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;
2012
Tom Brooker A Dissertation submitted in part
fulfilment of the requirements for award
of the degree of BA (Hons) Music
Management of Buckinghamshire NewUniversity
5/2/2012
My Brand Is Bigger Than Yours:
The perceived value of music synchronisation
licenses for brand advertisements
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Acknowledgements
Special thanks must be g iven to David Bass, Ben Bleet and LawrenceMcKay. Without their patience and generosity this study would have n ot
have been possible.
Further thanks must be given to my parents and family who without their
support and guidance would have made the past three years of my
studies near impossible.
Finally, thanks must be given to my supervisor Russel Stone, whose
enthusiasm and guidance helped me through this study.
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Abstract
By determining the underlying constructs which formulate the perception on the
value of a music synchronisation license for brand advertisements, an interpretation
of what music is valuable as a consequence to its suitability to achieve a brands
specific goals and objectives is found. This study analysed the underlying factors in
the formation of perceived value within music synchronisation licenses for brand
advertisements to conclude a logical framework to depict the compatibility and
therefore the value of a music track to be used within a brand advertisement. A
qualitative and analytical research method including elite interviews was taken to
give a descriptive insight into Rokeach’s (1973) and Peter and Olson’s (1993) keystudies on the abstract attributes, psychological consequences, functional
consequences and end-term states of the means-end chain model and McCracken’s
(2005) key study on meaning transfer theory, which combined form the basis of this
studies hypothesised framework. The results found subsequently gave an
unprecedented insight into how a music synchronisation license is valued and added
a new piece of knowledge to the body of work on music synchronisation licensing.
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Table of contents
Introduction.................................................................................Page 1
Literature Review........................................................................ Page 6
Introduction.......................................................................................... Page 6
Means-End Chain Model...................................................................... Page 8
Perceived Value.................................................................................. Page 13
Measuring Perceived Value................................................................ Page 17
Trade-Off of Perceived Value............................................................. Page 20
The Acceptable Price Range............................................................... Page 24
Meaning Transfer Theory.......................................... ......................... Page 26
The Match-Up Hypothesis................................................................. Page 30
Methodology............................................................................................Page 34
Materials................................................................................................... Page 36
Participants/Sampling............................................................................... Page 37
Step-by-step Methods............................................................................... Page 38
Data analysis/Coding................................................................................. Page 40
Results........................................................................................................ Page 41
Discussion....................................................................................................Page 132
Introduction................................................................................................. Page 132
Abstract Attributes....................................................................................... Page 133
Degree of Fit................................................................................................. Page 135
Psychological Consequences.........................................................................Page 137
Functional Consequences.............................................................................Page 141
End-Term States...........................................................................................Page 143
Conclusion.........................................................................................................Page 148
Bibliography.......................................................................................................Page 152
Appendices......................................................................................................... Page 162
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1 | P a g e
Introduction
The aim of this study is to determine whether there is a logical process behind the
construction of perceived value within music synchronisation licenses for brand
advertisements. As Godin (2009) noted a brand is ‘the set of expectations,
memories, stories and relationships that, taken together, account for a consumer’s
decision to choose one product or service over another.’ (Godin, 2009, [online])
Therefore, brand advertising is about building a connection with the consumer by
advertising with an emphasis on the company brand; the logo or company name. It is
possible to conduct brand advertising over several different media types, but in the
context of this study it will be examined under the mediums of television adverts and
online campaigns as they are commonly subject to music synchronisation licenses.
Therefore, hence forth, any reference to a music synchronisation license will be in
the context of it being for a brand advertisement.
Music synchronisation is the process concerned with connecting the right piece of
music with the right moving image, be that a television show, advertisement, film or
video game. Considering this it becomes clear that synchronisation is deeply tied
with both the copyright in the sound recording and the musical work, as Howard
(2007) noted ‘You can’t simply grab any piece of music you want and throw it in a film.There are a host of copyright issues surrounding synchronizations that, in large part, define
the role of the music supervisor.’ (Howard, 2007, [Online])
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2 | P a g e
The music supervisor takes a disposition in two areas, they may work with the
licensee or agency in finding the right piece of music for the purpose, but their main
function is to mediate between the copyright holders and licensee in order to clear
the synchronisation license. As Howard (2007) noted ‘In order for a piece of music
to be used in a film, the music supervisor must get approval from, typically, two
parties.’ (Howard, 2007, [Online])
Permission must be given from both the owner of the copyright in the musical work;
typically the publisher and the owner of the copyright in the sound recording;
traditionally the record company. When permission is granted for the use of their
copyright it forms a synchronisation license, which as Howard (2007) notes ‘gives
the music supervisor the right to synchronize your music with the director’s moving
images.’ (Howard, 2007, [Online])
As Howard (2007) discussed ‘There is no set fee for this, it’s completely negotiable’
(Howard, 2007, [Online]) a point that was further expanded by Taylor (2004) when
he noted that ‘Fees vary widely from $0 to hundreds of thousands of dollars.’
(Taylor, 2004, P.62) The unpredictability of synchronisation fees is a theme that runs
deep through the history of synchronisation, from its outset to the present day there
seems to be little information on how to quantify the value of music in
synchronisation.
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3 | P a g e
Synchronisation first started to come into fruition in the mid sixties when the
creators of the successful television show The Monkees, Bob Rafelson and Bern
Schnieder, produced the film Easy Rider. This was not the first use of popular music
in alliance with visual images, the film The Graduate which predated Easy Rider by a
year used compositions by Simon & Garfunkel in its making, but as Howard (2007)
noted Easy Rider ‘did it in such an emphatic way that it opened the floodgates’
(Howard, 2007, [Online]) it was in part responsible as Howard (2007) noted for the
inspiration of influential directors and the birth of the music supervisor.
The progression of synchronisation took another step in its evolution during the
1980’s when pop songs began to be used in advertisements. Before this, as Gordon
(2010) noted ‘music in television advertisements was generally limited to jingles
and incidental music.’ (Gordon, 2010, [Online]) It was Burger Kings use of Aretha
Franklin’s song “Freeway of Love” in their 1985 commercial and Nikes inclusion of
The Beatles’ song “Revolution” in their 1987 advertisement which led to the practise
becoming common place.
By the mid nineties the practise of synchronisation was in full flow, the inclusion of
music in film and television to enhance visual elements was commonplace, as
Gordon (2010) noted ‘In 1995, audiences around the country were used to hearing
some of their favorite songs in television ads’ (Gordon, 2010, [Online]) But despite
the fact synchronisation was now a regular practise within the production of
television shows, advertisements and films, there was still no consistency in the
amount paid for a synchronisation license.
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4 | P a g e
The irregularity of prices paid for a synchronisation license is a point highlighted by
Gordon (2010) when he described that despite the commonality of synchronisation
by the mid nineties ‘it still made news when Microsoft paid the Rolling Stones a
rumored $9 million for the use of “Start Me Up” in their Windows 95 campaign.’
(Gordon, 2010, [Online]) This particular case emphasises the unpredictability of
synchronisation fees when taking into consideration a contrasting fee paid by a
similar company, Apple. As Moran and Lemonnier (2008) noted;
‘because Apple has such leverage in breaking artists, the company paid a total of
$80,000 for master and sync rights for Feist's "1234" and another $80,000 for Ms.
Nairn's song. And those fees are for global rights.’ (Moran and Lemonnier, 2008,
p.24)
This is a theme that runs true through most incidents of synchronisation fees, as
Sanghera (2002) noted licensees are willing to pay phenomenal sums for a
synchronisation license in one instance and in another only half or even less in
another, creating a seemingly unpredictable revenue stream;
‘Bon Jovi raked in a reported GBP500,000 for the use of "It's My Life" in a Corsa ad,
BT is thought to have paid GBP1m to use Elvis's "You Are Always On My Mind"’
(Sanghera, 2002, p.1)
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5 | P a g e
Taking these aspects into consideration it becomes apparent that for this study the
notion of perceived value, specifically the means-end chain model hypothesis, must
first be explored, as the study aims to determine the constructs of perceived value
within music synchronisation licensing for brand advertisements. Furthermore the
hypothesis of the acceptable price range must also be analysed as the study involves
determining what brands determine acceptable to pay for a synchronisation. Finally
a review on the literature upon meaning transfer, source models and match up
hypothesis is crucial, as brand advertising heavily focuses on building relationships
with consumers, insinuating that the choice of artist’s track may be dependent on
the brands target markets relation to the artist.
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6 | P a g e
Literature Review
Introduction
Perceived value is a topic which has been discussed by many theorists, who have
conjointly contributed to form a familiar consciousness on the formulation,
measurement and features of perceived value through individual hypotheses with
underlying commonalities. It is important to decipher and understand the literature
upon the notion of perceived value to comprehend whether the underlying conceptsand themes relate to the process of how brands evaluate the worth and price they
are willing to pay for a synchronisation license. Although there are some disjointed
perceptions within the literature in specific areas, the underlying concept within the
means-end model that attributes, consequences and end term goals help to
construct perceived value resonates strongly through the majority of the literature.
This common theme is of specific importance to the question at hand, as it indicates
that the value within music in the context of synchronisation may emerge from the
value the artist holds from the attributes they possess.
