Sonic branding and the aesthetic infrastructure of everyday consumption

Popular Music ◽  
2021 ◽  
pp. 1-16
Author(s):  
Susie Khamis ◽  
Brent Keogh
Keyword(s):  
Popular Music ◽  
Case Studies ◽  
Marketing Strategies ◽  
Brand Strategy ◽  
The Past ◽  
Popular Music Studies ◽  
Sonic Branding ◽  
Scholarly Discussion ◽  
The Aesthetic

Abstract Sonic branding – the sonic expression of a brand's identity – is the audio equivalent of a brand's logo, a sound that is both distinct and adaptable to diverse contexts, and serves to communicate a brand's narrative. Sonic branding has been a feature of marketing strategies for the past two decades, but more recently there has been increased commercial interest in sonic branding, a move from the ‘visual turn’ to the ‘sonic turn’, as voice activation technologies such as Siri, Amazon's Alexa and Google Assistant immerse the consumer in a personal encounter across diverse sensory touch points. While there has been significant scholarly discussion in popular music studies of the ways that sound is employed to increase capital in commercial contexts, little has been written to address the ways in which popular music is courted and implicated in brand strategy specific to sonic branding. In this paper, we consider the ways in which sounds are embedded in contemporary brand practice and detail the ways in which popular musicians and genres are complicit partners in ‘branding to the senses’. Here, we focus on two sonic branding case studies – Mastercard and HSBC – which highlight the key role of popular music in constructing the way we ‘hear’ brands.

Lepanto and Beyond

2021 ◽  
Keyword(s):  
Case Studies ◽  
Visual Representations ◽  
Media Campaign ◽  
Scholarly Discussion ◽  
The Republic ◽  
The Many

The Battle of Lepanto, celebrated as the greatest triumph of Christendom over its Ottoman enemy, was soon transformed into a powerful myth through a vast media campaign. Lepanto – or rather, the varied storytelling and the many visual representations that contributed to shape the perception of the battle in Christian Europe – is the main focus of this book. In a broader perspective, Lepanto and Beyond also gathers reflections on the construction of religious alterity and offers analyses of specific case studies taken from different fields, investigating the figure of the Muslim captive in reality, artistic depiction, and literature. With different themes related to the Republic of Genoa, the authors also aim to redress a perceived imbalance and to restore the important role of the Genoese in the general scholarly discussion on Lepanto and its images.

Pop and the Nation-State: towards a theorisation

Popular Music ◽  
1999 ◽  
Vol 18 (2) ◽  
pp. 193-207 ◽  
Author(s):  
Martin Cloonan
Keyword(s):  
Popular Music ◽  
State Level ◽  
The Other ◽  
Nation State ◽  
Popular Music Studies ◽  
Music Scene ◽  
The One

Recent years have seen two noticeable trends in Popular Music Studies. These have been on the one hand a series of works which have tried to document the ‘local’ music scene and, on the other, accounts of processes of globalisation. While not uninterested in the intermediate Nation-State level, both trends have tended to regard it as an area of increasingly less importance. To state the matter more boldly, both trends have underplayed the continually important role of the Nation-State.

Beyond Rhetoric

2021 ◽  
pp. 322-364
Author(s):  
Danuta Mirka
Keyword(s):  
Eighteenth Century ◽  
Case Studies ◽  
String Quartets ◽  
Musical Form ◽  
The Aesthetic ◽  
Multiple Agency

The chapter starts with the discussion of the aesthetic category of “humorous music,” which emerged in the last decade of the eighteenth century, and links it to the theory of multiple agency, proposed by Edward Klorman (2016). There follow two case studies of hypermetric manipulations in the first movements of Haydn’s string quartets Op. 50 No. 3 and Op. 64 No. 1. These analyses reveal how such manipulations act in concert with ingenious deployment of musical topics and contrapuntal-harmonic schemata, and how they affect musical form. The chapter closes with remarks about the role of the first violinist in Haydn’s string quartets.

