外文翻譯--背景音樂作為一種影響在消費者情緒和廣告反響中

1、<p>　　標題：BACKGROUND MUSIC AS AN INFLUENCE IN CONSUMER MOOD AND ADVERTISING RESPONSES</p><p><b>　　ABSTRACT </b></p><p>　　Consumers' moods and emotional responses to advertise

2、ments have received increased attention from consumer researchers. A major component influencing audience responses is background music accompanying commercials. This paper reviews key research on the role of music's

3、 structural elements in influencing audience responses, from a music theory perspective, and highlights major findings relevant to emotional responses to music. A study is presented that suggests audience moods and purch

4、ase intenti</p><p>　　INTRODUCTION</p><p>　　This paper examines the relationship of music and consumers' moods, attitudes, and behaviors. A seminal paper in the Journal of Marketing by Gorn (

5、1982) studied music's influence from a classical conditioning perspective and sparked renewed interest in music and other "background" elements of commercials and stores. The present paper will discuss, int

6、egrate, and build upon the work of Gorn and others who have provided theoretical and empirical insight into the ways in which music may influence c</p><p>　　The purposes of this paper are to: 1) review major

7、 conceptual bases relevant to discussing music and other non-verbal influences on mood, as well as theory regarding the roles of informational and cognitive vs. non-cognitive means of influencing buyer behavior; 2) expan

8、d upon existing research to investigate whether background music can influence moods and common measures of advertising effectiveness; 3) begin to derive principles for predicting these effects, given analysis of the mus

9、ical conte</p><p>　　THEORETICAL BASE AND LITERATURE REVIEW</p><p>　　In a recent paper (Gardner 1985), mood was defined as a fleeting, temporary feeling state, usually not intense, and not tied t

10、o a specifiable behavior. Moods can be positive or negative, such as cheeriness, peacefulness, or guilt and depression. According to Clark and Isen (1982), feeling states are general, pervasive, and occur frequently, and

11、 do not usually interrupt on-going behavior. Feeling states or moods are distinguished from emotions, which are usually more intense, obvious, and are sai</p><p>　　Central and Peripheral Processing</p>

12、<p>　　Petty, Cacioppo, and Schumann's review of research in psychology and consumer psychology (1983) concludes that neither central nor peripheral information processing alone can explain the diversity of att

13、itude change results observed. The critical feature of the central route views attitude change as resulting from diligent consideration of information a person views as central to the merits of an issue Of product. Resea

14、rch following this route focuses on the familiar topics of cognitive consiste</p><p>　　They contrast this approach with a more peripheral route, in which attitude change is due to the presence of simple posi

15、tive or negative cues, or simple decision rules, and attitudes are less affected by issue-relevant arguments. In both routes, information or stimuli may be conveyed visually, verbally, or in source/message characteristic

16、s. What distinguishes the route seems to be the amount of conscious information processing, weighing of evidence, and the like. It is believed that peripheral p</p><p>　　Affect and Behavior Conditioning Via

17、Peripheral Processing</p><p>　　A stream of conditioning research in which direct transfer of affect (or liking) results from message execution tactics such as music, humor, visual imagery, color, and sex has

18、 been shown to influence consumers' feeling states (e.g. Gorn 1982; Watson and Rayner 1920). This research suggests that pairing a conditioned stimulus (a brand) with an unconditioned stimulus (e.g., music, humor) pr

19、oduces emotional responses which may then be associated with the brand. Here, attitude change is alleged to </p><p>　　On the other hand, there is diversity of opinion whether feelings automatically transfer

20、between stimuli (affective conditioning), or if affective states can influence attention and perception by affecting audiences' moods and prompt cognitive activity. At this point no definite conclusions can be made w

21、hether or not cognitions are included in original affective reactions, although the assertion that cognitive participation is not necessary for the occurrence of affect has been made (Zajonc 1980</p><p>　　MO

22、OD EFFECTS ON EVALUATION AND BEHAVIOR</p><p>　　Research has shown that mood states have an important influence on behavior, evaluation, and recall (Gardner 1985). While this general conclusion may not hold i

23、n all cases, Gardner notes that mood states appear to bias evaluations and judgments in similar directions to mood, and she reviews studies detailing this process.</p><p>　　The association between mood state