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7 | P a g e
For this reason, it is also important to comprehend any literature written on the topic
of meaning transfer theory. As it is possible that the determination of perceived
value within the context of a synchronisation license may be a direct subsequence of
the value and attributes an artist holds and transcends through their music to the
brands product through association, in order to achieve the licensee’s desired
consequences and end term goals. Early literature on transferred value such as the
source model thesis have a distinct weakness in their theoretical framework, as they
focus too narrowly on contributing factors which need to be considered in the value
transference process.
This was a point raised by McCracken (1989) who expanded upon the source models
concepts and founded the meaning transfer theory, which subsequently spawned
the match up hypothesis. The literature written on these two subjects is relevant to
the question at hand as its expanded factor considerations allow for a more in depth
analysis of how various value factors embedded within an artist may contribute to
the perceived value of the music pertained within a synchronisation license.
In order to distinguish and demonstrate the commonalities within the literature it is
first fundamental to examine the key Means-end chain model and the attribute,
consequence and end state writings which have provided the underpinning model to
collate the commonalities and review the literature and its importance to the
question at hand.
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8 | P a g e
Means-End Chain Model
Lee and Lin (2011) depicted the purpose of the means- end chain model when they
noted that ‘In MEC theory, product attributes are a means through which
consumers obtain valued ends.’ (Lee and Lin, 2011, p.2) As Gutman and Reynolds
(1984) emphasised, consumers have an intuition to choose a product which could
give rise to a desired consequence to achieve valued ends. Therefore the means-endchain model can be seen as a ‘simple knowledge structure that links product
attributes to the Consequences produced by these attributes, and, in turn, links
these consequences with the values or end goals to which they lead’ (Gutman,
1982 and Olson and Reynolds, 1983 cited in Jantrania, 2002, p.30). As Gutman and
Reynolds (1987) further explained ‘a means-end chain seeks to explain how a
customer’s selection of a product enables him/her to achieve desired end states.’
(Gutman and Reynolds, 1987 cited in Jantrania, 2002, p.30)
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9 | P a g e
Attr ibu tes
The means-end model and its relationship with value can be traced back to
Rokeach’s (1973) Interpretation of value which emphasised the notion of attributes
(See Appendices A). This term was defined comprehensively by Jantrania (2002)
who concluded that ‘In traditional means-end analysis product attributes are
classified as concrete attributes and abstract attributes.’ (Jantrania, 2002, p.84)
Concrete attributes were defined by Peter and Olson (1993) as ‘tangible, physical
characteristics of a product’ (Peter and Olson, 1993 cited in Jantrania, 2002, p.84)
and abstract attributes as ‘intangible, subjective characteristics of a product.’ (Peter
and Olson, 1993 cited in Jantrania, 2002, p.84) This was comparatively emphasised
by Lee and Lin (2011) ‘At the attributes level, relatively tangible product
characteristics are concrete attributes and product quality is an abstract attribute’
(Lee and Lin, 2011, p.3)
Zeithaml (1988) gave a further insight into the classification of attributes, detailing
that there were intrinsic, extrinsic, objective and perceived attributes. These insights
were of specific importance to the question at hand, as the commonalities within the
literature depicted that the intangible intrinsic and extrinsic values often associated
with music could be interpreted within the means-end model to help analyse their
impact on determining perceived value in the context of a synchronisation.
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10 | P a g e
Consequences
Peter & Olson (1993) stated that ‘the meaning of an attribute is given by the
consequences consumers perceive that it leads to’ (Peter and Olson, 1993 cited in
Jantrania, 2002, p.84) this was a point similarly depicted by Bhattacharya and Singh
(2008) when they precluded that ‘fulfilment of attribute level promises by services
providers shifted the evaluation criteria towards higher level categories –
consequences and end – state.’ (Bhattacharya and Singh, 2008, p.67) Similarly
Jantrania (2002) noted that;
‘Customers consider certain attributes important because of the consequences
they provide. The classification of consequences used traditionally is functional
consequences and psychological consequences.’ (Jantrania, 2002, p.84)
As Peter and Olson (1993) noted ‘Functional consequences include the physical,
tangible, performance outcomes of using a product’ (Peter & Olson, 1993 cited in
Jantrania, 2002, p.84) and the ‘Psychological consequences comprise both social
and psychological consequences that customers associate with certain attributes.
‘(Jantrania, 2002, p.84.) This was a point similarly emphasised by Lee and Lin (2011)
when they noted that ‘Consequences can be the functional consequences of
product use, psychological consequences, or the attracting of attention.’ (Lee and
Lin, 2011, P.3)
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11 | P a g e
This literature has implicit relevance to the topic at hand. As aforementioned, the
perceived value of music could be categorised within the definitions of attributes,
and subsequently, as Jantrania (2002) noted the customers (Brands) may associate
certain social and psychological consequences with the attributes associated with an
artist and their music. This was a concept highlighted by Bhattacharya and Singh
(2008) when they concluded that ‘The attribute level elements too are linked to the
consequence level in that they should be aligned to them. Also previous literature
such as Flint et al (1997, 2002) supports such nomenclature.’ (Bhattacharya and
Singh, 2008, p.68) These findings give structure to the thought that a desired
consequence could contribute to the process of determining the perceived value of
the synchronisation license.
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12 | P a g e
End state
Based on the literature by Rokeach (1973) end states can be categorised as
instrumental values, which are the desirable modes of conduct and terminal values,
which are ‘the desirable end-states of existence’ (Olson, 1988 cited in Jantrania,
2002, p.84) Bhattacharya and Singh (2008) highlighted the role of end states and
their importance to the continuity of the means-end model;
‘As customers spend more time being the service users, they start seeking the end-
state benefits. The challenge and the level of competition is then in providing
consequence level benefits and attribute level benefits which would maximize the
end-state variables for the customer.’ (Bhattacharya and Singh, 2008, p.67)
This quote highlights the mean-ends models reliance upon the combination and
continuity of the attribute, consequence and end –state aspects. This literature has
relevance to the question at hand, as it raises the question of whether a brands
perception on the value of a piece of music is a direct derivative of the artist and
their music’s aforementioned attributes and consequence levels ability to reach an
end state for the Brand. Woodruff’s (1997) interpretation of the model would
support this possibility, as he believed that ‘value is a customer’s perceivedpreference for and evaluation of those product attributes, attribute performances,
and consequences arising from use that facilitate (or block) achieving the
customer’s goals and purposes in use situations.’ (Woodruff, 1997 cited in
Jantrania, 2002, p.28) Smart’s (1981) and Jantrania’s (2002) writings give a further
comparative outlook on this notion, suggesting it could be a prominent possibility in
how perceived value is determined.
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Perceived Value
With a grasp gained upon perceived values relation to the means-end chain model
through this literature, it is possible to collate the commonalities within other
literature on perceived value within the framework of the means-end chain model.
Parasuraman and Grewal (2000) conceptualised perceived value as a construct
consisting of four value types: acquisition value, transaction value, in use value and
redemption value. They define acquisition value as the benefits received for the
monetary price given; this definition could be interpreted to concur to the attribute
section of the means-end chain model, as it refers to the first measurement of
benefits within the product; the attributes it obtains.
Furthermore the transaction value is described as the pleasure the consumer
receives for getting a good deal and the in-use value as the utility derived from
utilisation of the product or service. This could comply with the consequence section
of the model, as the pleasure could be seen as a psychological consequence that
Jantrania (2002) relates to, and the utility could relate to the functional consequence
of using the product as Peter and Olson (1993) describe arises from the successful
choice of attributes. Finally the redemption value is defined as the residual benefit
received at the time of trade-in or end of life. This definition could fit within the
confines of the end state section of the model, as much like Olson (1988) noted this
could be seen as the customers desired benefit at the end or expiration of the
product or service.
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Furthermore Mill’s (1848) conception of perceived value could also be deemed to
portray aspects of the means-end chain model. Mill (1848) believed ‘that the value
of an object is in its use and in its capacity to satisfy a desire or to serve a purpose’
(Mill, 1848 cited in Jantrania, 2002, p.13) his reference towards the notion of
satisfying a desire could be seen as a psychological consequence that Jantrania
(2002) relates to in the consequence section of the means-end chain model.
Moliner’s (2007) literature upon perceived value again shows commonalities with
the means-end chain model. His study conceived that perceived value was a
construct formed of two dimensions, functional factors (quality, price) and affective
factors (feelings and social impact).
Moliner (2007) noted that ‘the functional dimension refers to the economic utility
derived from the attributes of the products and services.’ (Moliner, 2007, p.1397)
and the affective factors referred to the value associated with the ‘feelings or
affective states generated by the products and services’ (Moliner, 2007, p.1397.)
Moliner’s functional dimension bares commonalities to the functional consequences
derived from use as described by Peter and Olson (1993) and the affective factors
show similarities to the psychological consequences depicted by Jantrania (2002)
and Lee and Lin (2011) in the means-end chain model literature.
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Several authors have emphasised a similar conception of perceived value to Moliner
(2007) (Sheth et al , 1991; Anderson and Narus, 1990; Gassenheimer et al , 1998;
Lapierre, 2000; Sweeney and Soutar, 2001; Palmer and Ponsonby, 2002; Sánchez et
al , 2006). Sheth’s et al. (1991) study was a key piece of literature in this common
conceptualisation of perceived value, as he was the first to acknowledge the five
dimensions which other theorists would commonly refer to in the conception of
perceived value. Sheth et al (1991) believed there were five dimensions of perceived
value social, emotional, functional, epistemic and conditional, which Sweeney and
Soutar (2001) further defined in their study by distilling the five dimensions to three;
functional, social and emotional.