Lesbian Perversity and Victorian Marriage: The 1864 Codrington Divorce Trial

1997 ◽  
Vol 36 (1) ◽  
pp. 70-98 ◽  
Author(s):  
Martha Vicinus
Keyword(s):  
Nineteenth Century ◽  
Case Studies ◽  
Homosexual Behavior ◽  
Public Discussion ◽  
The Past ◽  
Control Information ◽  
Lesbian Sexuality ◽  
The Face ◽  
Female Homosexual Behavior

How and when did society first recognize women's homoerotic bonds? Were these romantic friendships fully accepted, or were they seen as problematic? Did the women involved see themselves as lesbians? These and other questions have been raised over the past twenty years by historians of lesbian sexuality. When Lillian Faderman in her pioneering survey of European and American lesbians declared the nineteenth century as the golden age of unproblematic romantic friendships, historians quickly responded with evidence to the contrary. Much of this debate has been focused on whether or not women could be considered “lesbian” before they claimed (or had forced on them) a publicly acknowledged identity. But the modern lesbian did not appear one day fully formed in the case studies of the fin-de-siècle sexologists; rather she was already a recognizable, if shadowy, subject for gossip among the sophisticated by at least the 1840s and 1850s. By examining closely a single divorce trial, I hope to show that literary and legal elites acknowledged lesbian sexuality in a variety of complex ways. Their uneasy disapproval encompassed both a self-conscious silence in the face of evidence and a desire to control information, lest it corrupt the innocent. Yet who can define the line between the ignorant and the informed? The very public discussion of the Codrington divorce, and most especially the role of the feminist, Emily Faithfull, in alienating Helen Codrington's affections from her husband, demonstrate the recognition of female homosexual behavior.

Remembrance of Things Past: Marxism and the Study of Popular Music

2019 ◽  
Vol 16 (1) ◽  
pp. 141-155
Author(s):  
SIMON FRITH
Keyword(s):  
Popular Music ◽  
Sociology Of Knowledge ◽  
Subsequent Development ◽  
Commercial Music ◽  
Popular Music Studies ◽  
History Of ◽  
Cultural Ideology ◽  
1960S And 1970S ◽  
The 1960S

AbstractThis article considers the role of Marxism in the history of popular music studies. Its approach combines the sociology of knowledge with a personal memoir and its argument is that in becoming a field of scholarly interest popular music studies drew from both Marxist theoretical arguments about cultural ideology in the 1950s and 1960s and from rock writers’ arguments about the role of music in shaping socialist bohemianism in the 1960s and 1970s. To take popular music seriously academically meant taking it seriously politically. Once established as an academic subject, however, popular music studies were absorbed into both established music departments and vocational, commercial music courses. Marxist ideas and ideologues were largely irrelevant to the subsequent development of popular music studies as a scholarly field.

‘Why should we care?’: Some thoughts on cosmopolitan hauntings

2013 ◽  
Vol 6 (3) ◽  
pp. 345-358
Author(s):  
Jacqueline Lo
Keyword(s):  
Case Studies ◽  
Nation State ◽  
Japanese History ◽  
The Past ◽  
Transnational Memory

This essay deploys the concept of cosmopolitan haunting to explore entangled relationships with the past, the role of minoritarian and ethnicized subjects of history and the emergence of horizontal post-national solidarities. I focus on two commemorative sites or practices that challenge the limits of transnational memory and its relationship with citizenship. The first is the story of William Cooper, an Aboriginal activist whose critique of the Nazi pogrom has been recognized by a number of commemorative events in Israel, and the second is a performative ritual enacted by migrant artists to honour Australia’s early Japanese history. The case studies demonstrate the affective contaminations that provoke not just feeling but also actions that both surpass but then get caught up again within the pressures of the nation state.