24、s and affective responses, judgments, and behavior can be seen as both direct and indirect. A direct affective reaction may be viewed as a conditioned response when there are direct linkages in associations in memory bet

25、ween mood states and affective reactions (Griffitt and Guay 1969), and mood states and behavior (see Gardner 1985 for references). Indirect associations between feeling states and affective responses and/or behavior incl

26、ude the influence of infor</p><p>　　The likelihood that a host of behaviors may be performed appear to be enhanced by positive moods (Gardner 1985). Negative moods' effects on behavior may be more comple

27、x than the effects of positive moods (Isen 1984; Donnerstein, Donnerstein, and Munger 1975; Cialdini and Kenrick 1976). For example, helping may be enhanced by some negative mood states such as sadness (Baumann, Cialdini

28、, and Kenrick 1981) and not by others such as frustration. This may be due to some evidence that negative mood st</p><p>　　Moods can be affected by many different variables. Gardner and Vandersteel (1984) di

29、scuss studies of independent variables found to induce mood states. Although much work has been accomplished in the study of mood induction, there remains a need for more theory regarding the reasons why communications (

30、and other inducers) influence moods.</p><p>　　In view of the fact that music is a common element in commercials, and one which has a long history of mood inducement in a variety of contexts, the next section

31、 will briefly review how music has been used as an independent variable to effect moods, as well as other dependent variables of interest to marketers. Additional references, a comparative exhibit for these studies, and

32、methodological details are available from the authors.</p><p>　　Music Effects</p><p>　　Music has been used in consumer behavior research, as well as communications, psychology and music therapy

33、research to determine its effects on behavior, preference, and mood. Research investigating music effects may be divided into those which analyzed and/or manipulated the structural and the sound elements of music and tho

34、se which did not. Structural elements refer to the properties making up musical sound such as melody, rhythm, harmony, major or minor modality, dynamics, and tempo.</p><p>　　Non-Structural Musical Studies<

35、;/p><p>　　Gorn (1982) suggests that peripheral influences such as background music used in commercials may become associated with the advertised product (in memory even if not consciously), and influence produc

36、t choice through classical conditioning. Mere exposure did not lead to liking, which apparently depended on whether the target product was presented with liked vs. disliked music. Gorn's second experiment supported h

37、is hypothesis that when subjects were not in a decision making mode, the commercial'</p><p>　　Bierley, McSweeney, and Vannieuwkerk (1985) extended Gorn's studies. Preference ratings for stimuli that

38、"predicted" (preceded) pleasant music were significantly greater than preference ratings for stimuli that predicted the absence of music. In another extension of Gorn's work, researchers questioned the theo

39、ry of affective-conditioning and suggested the mood position theory of Bower (1981) and Isen (1984) as a possible explanation (Allen and Madden 1985). Results indicated that there was an in</p><p>　　Park and

40、 Young (1986) extended this work by examining the impact of music vs. no music on attitude toward the brand, the ad, and behavioral intention under conditions of high cognitive, high affective, and low involvement toward

41、s the advertising situation. Under high cognitive involvement, they found music to be a distraction, lowering these dependent variable scores, because it was unrelated to attribute-based message contents. In the low invo

42、lvement condition, they found that music (which had </p><p>　　Since many commercials are viewed in situations which involve consumers who are interested in the programs, and not in the commercials, the audie

43、nce may be largely comprised of potentially uninvolved, nondecision making consumers rather than cognitively active problem solvers. In this context, emotionally arousing components such as music, colors, or lighting may

44、 exert strong but subtle influence on viewers' product attitudes and choices. Some of this impact may come via associations conditioned</p><p>　　An illustration of music's power to affect subjects

45、9; emotional responses was reported in a study by Rhoner and Miller (1980), where sedative music showed a trend to decrease anxiety. Subjects had greater affective arousal, persuasion affect, and attitudinal acceptance o

46、f the song's message with guitar accompaniment than without guitar accompaniment (Galizio and Hendrick 1972). Thus changes in the presentation of music influenced subjects' responses.</p><p>　　出處：……J

47、udy I. Alpert, Mark I. Alpert (1989), Advances in Consumer Research Volume 16, eds. Thomas K. Srull, Provo, UT : Association for Consumer Research, Pages: 485-491.</p><p>　　標題：背景音樂作為一種影響在消費者情緒和廣告反響中</p>