The connection between this literature and the means-end chain model becomes
clear when comparing these dimensions to the models aspects. The notion of a
functional dimension is comparatively noted by Moliner (2007) and emphasised in
the means-end chain model as a consequence dimension by Peter and Olson (1993).
Likewise, the social and emotional dimension show connections to the means-end
chain model literature when considering Jantrania’s (2002) and Lee and Lin’s (2011)
portrayal of the possible inclusion of social elements and psychological factors within
Psychological consequences related to attributes.
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16 | P a g e
Although these pieces of literature on perceived value can be easily interpreted
within the means-end chain model, other studies are harder to conceptualise within
this context. Zeithaml (1988) identified four diverse meanings of value commonly
used by other theorists which exemplify this: value is low price, value is whatever
one wants in a product, value is the quality that the consumer receives for the price
paid and value is what the consumer gets for what they give. As Petrick (2002) noted
‘The majority of past research on perceived value has focused on the fourth
definition’ (Petrick, 2002, p.121)
Many theorists have covered the incarnation that value is what the consumer gets
for what they give, from notions of perception of what is received and what is given
and the ratio of perceived benefits relative to perceived sacrifice (See Appendices B).
Although no direct link from these studies to the means-end chain model literature is
evident, there are implications of underlying notions which could relate to the
model. But to contextualise these connections, it is first important to review the
literature upon measuring perceived value and depict it’s relevancy to the means-
end chain model and the question at hand.
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Measuring Perceived Value
As Gale (1994) noted ‘Perceived value is most commonly measured by using a self-
reported, unidimensional measure asking respondents to rate the value they
received for their purchase’ (Gale, 1994 cited in Petrick, 2002, p.128.) This
inclination can be problematic as it suggests there is a shared meaning of value,
which the literature earlier discussed in this review indicates is false. Consequentiallyas Woodruff and Gardial (1996) depicted ‘it has been argued that one-dimensional
measures of perceived value lack validity (Woodruff & Gardial, 1996 cited in
Petrick, 2002, p.128.)
Berry and Yadav’s (1996) study provided a key measurement theory which allows
literature upon multi dimensional measurements of perceived value to be
contextualised within the means-end chain model. Berry and Yadav (1996) believed
that;
‘Services differ from goods in the degree to which they possess search, experience,
and credence attributes [...]Those that can be evaluated before purchase and use
have search attributes, those that can be evaluated only after they have been used
have experience attributes, and those that cannot be fully evaluated even after use
have credence attributes. In general, tangible products are more likely to possess
search attributes, whereas services tend to be higher in experience and credence
attributes.’ (Berry and Yadav, 1996, p.48)
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Berry and Yadev’s (1996) reference to attributes provides a link between the means-
end chain model and their study. The notion that attributes can be categorised into
measurement classifications provides a method for analysing literature upon
measuring perceived value in the context of the means-end chain model.
This is emphasised in Kantamneni and Coulson’s (1996) identification of ‘the distinct
factors of societal value, experiential value, functional value and market value.’
(Kantamneni and Coulson, 1996 cited in Petrick, 2002, p.129) Although the societal
and experiential dimensions role in the measurement of perceived value, also noted
by other theorists (Sweeney, Soutar and Johnson, 1998; Petrick, 2002; Havlena and
Holbrook, 1986; Bolton and Drew, 1991) (See Appendices C), shows connections to
the means-end chain model literature when considering Jantrania’s (2002) and Lee
and Lin’s (2011) portrayal of the possible inclusion of social elements and
psychological factors within Psychological consequences. The functional value was
related to whether the product was reliable and safe, which is subsequent to
credence and experience attributes, as a product needs to be tried and tested to
determine this outcome. Therefore it could be seen that the functional value
measurement of perceived value fits within the attribute notion of the means-end
chain model.
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Furthermore Kantamneni and Coulson’s (1996) notation of market value being ‘the
products worth regarding price for value’ (Kantamneni and Coulson, 1996 cited in
Petrick, 2002, p.129) shows commonalities with a vast amount of literature upon the
measurement of value in context of a give and return trade off. As Moliner (2007)
noted
‘perceived value is understood as a construct configured by two parts, one of
benefits received by the customer (economic, social and relationship) and another
of sacrifices made (price, time, effort, risk and convenience) (Dodds et al , 1991;
Rapp and Collins, 1991, 1996; Grewal et al. , 1998; Cronin et al. , 1997, 2000; Bigné
et al. , 2001; Oh, 2003)’
(Moliner, 2007, p.1393)
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Trade-off of perceived value
It is important to understand that economic factors are not the only price indicators
relevant in the trade off for perceived value. As Snoj and Mumel (2004) depicted
‘Non-monetary aspects of price are noted by a great number of authors in the
marketing field (See Zeithaml, 1988; Monroe, 1990; Dodds et al., 1991; Gale, 1994;
Nessim and Dodge, 1995; Christopher, 1996; Woodruff and Gardial, 1996;
Woodruff, 1997; Grewal et al ., 1998; Naumann and Jackson, 1999; Snoj in Zavrsnik
and Male, 1999; Skater and Narver, 2000).’ (Snoj and Mumel, 2004, p.160) These
authors and others have all noted on other contributing factors which play a role in
the give and receive notions of the trade off for measuring perceived value. Although
these conceptions seem to differ in absolute identifications of universally recognised
factors which play a role in the trade off, each of the theorists suggested factors bare
commonalities in context of the means-end chain model literature.
As Oliver and DeSarbo (1988) acknowledged these concepts are rooted in equity
theory, which Bolton and Lemon (1999) similarly noted derives the measurement of
perceived value from the ‘customer evaluation of what is fair, right, or deserved for
the perceived cost of the offering (Bolton and Lemon, 1999 cited in Yang and
Peterson, 2004, p.811). As Zeithaml (1988) depicted the perceived value is the
‘perceptions of what is received and what is given.’ (Zeithaml, 1988, p.14) In Li and
Green’s (2011) interpretation of the trade off ‘Quality is received and coupled with
monetary and non-monetary sacrifices are given, such as quality, price, and
convenience’ (Li and Green, 2011, p.6) this perception is shared by Kotler (1972)
who commented that ‘things-of-value need not be limited to goods, services, and
money; they include other resources such as time, energy, and feelings.’ (Kotler,
1972, p.48) It’s through these apprehensions that the link between this literature
and the means-end chain model becomes apparent.
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The social and relationship benefits referred to by Moliner (2007) could once again
be seen to adhere to the consequence dimension of the means-end chain model
when considering Jantrania’s (2002) and Lee and Lin’s (2011) portrayal of the
possible inclusion of social elements and psychological factors within Psychological
consequences. Additionally the economic benefits Moliner (2007) refers to show
similarities to Helfert (1966) and Hendriksen’s (1970) belief that ‘Expected earning
power is considered a key source of value for both tangibles and intangibles’
(Hendriksen, 1970 cited in Jantrania, 2002, p.18).These perceptions could be
perceived to comply to an end state desire within the means-end chain model, as the
benefit of earning a financial gain could be deemed as ‘the desirable end-states of
existence.’ (Olson, 1988 cited in Jantrania, 2002, p.84)
Furthermore, Li and Green’s (2011), Kotler’s (1972) and other theorists previously
noted reference towards the non monetary aspects of the perceived value trade off
(See Appendices D) shows commonalities with the attribute hypothesis within the
means-end chain model. Kotler’s (1972) comprehension of time, energy and feelings
playing a role in the perceived value, among other theorist’s insinuations of
intangible factors inside the trade off bares relevance to Berry and Yadav’s (1996),
Jantrania (2002), Peter and Olson (1993) and Lin and Lee’s (2011) interpretations of
attributes. The notion of time and energy could be subject to Berry and Yadav’s
(1996) search and experience attributes, as they can be measured within the context
of previous experience with a similar process or reference, notation or information
from others available from researching, allowing them to be evaluated before
purchasing.
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The reference to feelings in this comprehension could be seen to take on search,
experience and credence attributes as it is possible to have an emotional response to
a product instantaneously, however it is most likely the emotional response is one
built from experience which could subsist and alter irrationally, portraying the
characteristics of credence attributes.
Additionally, when reviewing the non monetary aspects discussed and investigated
within the perceived value trade off (See Appendices D) it is clear to see a link
between the intangibility of these factors and the abstract attributes referred to
within the means-end chain model literature. Although some factors such as texture
constitute as tangible aspects, they too can be seen as concrete attributes referred
to in the means-end chain model literature.
A second stream of research, which builds on the work of Baur (1960), implies that
consumers use these extrinsic cues ‘to form perceptions of risks, which, in turn, lead
them to form perceptions of value (Bearden and Shimp, 1982 cited in Agarwal and
Teas, 2001, p.8). As Agarwal and Teas (2001) noted, ‘consumers often pay
premiums for branded products because brands are perceived to stand for quality
and reduce the risk of failure. Likewise, higher store name image or reputation
(Leavitt 1967; Hisrich, Dornoff, and Kernan 1972; Kelley 1958)’ (Agarwal and Teas,
2001, p.11). These conceptions give rise to the implication that that the stronger and
more beneficial the attributes are compared to the sacrifices made helps distinguish
the perceived value of a product or service. This theory is depicted by several
theorists (See Appendices E) and is of importance to the question at hand.
