individual evidence

  1. ↑ Cornelius Rings: Audio Branding. Music as a trademark of companies. Berlin 2005, p. 47.
  2. ↑ Audio Branding Academy: Audio Branding Barometer 2010, under: Audio Branding Barometer 2010 - Overview , 2010 (accessed June 14, 2011).
  3. ↑ Ingo Roden: Rock'n'Brands. Ways to acoustic branding using the example of audio branding and music sponsorship. Saarbrücken 2009, p. 38.
  4. ^ Raymond M. Schafer: Sound and noise. A cultural history of hearing. Frankfurt am Main 1988, pp. 220-224.
  5. ↑ Georg Spehr: Audio branding - everything new? In: Kai Bronner, Rainer Hirt (Ed.): Audio-Branding. Development of application, effect of acoustic identities in advertising, media and society. Munich 2007, p. 32f.
  6. ^ Paul Steiner: Sound Branding. Basics of acoustic branding. Wiesbaden 2009, p. 64f.
  7. ^ Jörg Klußmann: Music in public space. An investigation into the music system at Hamburg Central Station. Osnabrück 2005, pp. 51-54.
  8. ↑ Andreas Pysiewicz: Klang | Kon | tex | te between ecology and branding. Aachen 2009, pp. 95, 124.
  9. ↑ Andreas Pysiewicz: Klang | Kon | tex | te between ecology and branding. Aachen 2009, pp. 85-88.
  10. ^ Simone Roth: Acoustic stimuli as an instrument of brand communication. Wiesbaden 2005, pp. 105, 110, 128.
  11. ↑ Andreas Pysiewicz: Klang | Kon | tex | te between ecology and branding. Aachen 2009, p. 100.
  12. ^ Simone Roth: Acoustic stimuli as an instrument of brand communication. Wiesbaden 2005, pp. 96-99.
  13. ↑ a b Andreas Pysiewicz: Klang | Kon | tex | te between ecology and branding. Aachen 2009, p. 102.
  14. ↑ Karsten Kilian: From brand identity to brand sound as a brand element. In: Kai Bronner, Rainer Hirt (Ed.): Audio-Branding. Development of application, effect of acoustic identities in advertising, media and society. Munich 2007, p. 66.