48、;<p><b>　　摘要</b></p><p>　　消費者對廣告的情感及情緒上的反應已經受到消費者研究人員進一步的關注。影響消費者反應的一個主要因素是商業(yè)廣告中伴隨著的背景音樂。本文從音樂理論的視角，闡釋了音樂的結構因素在影響觀眾反應所起的作用，并突出了主要的調查結果，這些調查結果是與人們對音樂的情緒反應密切相關的。一項研究表明，背景音樂可能會影響觀眾的情緒及購買意向，但并

49、不一定影響認知能力。未來的研究及推廣的方向正在探討中。</p><p><b>　　簡介</b></p><p>　　該論文分析了音樂與消費者的情緒、態(tài)度及行為的關系?！稜I銷學雜志》中有這樣一篇論文（作者：Gorn，1982）。這篇文章從經典性條件反射的視角研究音樂的影響，并激發(fā)了人們對商業(yè)廣告和商店的“背景元素”的新興趣。Gorn及眾多學者在音樂影響消費者反應的課題

50、上提供了理論和經驗上的深刻理解?，F在這篇論文將在Gorn和這些學者的基礎上進行探討，合作。</p><p>　　該論文的目的如下：第一，回顧與音樂及其他非語言對情緒影響有關的概念基礎；回顧信息和認知與非認知方式對買方行為影響對比的理論。第二，拓展對現有的研究結果，調查背景音樂是否會影響情緒，及廣告效應的基本措施。第三，開始追溯一些原理用于預測這些影響，并解釋廣告中的音樂內容。第四，提供一些有效建議，可以創(chuàng)造出影響

51、人們情緒和選擇商品的音樂影響。第五，為未來的研究廣告的音樂內容及影響指明方向。</p><p><b>　　理論基礎及文獻綜述</b></p><p>　　在最近的評論（參考Gardner 1985）中，情緒被定義為一種易逝的，暫時的感情狀態(tài)，通常不強烈，與具體的行為無關。情緒可以是積極地或是消極的，例如：興奮，平靜，罪疚感，沮喪。Clark 和 Isen (1982

52、)認為，感覺狀態(tài)是普遍的，并且經常發(fā)生，但通常不會干擾正在進行的動作。感覺狀態(tài)或情緒不同于情感。情感通常更強烈，更明顯，它與認知的成分有關。許多研究結果表明情緒影響著態(tài)度和行為。一個有效的整合感情和情感交流影響的架構需要具備中央和外圍信息處理過程。</p><p>　　Petty, Cacioppo和Schumann 在心理學和消費者心理學方面的研究論述表明中央或外圍信息都不能用來單方面解釋所觀察的到的態(tài)度轉變的

53、多樣性。中央路線的主要特征是把態(tài)度的轉變看做是由對信息的不斷考慮產生的，一個被人看做是產品問題的真相的中心。根據這條線路，主要研究一些熟悉的話題。例如認知一致性，認知代數，感知，學習能力，記憶力和一系列有關的問題。Petty 等人表示在高介入狀態(tài)下，研究結果和參數支持信息的中心路線處理的關聯性。</p><p>　　他們對比了中心路線與外圍路線。在外圍路線中，態(tài)度的轉變取決于簡單的積極或消極暗示的存在，或是一些簡

54、單的決策規(guī)則。這些態(tài)度基本上不會被與問題相關的參數所影響。在兩條路線中，信息或刺激物可能通過視覺上的，口頭上的，來源或信息的特征來傳達。用來區(qū)別線路的似乎是有意識的信息處理的數量，證據的分量，或是類似的東西?？梢源_信的是，外圍的處理過程可能是在低認知介入的條件下進行。通過中央路線用較少的推動力去處理信息，可能激發(fā)更簡單的啟發(fā)法和暗示，從而形成態(tài)度。</p><p>　　通過外圍處理的情感和行為調節(jié)</p&g

55、t;<p>　　一系列的條件限制研究表明由信息執(zhí)行策略導致的情感（或喜好）的直接轉移會影響消費者的感覺狀態(tài)，這些策略包括音樂，幽默，視覺圖像，顏色以及性(參考Gorn 1982; Watson and Rayner 1920)。該項研究表示對比一個條件刺激（牌子）和非條件刺激（如：音樂，幽默感）產生的情感反應可能與這個牌子有關。這種情況下，發(fā)生態(tài)度改變的原因是簡單的積極或消極暗示的存在，這并不需要介入認知的反應。事實上，許