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Firstly, these studies give rise to an indication that a balance must be found between
the attributes within the artist and the music and the sacrifices given by the brand to
obtain it, as the literature indicates that the success or failure of this affects the
perceived value of the product or service. The intangible abstract attributes could be
seen as the reputation, chart position, success, lyrical and musical content of the
artist and track, which must be beneficial enough to reduce the risk factor and
sacrifices to increase the perceived value. This theory has been depicted in many
studies and is commonly referred to as the acceptable price range.
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The Acceptable Price Range
As Sherif (1963) noted ‘the concept of the acceptable price range is rooted in social
judgement theory and assimilation-contrast effects’ (Sherif, 1963 cited in Rao and
Sieben, 1992, p.257). The acceptable price range is believed to have upper and lower
price limits or endpoints as noted by Schiffman and Kanuk (2003), Assael (1995) (See
Appendices F). Assael (1995) defined these limits within his study;
‘The higher end of the acceptable price range is known as the reservation price andis the “upper limit above which an article would be judged too expensive.” The
lower end of the acceptable price range is the “lower limit below which the quality
of the item would be suspect.”’
(Assael, 1995, p.215)
Dodds et al. (1991) expanded on this concept when he precluded that ‘as price
increases beyond the acceptable range, the perceptions of value (will) decline (and)
thus, the relationship between price and perceived value should also be
curvilinear’ (Dodds et al , 1991, p.308.) This perception was a modification of
Monroe’s (1973) study (See Appendices G) and implied inclinations of specific
importance to the question at hand. These theories indicate that the higher the level
of attributes an artist or track contains which instigate greater consequences and
end term states, the higher the perceived value of the synchronisation license will
be. As a curvilinear concept it also implies that if the sacrifices given outweigh the
benefits received (attributes, consequences and end term states) the synchronisation
license could decrease in perceived value.
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Assael (1995) gave an insight in to how this balance may be found when he referred
to the notion of a reference price. He defined the concept as ‘a standard or frame of
reference by which consumers compare prices for alternative brands.’ (Assael,
1995, p.215) This denotation was further construed by Gabor and Granger (1966)
and Olander (1970) who concluded that ‘a buyer will probably decide to purchase if
the product’s price falls within an acceptable price range whose limits are related
to prevailing market prices and the price of the product normally purchased.’
(Gabor and Granger, 1966 cited in Monroe, 1973, p.77) and ‘that a buyer’s price
judgement is influenced by his perception of prevailing market prices and his
perception of the price most frequently charged.’(Olander, 1970 cited in Monroe,
1973, p.77).
These studies are of significant importance to the question at hand as they indicate
that there may be an industry standard that brands use to determine the acceptable
price and perceived value of a synchronisation license. Furthermore the study
indicates there may be a reference to previous fees paid in the market for similar
licenses which help establish the perceived value of the synchronisation license.
Once again a link can be found to the means-end chain model when considering that
the reference price will be constructed from previous knowledge (experience
attributes) or research into the market (search attributes).
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Meaning Transfer Theory
As a connection has been made between the literature on perceived value in the
context of the means-end chain model and the characteristics of the artist’s and their
music, it is important to review the literature upon meaning transfer to comprehend
the role of these characteristics on perceived value. McCracken’s (2005) study was a
key piece of research which defined the meaning transfer theory, allowing for similar
studies to be interpreted. McCracken (2005) noted that ‘the attractiveness of celebrities as endorsers stems from the cultural meanings with which they are
endowed. The model shows how meanings pass from celebrity to product and from
product to consumer.’ (McCracken, 2005, p.97) He believed that meaning subsisted
within the cultural, physical and social world which was constituted by the principles
of the prevailing culture.
McCracken (2005) conspired that ‘Advertising serves as an instrument of meaning
transfer’ (McCracken, 2005, p.104) and when the advertiser decides what they want
the product to say, they survey the culturally constituted world for the objects,
persons and contexts that already contain these elements to allow for the transfer of
value from the celebrity to the product (See Appendices I). McCracken (2005)
depicted that this process had three stages;
‘The dramatic roles of the celebrity comes, in stage 1, to reside in the celebrities
themselves. In stage 2, the meaning is transferred when the celebrity enters into
an advertisement with a product [...] in the final stage, the meaning moves from
the product to the consumer.’
(McCracken, 2005, p.105)
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McCracken’s (2005) acknowledgement that ‘when they enter the endorsement
process, they make these meanings available in material form to the consumer’
(McCracken, 2005, p.110) and further emphasise on their effectiveness through the
example of how ‘rock stars invent and reinvent the possibilities of the adolescent
self’ (McCracken, 2005, p.111) demonstrates the power of a successful meaning
match through the attributes held by the celebrity in the customers perception of
the product. This study is of specific importance to the question at hand because it
raises the question to whether brands select artists and their music due to the
cultural meanings and associations endowed upon them, in order to transfer that
meaning to their products to market more effectively. The cultural meaning aspect
can be linked back to the means-end chain model as it could be seen as both an
intangible attribute and psychological social consequence and subsequently it could
play a role in the determination of perceived value.
The inclinations within this theory are similarly discussed by Seno and Lukas (2007)who noted that ‘a celebrity has the potential to affect the brand equity of the
endorsed product through augmenting the product’s brand image’ (Seno and
Lukas, 2007, p124) This concept was further developed similar to other theorists (see
Kamins and Gupta, 1994; Misra and Beatty, 1990; Halonen-Knight and Hurmerinta,
2010; Smith, 2004) through the depiction that ‘Consequently, information that is
linked to the celebrity can be better integrated with information linked to the
endorsed product by consumers.’ (Seno and Lukas, 2007, p127.)
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As Bryne, Whitehead and Breen (2003) discussed ‘Celebrity endorsement has
become one of the communication strategies employed by marketers in an
attempt to build a congruent image between the brand and the consumer.’ (Bryne
et al , 2003, p. 292) This process is made possible due to the fact discussed by
Schiffman and Kanuk (2003) that ‘It is possible to alter attitudes toward products,
services and brands by pointing out their relationships to particular social groups,
events, or causes.’ (Schiffman and Kanuk, 2003, p.273)
There have been several studies into which factors are influential in the successful
integration of meaning within which some similarities can be found. Seno and Lukas
(2007) believed that celebrity credibility, the extent to which a celebrity possesses
expertise relevant to the topic to give an objective opinion to provide notions of trust
is a key factor (See Appendices J). The ability to connect characteristics between
product and celebrity to achieve an effective brand image was later discussed by
Seno and Lukas (2007) (See Appendices K) before an insight into the celebrity
activations role in meaning transfer. This practise involves singling out celebrities’
activities and achievements including ‘socially desirable behavioural conduct, life-
changing events, or changes in fortune’ (Seno and Lukas, 2007, p.128) to
communicate the brands association and enhance their image.
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As Schiffman and Kanuk (2003) noted these activities could be seen as attitude
change strategies which ‘can sometimes resolve actual or potential conflict
between two attitudes. Specifically, if consumers can be made to see that their
negative attitude toward a product, a specific brand, or its attributes is really not in
conflict with another attitude, they may be induced to change their evaluation of
the brand.’ (Schiffman and Kanuk, 2003, p.273) From a theoretical perspective,
therefore, ‘celebrities are effective endorsers because of their symbolic aspirational
reference group associations’ (Bryne et al , 2003, p.291).
These concepts are of specific importance to the question at hand, as they show
indications of similarities to the means-end chain model literatures factors. The
notion of a brand associating with an artist who has specific standing in credibility,
social groups, events and causes as well as participating in socially desirable
behaviour and changing fortunes once again relates to an intangible attribute and
psychological social consequence which subsequently could play a role in the
determination of perceived value. Furthermore the conception that these actions are
undertaken to change attitudes towards the brand could be seen as a psychological
consequence to reach a desired end state.
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The Match-Up Hypothesis
The match-up hypothesis took these concepts further and precluded that ‘celebrity
endorsement is more effective when the images or characteristics of the celebrity
are well matched with the endorsed product’ (Choi, Wei-Na and Hee-Jung, 2005,
p.86) This notion was shared by many theorists (See Kahle and Homer 1985; Kamins
1990; Kamins and Gupta 1994; Till and Busier 2000) and highlighted the importance
of cultural meanings of celebrities in the match-up process. As Schlecht (2003)
discussed, these strategies enable ‘advertisers to project a credible image in terms
of expertise, persuasiveness, trustworthiness, and objectiveness’ (Schlecht, 2003,
p.5) because ‘celebrities add value to the image transfer process by offering
meanings of extra depth and power, what is complemented by their lifestyles and
personalities.’ (Schlecht, 2003, p.5)
Kelman (1961) identified three key attributes that are fundamental to successful
transference: credibility, attractiveness and power. The notion of credibility has been
previously explained in this review and the concept of power was deemed to only be
of relevance to spokespersons. However it is important to analyse the factor of
attractiveness to determine its relevance to the question at hand. Attractiveness
includes similarity, familiarity and likeability (See Byrne et al , 2003; Triandis, 1971;
Belch and Belch, 1995; Baker and Churchill, 1977; Debevec and Kernan, 1984; Kahle
and Homer, 1985) which Byrne et al (2003) further defined;
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‘Similarity is the supposed resemblance between the source and the receiver;
familiarity arises through knowledge of the source via repeated exposure.