Collective memory and social movements in times of crisis: the case of Romania

2018 ◽  
Vol 46 (4) ◽  
pp. 671-684 ◽  
Author(s):  
Raluca Abăseacă
Keyword(s):  
Social Movements ◽  
Collective Memory ◽  
Case Studies ◽  
Economic Conditions ◽  
National Context ◽  
Southern Europe ◽  
The Past ◽  
Occupy Movements ◽  
Rosia Montana

Social movements are not completely spontaneous. On the contrary, they depend on past events and experiences and are rooted in specific contexts. By focusing on three case studies – the student mobilizations of 2011 and 2013, the anti-government mobilizations of 2012, and the protests against the Rosia Montana Gold Corporation project of 2013 – this article aims to investigate the role of collective memory in post-2011 movements in Romania. The legacy of the past is reflected not only in a return to the symbols and frames of the anti-Communist mobilizations of 1989 and 1990, but also in the difficulties of the protesters to delimit themselves from nationalist actors, to develop global claims, and to target austerity and neoliberalism. Therefore, even in difficult economic conditions, Romanian movements found it hard to align their efforts with those of the Indignados/Occupy movements. More generally, the case of Romania proves that activism remains rooted in the local and national context, reflecting the memories, experiences, and fears of the mobilized actors, in spite of the spread of a repertoire of action from Western and southern Europe.

scholarly journals NEW ZEALAND HORTICULTURAL EXPORTS

HortScience ◽  
1992 ◽  
Vol 27 (6) ◽  
pp. 589a-589
Author(s):  
D. H. Turner
Keyword(s):  
New Zealand ◽  
Tertiary Education ◽  
Marketing Strategies ◽  
Key Factors ◽  
Marketing Technology ◽  
The Past ◽  
Export Expansion ◽  
Future 2 ◽  
The Impact

New Zealand horticultural exports expanded rapidly during 1970-1990. These increases did not occur without some difficulties. Details of the export expansion including main products and major markets (such as the U. S. and Pacific Rim Countries) will be discussed. Key factors such as: 1) marketing strategies of the past, present, and future; 2) the impact of new marketing technology; and 3) importance of New Zealand image will be detailed. The role of education and technology and the skill level of New Zealand horticulture will be reviewed. This will include the New Zealand tertiary education system as well as relevant examples of how universities can assist.

International Association for the Study of Popular Music (UK Branch) 2000 Conference

Popular Music ◽  
2001 ◽  
Vol 20 (2) ◽  
pp. 263-274
Author(s):  
Peter Symon
Keyword(s):  
Popular Music ◽  
International Association ◽  
Popular Music Studies ◽  
Working Lives ◽  
The Media ◽  
Media Politics ◽  
State Of Affairs ◽  
The Uk ◽  
The University

For some reason, the working lives of music makers are not often given the attention in popular music studies which might be expected. The launch of the UK Year of the Artist – celebrating the role of artists in society – immediately before the 2000 conference of the UK branch of the International Association for the Study of Popular Music (IASPM), meant that it was especially timely, then, for the IASPM event to address this state of affairs. The conference, The Popular Musician: Performance, Poetics, Power, was held at the University of Surrey, 7–9 July 2000, and took as its central theme the position of musicians – in the music industry, in relation to fans and audiences and in the media, politics and society.

Hidden technicians; music and radio-making at 3-PBS in the Prince of Wales

2020 ◽  
Vol 176 (1) ◽  
pp. 107-119
Author(s):  
John Tebbutt
Keyword(s):  
Popular Music ◽  
Early Period ◽  
Radio Station ◽  
Community Radio ◽  
Problematic Relationship ◽  
Popular Music Studies ◽  
Live Music ◽  
Radio Broadcast ◽  
The City

This article explores the role played by radio broadcast technicians in the early period of the volunteer-run community radio station PBS-FM, in Melbourne. It covers the tenure of the broadcaster at the Prince of Wales (PoW) hotel in the city bayside suburb of St Kilda between 1980 and 1984. The article aims to assess the link between radio and music in the light of the problematic relationship these elements have had historically in popular music studies. The article specifically addresses the role of volunteer technicians in facilitating live music broadcasts at PBS, which became a signature format for PBS and helped establish it as an important community station in the new sector as well as a component of Melbourne’s emerging role in Australian and international music.

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