56、多人認為行為改變是因為條件刺激，而不是態(tài)度或喜好的轉移(參考Kroeber-Riel 1984,; Allen and Madden 1985; Staats and Staats 1957; Zajonc 1968; Zajonc, Markus, and Wilson 1974)。這與非信息，低介入的廣告息息相關。這些廣告的主要目的不是加深人們對產品的認知而是給消費者留下對產品喜愛的（非有意識的）“感覺”。當一個產品不占任何客觀優(yōu)勢

57、，只是一件普通的商品，那么利用一些視覺圖像或音樂這樣的背景特征會對消費者產生更大的說服力(參考Batra and Ray 1983)。此外，在低介入的</p><p>　　另一方面，感覺是否能自動轉化為刺激（情感調節(jié)）；情感狀態(tài)是否能通過影響觀眾的情緒來影響注意力和知覺，加速認知的活動能力。對于這些問題，人們的觀點不一。對于認知是否包含于原始的情感反應，沒有一個確切的結論。盡管有評論認為情感的發(fā)生不一定需要認知的

58、參與（參考Zajonc 1980; Zajonc and Markus 1982及 Kroeber-Riel 1984），而與其他因素有關(參考Lazarus, 1982, 1984; Tsal 1985)。在涉及感情的方面，無論是中央還是外圍處理，都有論據來支持他們的效果。確實，兩種處理路線都可能從某種程度促使這一變化模式“刺激—感知—信念—態(tài)度—行為導向—行為” 以下將從情緒的角度來分析這一現象。</p><p&

59、gt;　　對價值取向和行為的情緒效應</p><p>　　研究表明情緒狀態(tài)對行為，價值和回憶有著深遠的影響(參考Gardner 1985)。雖然這一結論能在很多例子中站得住腳，但Gardner注意到情緒狀態(tài)似乎會使價值取向和判斷力發(fā)生偏差。在她的研究綜述中詳細地描述了這一過程。</p><p>　　情緒狀態(tài)和情感反應，判斷力以及行為的聯系可以被認為是直接和間接的。一個直接的情感反應被看做是

60、有條件的情感反應，當在情感狀態(tài)和情感反應的記憶中(參考Griffitt and Guay 1969)，在情感狀態(tài)和行為的記憶中(參考 Gardner 1985)有一些直接的聯系的時候。感覺狀態(tài)和情感反應或行為的間接聯系包括信息加工或認知能力的影響。情緒能通過激發(fā)與情緒相一致的思想影響價值取向。它也能通過增加對行為積極聯系的可及性來影響行為的表現(參考Clark and Isen 1982; Goldberg and Gorn 1987;

61、 Isen et al. 1978)。就這種程度來說——聯系是直接的并且?guī)缀醪簧婕坝幸庾R的信息加工，情緒通過外圍路線起作用。間接聯系會通過中心路線運行，當其他突出的線索被處理，使之在某種程度上受情緒影響服從于態(tài)度。</p><p>　　許多行為表現出來的可能性好像被積極的情緒提升(參考Gardner 1985)。負面情緒對行為的影響可能比積極情緒所帶來的影響更復雜。(參考Isen 1984; Donnerstei

62、n, Donnerstein, and Munger 1975; Cialdini and Kenrick 1976).舉例來說，無助感可能會因為一些負面情緒狀態(tài)比如傷心而加增(參考Baumann, Cialdini, and Kenrick 1981)，但是挫敗感不會加增無助感。這可能是因為負面情緒狀態(tài)本質上不同于積極情緒狀態(tài)(參考Isen 1984)。為了轉變不愉快的情緒狀態(tài)（如：無助感）而帶出的行為，可能會幫助人們克服順著情緒所表

63、現出來的行為。（如：撤回）。</p><p>　　介于情緒受很多不同變量的影響。Gardner 和 Vandersteel (1984)認為，探討了一些會誘導情緒狀態(tài)的自變量的研究。盡管在情緒感應的研究中完成了許多著作，但是關于為什么溝通（或者其他誘導物）會影響情緒，我們需要更多的理論支持。</p><p>　　考慮到音樂是商業(yè)廣告的共同要素這一事實，并且音樂在各種環(huán)境中擁有很長的情緒誘導