Likeability occurs from affection for the source due to their physical appearance,
behaviour or other personal characteristics’ (Byrne et al , 2003, p.292)
Bryne et al (2003) believed that ‘Source attractiveness leads to persuasion through
a process of identification - the receiver is motivated to seek a relationship with the
source and adopts a similar position in terms of beliefs, attitudes, preferences or
behaviour’(Byrne et al , 2003, p.292) This concept was emphasised by Till and Busler
(1998) in their study when they noted that ‘Special attention should also be paid to
employ celebrities who have a direct connection with their endorsed product and
who are perceived to be experts by the target audiences.’ (Till and Busler, 1998
cited in Byrne et al , 2003, p.292) Theoretical literature has already indicated that
this process is implicated within real life practices (See Erdogan, Baker, and Tagg
2001; Miciak and Shanklin 1994). Choi et al (2005) also portrayed this in their study;
‘professionals at advertising agencies [...] cited celebrity attributes such as image,
trustworthiness, and familiarity, as well as the fit between the celebrity and the
product, as important factors for choosing the appropriate endorsers’
(Choi et al , 2005, P.86)
‘Some contend that consumer demands and tastes have become similar on a global
scale (Levitt 1983; Taylor and Johnson 2002) and that using celebrities with
worldwide recognition in advertising is an effective means of overcoming cultural
difficulties (Erdogan 1999; Kaikati 1987; La Ferla 2001).’
(Choi et al , 2005, P.86)
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These studies are once again of specific importance to the question at hand, as they
show similarities to the means-end chain model and subsequently could play a role
within the determination of perceived value. The literatures reference to
personalities and characteristics could be seen as an intangible attribute and
psychological social consequence which subsequently could play a role in the
determination of perceived value. Additionally the literatures indication that these
processes are already implicated in industries suggests that the celebrities with
matching attributes and consequences are selected to reach a desired end-state. This
raises the question to whether brands specifically select artists with these intangible
attributes to achieve a social consequence and desired end-state, and if their ability
to do so affects the perceived value of the synchronisation license.
Finally it is important to comprehend literature which has insinuated the importance
of brand reputation and perceived expense in the context of perceived value. As
Granlund and Grenros (2009) noted ‘low perceived expense could have a negativeeffect on high-reputation brands as consumers expect more from them.’ (Granlund
and Grenros, 2009, p.158) From this construct it becomes apparent to see that low
perceived expense can ‘actually lead to perceptions of inequitable exchange, where
consumers feel that the marketer gives little in return for their participation in the
advertising exchange.’ (Granlund and Grenros, 2009, p.158) This can have an
overwhelming impact on perceived value as ‘managing consumer-perceived value is
crucial to marketers, as marketing efforts that increase perceived value
automatically generate higher intentions to buy and recommend the brand to
others.’ (Granlund and Grenros, 2009, p.158)
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This study has relevance to the question at hand; as it raises the question to whether
brands consider the factor of choosing an artist or track they perceive to have a
similar reputation to them. Subsequently, does a prestigious company look for an
established and successful act for their project and pay the price they do as a signifier
to their target audience that they are still prestigious? And is it important for them so
their consumers will generate higher intentions to buy and recommend the brand to
others to build their reputation? Once again these factors could be seen in relation to
the means-end chain model as intangible attributes and social consequences to
reach a desired end state.
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Methodology
The term research has been defined by several experts with the commonality of
incurring ‘an original contribution to the stock of knowledge making for its
advancement. It is the pursuit of truth with the help of study, observation,
comparison and experiment.’ (Kumar, 2008, p.2) The purpose of research is to
discover new answers to questions through procedures and to reveal the hidden
truth of which has not been discovered so far.
The aim of researching within this study is to analyse and depict the underlying
aspects which determine the perceived value of a synchronisation license within
brand advertisements, and to which degree they do so. Achieving this research will
lead to an unprecedented insight into one of the largest growing sectors of the music
industry, allowing for industry professionals and brands to further understand the
conceptualisation of synchronisation license fees.
To gain this insight it is fundamental to obtain the knowledge of experienced
professionals within the practice, who mediate between brands and copyrightowners to secure synchronisation license deals through a synchronisation agency
institute. Although any interview based research must comprehend the
unpredictability of human nature as a distinct challenge, the research method,
sampling and data analysis were specifically engineered to counteract this issue and
obtain the most reliable results.
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A qualitative research method of interviews was used in this study as the topic
requires in depth linguistic portrayal of matters of social interaction and human
behaviour. As Punch (2009) qualitative research is best suited for this as ‘It too is a
way of thinking, or an approach, that similarly involves a collection or cluster of
methods, as well as data in non-numerical or qualitative form’ (Punch, 2009, p3)
This concept is taken further by Merriam (2009) with the depiction that ‘Qualitative
researchers are interested in understanding how people interpret their experiences
, how they construct their worlds, and what meaning they attribute to their
experiences.’ (Merriam, 2009, p.5) These research method aspects are crucial for
the question at hand, as unlike quantitative research methods which generate
numerical data or data that can be converted into numbers, qualitative research
methods allow the subjects being studied to give much richer answers on beliefs,
experiences, attitudes, behaviour and interactions, which are vital elements of the
subject matter.
In-depth interviewing was chosen as the data collection method for this study, as it is
best suited to the paradigm-driven approach developed within this work which
implies conversation with the elite is needed to obtain the most valid data. A
paradigm-driven approach was taken in the formulation of questions, as much like
Punch (2009) depicted the questions were developed from the articulation of the
literature upon perceived value and meaning transfer within an ontological,
epistemological and methodological context (See Appendices L). Qualitative in-depth
interviews allow these questions to be validly answered and richly discussed within
the social interactive and human behavioural context, as they help uncover the
participant’s views but otherwise respect how the participant frames and structures
the responses.
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Materials
As Fontana and Frey (2005) noted interviews can be divided into three categories:
structured interview, semi-structured interview, and unstructured interview. A semi-
structured interview format was chosen due to the interpretivism; ‘concentrates on
the meanings people bring to situations and behaviour, and which they use to
understand their world’ (O’Donoghue, 2007, p.16) and Constructivism; ‘realities are
local, specific and constructed; they are socially and experientially based, and
depend on the individuals or groups holding them’ (Guba and Lincoln, 1994, p.109)
aspects of the questions. As Hesse-Biber and Leavy (2011) depicted, a semi-
structured interview relies on a set of questions to guide the interview whilst
simultaneously allowing ‘individual respondents some latitude and freedom to talk
about what is of interest to them.’ (Hesse-Biber and Leavy, 2011, p.102) This is
vastly important within a study based upon experience, expertise and social
constructs within a specific field, to obtain the most valid data for the study.
As the researcher is the key tool within the interview process it was critical to bracket
off any personal experience from working inside the industry in question and the
experience of the interviewees. This is referred to as the epoche process and allows
the researcher to gain clarity form personal preconceptions and the data from the
interviewees. This is a vital process within the construction of the questions to
ensure they provoked emic; the participants views, rather than etic; the researchers
views from the interview. These procedures were necessary as the study relies
heavily upon the experiences, attitudes, beliefs and interactions of subject experts.
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Participants/Sampling
Elite interviews
As Cohen, Manion and Morrison (2007) noted, the quality of a piece of researchrelies heavily on the suitability of the sampling strategy. Questions of sampling ‘arise
directly out of the issue of defining the population on which the research will
focus.’ (Cohen et al , 2007, P.100) The researcher must be able to ‘obtain data from
a smaller group or subset of the total population in such a way that the knowledge
gained is representative of the total population (however defined) under study [...]
this smaller group or subset is the sample.’ (Cohen et al , 2007, P.100)
For this study, three elites were selected for in-depth semi structured interviews. In
this context the word elite refers to industry professionals at a hierarchical level
within the field being researched; Music synchronisation licensing for brand
advertisements. These participants were selected in order to maximise ‘the flow of
valid, reliable information while minimizing distortions of what the respondent
knows.’ (Gorden, 1987 cited in Silverman, 2004, p.141) As Cohen et al (2007) noted
‘the correct sample size depends on the purpose of the study and the nature of the
population under scrutiny’ (Cohen et al , 2007, P.101) for this reason three elites
were chosen from the field of study (See appendices M), in order to give a highly
knowledgeable insight into the population of music synchronisation agency workers.
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Step-by-step methods
The interview questions were constructed from a paradigm-driven approach
encompassing the themes of the literature in an open ended form (See Appendices
N). These questions were asked in identical numerical order to each elite participant
over the phone and recorded on a software program. The interviews were conducted
over a mobile phone whilst the participants were in a neutral area at a pre arranged
time in order to obtain the most valid data. As McDowell (1998), Richards (1996),
Aberbach and Rockman (2002) and Zuckerman (1972) noted;
‘When corresponding with elite members, researchers should in most cases ask
when it would be most convenient to speak with them’ (Zuckerman, 1972, p.162).
‘Within the workplace, for example, respondents may be less willing to disclose
confidential information or provide additional time, for fear of being overheard or
because their colleagues expect them to be performing other duties.’ (McDowell,
1998, p.2140)
‘A recording device also provides a verbatim script of the interview and the
interviewer can focus more on engaging with the respondent.’ (Richards, 1996,
p.201)
‘It is generally agreed that elite subjects prefer not to be asked closed‐ended
questions’ (Aberbach and Rockman, 2002, p. 674).
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The interviews were then transcribed (See Appendices O), with the most important
findings being depicted and grouped within the results section. The depiction of the
key elements within the interview was undertaken to allow for a better correlation of
similar concepts to be analysed and discussed.
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Data analysis/Coding
Bogdan and Biklen (1982) defined qualitative data analysis as ‘working with data,
organizing it, breaking it into manageable units, synthesizing it, searching for
patterns, discovering what is important and what is to be learned, and deciding
what you will tell others’ (Bogdan and Biklen, 1982, p.145) which is contrary to
quantitative data analysis which is the process of presenting and interpretingnumerical data. This study used an inductive analysis of data, which Patton (1990)
emphasised allows the critical themes to emerge out of the data. The challenge of
this analysis is often to categorise the raw data into logical sections, examine them in
a holistic manner and communicate the findings.
The analysis starts with an identification of themes and concepts emerging from the
raw data, this is referred to as ‘open coding’ (Strauss and Corbin, 1990, p.62.) During
this process the conceptual categories of the interviews on perceived value within
music synchronisation licensing were identified, to create multi-dimensional
categories for a framework of analysis. As this data was preliminarily organised an
audit-trail was devised, to identify the data according to the speaker and context
(See, Brown, 1996; Duffee and Aikenhead, 1992; and Sours, 1997). A further re
examination was then conducted on the categories to distinguish how they are
linked, this process is referred to as ‘axial coding’ (Straus and Corbin, 1990, p.97.)
The categories identified within open coding were combined and compared and
quantitatively analysed through descriptive statistics to translate the conceptual
model into an account that ‘closely approximates the reality it represents’ (Strauss
and Corbin, 1990, p. 57) through a written analysis.
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Results
David Bass
Question:
1. When considering which music is best suited to the project, what aspects do you consider
and how do they alter the value of what a client might pay?
David Bass Key points of answer:
We don’t choose it’s down to the client, they’ll provide us with recommendations and we’ll present
the tracks from our educated recommendation. Sometimes they know what track they want, we’ll
get a creative brief which outlines their considerations such as a lyrical theme or a reference from
other tracks, genre, style wise; they might just want a folk piece with yellow in the lyrics, this limits
your job if it’s that specific. We consider the brand, if the artist is suited to the brand. For example
you wouldn’t put forward a track from a known alcoholic for a beer brand, because it will bite them
in the bum. If it’s a cool brand, like a 02 brand, you might go for up and coming, cool just signed orunsigned artist. First you have to talk to the creative’s and discuss if they care and is it important if
they’ve got an up and coming band or is it just there for background music, some music is just there
to serve a purpose. Sometimes they might be far more up front, they’ll want to break a band, we
want this to become the o2 song they’ll want people to hear the music and think this is the o2 song,
depends on the creative brief and the brand and what the client wants to achieve, sometimes
brands want to release tracks as singles of the back of ad’s other times they’ll just want to license
the cheapest piece of music and forget about it. It depends on what everyone’s goals are, as a
general rule we always try to push cool new music and big back catalogue tracks.
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Result 1
David Bass – Grouped Answer from
Question One
Means-endchainmodel
Attributes
Concrete
Attributes
Abstract
Attributes
“We don’t choose it’s down to the client, they’ll provide us with
recommendations and we’ll present the tracks from our educated
recommendation”
“Sometimes they know what track they want, we’ll get a creative brief
which outlines their considerations such as a lyrical theme or a reference
from other tracks, genre, style wise; they might just want a folk piece with
yellow in the lyrics”
“We consider the brand, if the artist is suited to the brand. For example
you wouldn’t put forward a track from a known alcoholic for a beer brand,
because it will bite them in the bum.”
“If it’s a cool brand, like a 02 brand, you might go for up and coming, cool
just signed or unsigned artist”
Consequences
Functional
Consequences “First you have to talk to the creative’s and discuss if they care and is it
important if they’ve got an up and coming band or is it just there for
background music, some music is just there to serve a purpose.”
Psychological
Consequences
Social
and
Psychological
“We consider the brand, if the artist is suited to the
brand. For example you wouldn’t put forward a track
from a known alcoholic for a beer brand, because it
will bite them in the bum.”
“If it’s a cool brand, like a 02 brand, you might go for
up and coming, cool just signed or unsigned artist”
EndT
erm
State
“Sometimes they might be far more up front, they’ll want to break a band, we want this to become
the o2 song they’ll want people to hear the music and think this is the o2 song, depends on the
creative brief and the brand and what the client wants to achieve, sometimes brands want to
release tracks as singles of the back of ad’s other times they’ll just want to li cense the cheapest
piece of music and forget about it. It depends on what everyone’s goals are”
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Ben Bleet
Question:
1. When considering which music is best suited to the project, what aspects do you consider
and how do they alter the value of what a client might pay?
Ben Bleet Key points of answer
I think the key one is the status of the artist, it could be someone like lady gaga and the higher priced
stuff is the popular music. That is when a budget comes up, the stereotypical model is that a client
will ask for a well known track because that’s what they know and then we say you haven’t got it
within your budget and then you work within the styles which are in that sort of place but are much
more affordable.
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Result 2
Ben Bleet – Grouped Answer from Question One
Means-endchain
model
Attributes
Concrete
Attributes
Abstract
Attributes
“I think the key one is the status of the artist, it could be someone like lady
gaga and the higher priced stuff is the popular music. That is when a
budget comes up, the stereotypical model is that a client will ask for a well
known track because that’s what they know and then we say you haven’t
got it within your budget and then you work within the styles which are in
that sort of place but are much more affordable. “
Consequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
“I think the key one is the status of the artist, it could
be someone like lady gaga and the higher priced stuff
is the popular music. That is when a budget comes up,
the stereotypical model is that a client will ask for a
well known track because that’s what they know and
then we say you haven’t got it within your budget and
then you work within the styles which are in that sort
of place but are much more affordable. “
EndTerm
State
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Lawrence McKay
Question:
1. When considering which music is best suited to the project, what aspects do you consider
and how do they alter the value of what a client might pay?
Lawrence McKay Key points of answer:
It will depend on number one the client and number two on the brief, what they ask for depends on
what you give. You’re not so much working to their brief, but more to what the want of the client
might be. If it is a big popular brand they’re more likely to go for popular music in the charts, where
as if it’s a smaller brand they’re going to go for something quirky and different, if that’s the creative
aim of the actual project.
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Result 3
Lawrence McKay – Grouped Answer from Question
One
Means-endchainmodel
Attributes
Concrete
Attributes
Abstract
Attributes “You’re not so much working to their brief, but more to what the want of
the client might be. If it is a big popular brand they’re more likely to go for
popular music in the charts, where as if it’s a smaller brand they’re going
to go for something quirky and different, if that’s the creative aim of the
actual project.”
onsequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
“You’re not so much working to their brief, but moreto what the want of the client might be. If it is a big
popular brand they’re more likely to go for popular
music in the charts, where as if it’s a smaller brand
they’re going to go for something quirky and different,
if that’s the creative aim of the actual project.”
ndTerm
State
“You’re not so much working to their brief, but more to what the want of the client might be. If it is
a big popular brand they’re more likely to go for popular music in the charts, where as if it’s a
smaller brand they’re going to go for something quirky and different, if that’s the creative aim of the
actual project.”
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Question one commonalities
Responses found abstract attributes and psychological consequences highly influential
within this question topic, artist status is commonly referenced.
Responses found end-term states influential in some circumstances within this question
topic, aims and goals commonly referenced.
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David Bass
Question
2. How much of a role does the characteristics, image and persona of an artist specifically what
they represent pay a part in the consideration of what music is suitable for the project?
David Bass Key points of answer:
It’s a big part, for example I’ve been working for a fast food brand brief and they wanted a hip hop
artist, but one of the criteria’s was that no one could have a criminal record. And also we have to
think about that there was one artist we put forward that done a demo which we then found a
youtube video of him talking about really disgusting things, and they were glad that they didn’t
select that artist because it would of really looked bad on them. There is a responsibility on us to do
a bit of background research and not put forward people who are alcoholics for beer brands and so
on and so forth. But at the same time it is also the responsibility of the agency and the client to do
that as well, we can’t really do background checks on every artist, for one pitch we might put
forward eighty tracks and we can’t be expected to do a background check on everyone. But however
if we know that a particular singer is an alcoholic we will let it be known to the client, to tell them
well this guy is a drug addict or whatever. So yeah i think it does, if you think about if your pitching
something to do with kids, pitching for mothercare, you’re not going to put forward Gary Glitter. You
need a bit of common sense I think.
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Result 4
David Bass – Grouped Answer from Question Two
M
eans-endchain
model
Attributes
Concrete
Attributes
Abstract
Attributes
“It’s a big part, for example I’ve been working for a fast food brand brief
and they wanted a hip hop artist, but one of the criteria’s was that no one
could have a criminal record.”