64、。在下一節(jié)中，將會簡單地論述音樂如何被用作一個自變量來影響情緒，以及其他有關賣主利益的變量。作者們還將提供一些額外的對這些研究相當有意義的參考文獻和方法論的細節(jié)。</p><p><b>　　音樂效應</b></p><p>　　音樂不只在消費者行為研究中被運用，也在溝通，心理學和音樂治療研究被運用，來確定其對行為，愛好和情緒的影響。關于調查音樂效應的研究可分為分析音

65、樂的結構及聲音成分的和不分析的。結構要素指的是組成樂音的內容，例如旋律，節(jié)奏，和聲，主要和次要的形態(tài)，動力以及拍子。</p><p><b>　　對非結構音樂的研究</b></p><p>　　Gorn (1982)表明次要的影響（比如運用于商業(yè)廣告中的背景音樂），可能會使觀眾在記憶中甚至無意識地使之與廣告中的產品相聯系，然后通過經典條件反射影響對商品的選擇。純粹運用

66、背景音樂并不能讓觀眾喜歡上該產品，還要看是否用人們喜歡的音樂來表現目標產品。Gorn的第二個實驗證明了他的假設：當主體還未做決定時，盡管廣告的背景音樂與產品信息截然相反，廣告在其吸引力方面的影響似乎更加明顯。他認為通過經典條件反射，產品變得與喜歡的音樂所長生積極感覺息息相關。</p><p>　　Bierley, McSweeney, 和 Vannieuwkerk (1985) 拓展了Gorn的研究。觀眾對有音樂

67、的刺激物的偏好度比無音樂的刺激物的偏好度要大得多。另一項對Gorn 著作的拓展中，研究者們質疑以情感為條件的理論，并認為Bower (1981)和Isen (1984)的情緒定位理論可能是個不錯的解釋(參考Allen and Madden 1985)。結果顯示主體的思維過程和情緒相互作用。這些情緒受到廣告中背景刺激物的激發(fā)。音樂在廣告中對觀眾情緒可能產生的效應會使得通過音樂產生的簡單條件效應更為復雜。</p><p&

68、gt;　　Park 和Young (1986)拓展了這項研究。他們研究了在有音樂與無音樂狀態(tài)下，人們對牌子，廣告，行為取向的態(tài)度。條件是廣告情況的高認知，高情感，低介入。在高認知介入的條件下，他們發(fā)現音樂會分散注意力，降低這些變量的分數。因為它與以產品特性為依據的信息內容無關。在低介入的條件下，與那些沒有音樂的相比，那些預選的受人們歡迎和喜愛的音樂會使人們產生對牌子的積極態(tài)度。在高情感介入的條件下，并沒有發(fā)現預期的音樂使人們對牌子的的態(tài)

69、度產生積極的影響?？赡苁且驗樗x擇的音樂不適合產品的形象和情感主體。</p><p>　　許多廣告在各種情形下被評論，這些情形中包括有些消費者對節(jié)目感興趣，但對廣告不感興趣。絕大部分觀眾是潛在的消費者，而不是認知性的積極的問題解決者。在本文中，諸如音樂，顏色，光線這樣的因素，會激發(fā)人們的情緒，并且是人們對產品的態(tài)度和選擇發(fā)生強烈但細微的變化。其他的一些因素可能會經歷一條間接路線，比如它們受音樂對調查對象情緒或其他

70、反應的影響；反過來，它又影響信息處理。</p><p>　　在Rhoner和Miller(1980)的研究中，關于音樂對主體情緒反應的影響能力的解釋的記錄。記錄顯示，使人安靜的音樂能舒緩人的焦慮感。與沒有伴隨著吉他的歌相比，伴隨著吉他的歌更激發(fā)主體的情感，使產品更具說服力，并且讓主體產生更容易接受產品的態(tài)度(參考Galizio and Hendrick 1972)。因此，音樂表現形式的改變影響主體的反應。<

71、/p><p>　　出處：Judy I. Alpert, Mark I. Alpert (1989), Advances in Consumer Research Volume 16, eds. Thomas K. Srull, Provo, UT : Association for Consumer Research, Pages: 485-491.</p><p><b>　　三、