“If you think about if your pitching something to do with kids, pitching for
Mothercare, you’re not going to put forward Gary Glitter. You need a bit
of common sense I think.”
“If we know that a particular singer is an alcoholic we will let it be knownto the client, to tell them well this guy is a drug addict or whatever”
“one artist we put forward that done a demo which we then found a
YouTube video of him talking about really disgusting things, and they were
glad that they didn’t select that artist because it would of really looked
bad on them.”
Cons
equences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
“It’s a big part, for example I’ve been working for a fast
food brand brief and they wanted a hip hop artist, but
one of the criteria’s was that no one could have a
criminal record.”
“one artist we put forward that done a demo which we
then found a YouTube video of him talking about really
disgusting things, and they were glad that they didn’t
select that artist because it would of really looked bad
on them.”
“If you think about if your pitching something to do
with kids, pitching for Mothercare, you’re not going to
put forward Gary Glitter. You need a bit of common
sense I think.”
EndTe
rm
State
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Ben Bleet
Question
2. How much of a role does the characteristics, image and persona of an artist specifically what
they represent pay a part in the consideration of what music is suitable for the project?
Ben Bleet Key points of answer
It depends on what the project, if it’s online content for a drinks brand a lot of people want to just
put something up to flagship what they’ve done and no one really watches it, so if it’s something like
that the artist’s characteristics will have no impact at all. If it’s a vodka brand they’ll want some cool
club music and they won’t care where it comes from. But if it’s obviously a Beyonce track and they
spent a fortune on a global campaign then the artists profile and their characteristics are very
important, so it really depends on that. Fred Perry does a really good job of spotting new talent and
associating them with their clothes and that’s obviously really important to them. Interestingly on
the other side of that at the moment there’s a clothing company that’s released a Pete Doherty
range and you think okay so the man that may or may not of pushed someone out of a balcony and
doing smack but at the end of the day i think some people just see that as rock and roll and cool. So
it really depends.
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Result 5
Ben Bleet – Grouped Answer from Question Two
Means-endchainmodel
Attributes
Concrete
Attributes
Abstract
Attributes “It depends on what the project, if it’s online content for a drinks brand a
lot of people want to just put something up to flagship what they’ve done
and no one really watches it, so if it’s something like that the artist’s
characteristics will have no impact at all.”
“If it’s a vodka brand they’ll want some cool club music and they won’ t
care where it comes from.”
“But if it’s obviously a Beyonce track and they spent a fortune on a global
campaign then the artists profile and their characteristics are very
important, so it really depends on that. Fred Perry does a really good job
of spotting new talent and associating them with their clothes and that’s
obviously really important to them.”
“ Interestingly on the other side of that at the moment there’s a clothing
company that’s released a Pete Doherty range and you think okay so the
man that may or may not of pushed someone out of a balcony and doing
smack but at the end of the day i think some people just see that as rock
and roll and cool.”
Consequences
Functional
Consequences
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Psychological
Consequences
Social
and
Psychological
“It depends on what the project, if it’s online content
for a drinks brand a lot of people want to just put
something up to flagship what they’ve done and no
one really watches it, so if it’s something like that the
artist’s characteristics will have no impact at all.”
“If it’s a vodka brand they’ll want some cool club music
and they won’t care where it comes from.”
“But if it’s obviously a Beyonce track and they spent a
fortune on a global campaign then the artists profile
and their characteristics are very important, so it really
depends on that. Fred Perry does a really good job of
spotting new talent and associating them with their
clothes and that’s obviously really important to them.”
“Interestingly on the other side of that at the momentthere’s a clothing company that’s released a Pete
Doherty range and you think okay so the man that may
or may not of pushed someone out of a balcony and
doing smack but at the end of the day I think some
people just see that as rock and roll and cool .”
EndTerm
State
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Lawrence McKay
Question
2 How much of a role does the characteristics, image and persona of an artist specifically what
they represent pay a part in the consideration of what music is suitable for the project?
Lawrence McKay Key points of answer:
It completely depends on the brand; say if you’re doing a beer brand they’re going to be looking for
something that’s different and fun and cool. But another brand who is trying to go for a comical
advert will go for something that is quite out of the blue. A brand we worked with went for
something from the forties instead of something that’s hip and now because of the comical aspect
with the visuals, where as fosters will go and use something comical. But makeup adverts will often
go for something like composed pieces.
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Result 6
Lawrence McKay – Grouped Answer from Question
Two
Means-endch
ainmodel
Attributes
Concrete
Attributes
Abstract
Attributes “It completely depends on the brand; say if you’re doing a beer brand
they’re going to be looking for something that’s different and fun and cool.
But another brand who is trying to go for a comical advert will go for
something that is quite out of the blue. A brand we worked with went for
something from the forties instead of something that’s hip and now
because of the comical aspect with the visuals, where as fosters will goand use something comical. But makeup adverts will often go for
something like composed pieces. “
Consequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
“It completely depends on the brand; say if you’re
doing a beer brand they’re going to be looking for
something that’s different and fun and cool. But
another brand who is trying to go for a comical advert
will go for something that is quite out of the blue. A
brand we worked with went for something from the
forties instead of something that’s hip and now
because of the comical aspect with the visuals, where
as fosters will go and use something comical. But
makeup adverts will often go for something like
composed pieces. “
EndTerm
State
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Question Two Commonalities
Responses found abstract attributes and psychological consequences highly influential
within this question topic, artist characteristics and reputation are commonly referenced.
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David Bass
Question
3. How much of a role does the lyrical content and message portrayed in a song pay a part in
the choice of music for the project?
David Bass Key points of answer:
Okay, that completely depends on the brief, if it’s a brief to find an instrumental track then it doesn’t
play any part, if it’s a brief to find a vocal track quite often will ask the creative’s which lyrics, what
do you want the song to be talking about, is there any particular lyrical themes or words that you
want and will do a search based on that. Likewise if we are just doing a generic search we’ll just think
if the ads about driving around town, we’ll think of lyrical things that we can do a search around
that would work for that, for example bright lights big city. Again it’s just common sense and what
we’ve been asked to do.
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Result 7
David Bass – Grouped Answer from Question Three
M
eans-endchain
model
Attributes
Concrete
Attributes
Abstract
Attributes
“Okay, that completely depends on the brief, if it’s a brief to find an
instrumental track then it doesn’t play any part, if it’s a brief to find a vocal
track quite often will ask the creative’s which lyrics, what do you want the
song to be talking about, is there any particular lyrical themes or words
that you want and will do a search based on that. Likewise if we are just
doing a generic search we’ll just think if the ads about driving around
town, we’ll think of lyrical things that we can do a search around that
would work for that, for example bright lights big city. Again it’s just
common sense and what we’ve been asked to do.”
Consequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
ndTerm
State
“Okay, that completely depends on the brief, if it’s a brief to find an instrumental track then it
doesn’t play any part, if it’s a brief to find a vocal track quite often will ask the creative’s which
lyrics, what do you want the song to be talking about, is there any particular lyrical themes or words
that you want and will do a search based on that. Likewise if we are just doing a generic search we’ll
just think if the ads about driving around town, we’ll think of lyrical things that we can do a search
around that would work for that, for example bright lights big city. Again it’s just common sense and
what we’ve been asked to do.”
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Ben Bleet
Question
3. How much of a role does the lyrical content and message portrayed in a song pay a part in
the choice of music for the project?
Ben Bleet Key points of answer
Specifically for TV adverts, they might want something with lyrics that portrays unity and happiness.We might get a pitch that they want back tomorrow and they’ve got to think of something around a
word the key search comes in handy and it must of been used a few times and sometimes they’ll just
search key words inside iTunes and just find a track, so lyrical content if it’s derogatory to minority
groups then it’s obviously not going to be suggested. Again traditionally you don’t want anything
with swear words or anything like that because it’s not going to be used.
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Result 8
Ben Bleet – Grouped Answer from Question Three
Means-endchain
model
At
tributes
Concrete
Attributes
Abstract
Attributes “Specifically for TV adverts, they might want something with lyrics that
portrays unity and happiness. We might get a pitch that they want back
tomorrow and they’ve got to think of something around a word the key
search comes in handy and it must of been used a few times and
sometimes they’ll just search key words inside iTunes and just find a
track.”
“So lyrical content if it’s derogatory to minority groups then it’s obviously
not going to be suggested. Again traditionally you don’t want anything
with swear words or anything like that because it’s not going to be used.”
Consequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
“Specifically for TV adverts, they might want
something with lyrics that portrays unity and
happiness. We might get a pitch that they want back
tomorrow and they’ve got to think of somethingaround a word the key search comes in handy and it
must of been used a few times and sometimes they’ll
just search key words inside iTunes and just find a
track”
“So lyrical content if it’s derogatory to minority groups
then it’s obviously not going to be suggested. Again
traditionally you don’t want anything with swear
words or anything like that because it’s not going to be
used.”
EndTerm
State
“Specifically for TV adverts, they might want something with lyrics that portrays unity and
happiness. We might get a pitch that they want back tomorrow and they’ve got to think of
something around a word the key search comes in handy and it must have been used a few times
and sometimes they’ll just search key words inside iTunes and just find a track.”
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Lawrence McKay
Question
3 How much of a role does the lyrical content and message portrayed in a song pay a part in
the choice of music for the project?
Lawrence McKay Key points of answer:
Generally, it is a massive amount depending on what they are trying to portray, going back to the
lynx advert the whole worlds falling to pieces because people can’t stop being attracted to each
other and the music called something psychological and all the lyrics are about the attraction
between men and women and how she loves a new boy she’s met and the lyrics fit the visuals
absolutely perfectly. Whereas generally something like a twinning’s adverts where she’s rowing
across the ocean to the calling wherever you may go it doesn’t make sense to the story of the
product.
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Result 9
Lawrence McKay – Grouped Answer from Question
Three
Means-en
dchainmodel
Attributes
Concrete
Attributes
Abstract
Attributes “Generally, it is a massive amount depending on what they are trying to
portray, going back to the lynx advert the whole worlds falling to pieces
because people can’t stop being attracted to each other and the music
called something psychological and all the lyrics are about the attraction
between men and women and how she loves a new boy she’s met and the
lyrics fit the visuals absolutely perfectly. Whereas generally something like
a twinning’s adverts where she’s rowing across the ocean to the calling
wherever you may go it doesn’t make sense to the story of the product.”
Consequences
Functional
Consequences
“Generally, it is a massive amount depending on what they are trying to
portray, going back to the lynx advert the whole worlds falling to pieces
because people can’t stop being attracted to each other and the music
called something psychological and all the lyrics are about the attraction
between men and women and how she loves a new boy she’s met and the
lyrics fit the visuals absolutely perfectly. Whereas generally something like
a twinning’s adverts where she’s rowing across the ocean to the calling
wherever you may go it doesn’t make sense to the story of the product.”
Psychological
Consequences
Social
and
Psychological
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EndTerm
State
“Generally, it is a massive amount depending on what they are trying to portray, going back to the
lynx advert the whole worlds falling to pieces because people can’t stop being attracted to each
other and the music called something psychological and all the lyrics are about the attraction
between men and women and how she loves a new boy she’s met and the lyrics fit the visuals
absolutely perfectly. Whereas generally something like a twinning’s adverts where she’s rowing
across the ocean to the calling wherever you may go it doesn’t make sense to the story of the
product.”
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Question Three Commonalities
Responses found abstract attributes and end –term states highly influential within this
question topic, degree of fit and completion of brief commonly referenced. Responses found functional Consequences and Psychological consequences influential
within this question topic, degree of fit and social behaviour are referenced.
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David Bass
Question
4. How much of a role does the success and the social reputation of an artist play on the price
paid and choice for the use of the music?
David Bass Key points of answer:
I think this touches on two things, you’ve got borrowed equity, so you’ve got times where a brand
might spend shit loads of money on licensing a Beyonce track, but then having Beyonce on that
brands advert gives the brand more credibility and almost borrowing the equity from Beyonce and
passing it over. At the same time for us we don’t ever feel like a label is doing us a favour for letting
us use their track on our advert. The labels might affect their prices for an advert, so for example, an
apple advert, everyone wants to be on an apple advert, it’s cool, it’s massive, apple doesn’t pay for
music. So in that case any band or artist would be stupid to turn down an apple advert, purely
because of the reach it has and how many people hear it and think the tracks cool and you sell shit
loads of singles on iTunes. But at the same time we’ve had situations were VW have said well you
should give us a price drop because we’re putting your song on our advert and it’s going to be seen
by millions of people, that won’t work, because at the end of the day right owners and artists don’t
give a shit about the advert, they care about the money. Some care about the creative but ultimatelyit’s about the money. So, I think it depends but generally no, the publisher will set a price but there’s
always negotiation you know in between that. But at the same time if it was a Beyonce track, the
price would go up because it is a Beyonce track. So it goes hand in hand with the pricing anyway. Any
huge artist like lady gaga it will be millions; it will be loads of money because they’re huge right now.
An unknown artist or unsigned artist is going to be a hell of a lot cheaper, but ultimately it’s down to
how the publisher values that piece of music. So if I’m only offering ten grand for it, they’ll probably
think well if we done the deal it probably won’t get used for the next two years so we’re going to
hold out for a bigger deal if they know it’s a great track. The weird thing with licensing is there are no
rules and there is no set way things happen, back in the day when i worked for a label brands used
to come to me and ask how much for this and you’d just pluck a number out of the air that you
think you can get away with and brands would pay it because they don’t understand the value of
music, which is why they need people like us to sit here and say why are you paying that much, this
band is nothing and their last album flopped, they really need a bit of a hand.
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Result 10
David Bass – Grouped Answer from Question Four
Means-endchainmodel
Attributes
Concrete
Attributes
Abstract
Attributes
“You’ve got borrowed equity, so you’ve got times where a brand might
spend shit loads of money on licensing a Beyonce track, but then having
Beyonce on that brands advert gives the brand more credibility and almost
borrowing the equity from Beyonce and passing it over.”
“The labels might affect their prices for an advert, so for example, an apple
advert, everyone wants to be on an apple advert, it’s cool, it’s massive,apple doesn’t pay for music. So in that case any band or artist would be
stupid to turn down an apple advert, purely because of the reach it has
and how many people hear it and think the tracks cool and you sell shit
loads of singles on iTunes.”
“But at the same time we’ve had situations were VW have said well you
should give us a price drop because we’re putting your song on our advert
and it’s going to be seen by millions of people.”
“But at the same time if it was a Beyonce track, the price would go up
because it is a Beyonce track. So it goes hand in hand with the pricing
anyway. Any huge artist like lady gaga it will be millions; it will be loads of
money because they’re huge right now. An unknown artist or unsigned
artist is going to be a hell of a lot cheaper, but ultimately it’s down to how
the publisher values that piece of music.”
“So if I’m only offering ten grand for it, they’ll probably think well if we
done the deal it probably won’t get used for the next two years so we’re
going to hold out for a bigger deal if they know it’s a great track.”
onsequ
ences
Functional
Consequences
“So in that case any band or artist would be stupid to turn down an apple
advert, purely because of the reach it has and how many people hear it
and think the tracks cool and you sell shit loads of singles on ITunes .”
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Ben Bleet
Question
4 How much of a role does the success and the social reputation of an artist play on the price
paid and choice for the use of the music?
Ben Bleet Key points of answer
Definitely, i think it’s linked to the first question. I think the interesting thing which a lot of people
still don’t get their heads round is that you talk about the artist needs promotion, say you went to a
bigger artist who is just about to release their second album you could do a deal with them you
could say we’ll pay you x amount for this but then you’re going to get this many eyeballs on you as
well so it’s kind of a strategic partnership. So I think definitely it works on both sided, it’s what the
record companies and publishers want for that artist and it’s also what the brand wants. And the
other thing is as well that say for example a high profile artist a client might say well hang on the
market rates are this but in the clients head they don’t know this artist and they think it will be a lot
cheaper.
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Result 11
Ben Bleet – Grouped Answer from Question Four
Means-endchainmodel
ttributes
Concrete
Attributes
Abstract
Attributes “I think the interesting thing which a lot of people still don’t get their
heads round is that you talk about the artist needs promotion, say you
went to a bigger artist who is just about to release their second album you
could do a deal with them you could say we’ll pay you x amount for this
but then you’re going to get this many eyeballs on you as well so it’s kind
of a strategic partnership.”
“And the other thing is as well that say for example a high profile artist a
client might say well hang on the market rates are this but in the clients
head they don’t know this artist and they think it will be a lot cheaper.”
Consequences
Functional
Consequences
I think the interesting thing which a lot of people still don’t get their heads
round is that you talk about the artist needs promotion, say you went to a
bigger artist who is just about to release their second album you could do
a deal with them you could say we’ll pay you x amount for this but then
you’re going to get this many eyeballs on you as well so it’s kind of a
strategic partnership.
Psychological
Consequences
Social
and
Psychological
“I think the interesting thing which a lot of people still
don’t get their heads round is that you talk about the
artist needs promotion, say you went to a bigger artist
who is just about to release their second album you
could do a deal with them you could say we’ll pay you
x amount for this but then you’re going to get this
many eyeballs on you as well so it’s kind of a strategic
partnership.”
EndTerm
State
“I think the interesting thing which a lot of people still don’t get their heads round is that you talk
about the artist needs promotion, say you went to a bigger artist who is just about to release their
second album you could do a deal with them you could say we’ll pay you x amount for this but then
you’re going to get this many eyeballs on you as well so it’s kind of a strategic partnership.”
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Lawrence McKay
Question
4 How much of a role does the success and the social reputation of an artist play on the price
paid and choice for the use of the music?
Lawrence McKay Key points of answer:
It plays a phenomenal role, you may go and work with one brand that will go and give you a twelve
month term with all media and they’ll pay you thirty grand all in. Whereas if you go and pick
someone like the Foo fighters or the black keys you’re looking at adding a zero to that figure just
because of the social standing, it’s an elitist thing, they’ll say well if you want our record breaking
music to portray your visuals and your product you better be willing to pay through the teeth for it.
It’s more exploitation than social standing, it’s like saying our brand can afford to use the Foo
fighters where as you can only afford someone no one has ever heard of.
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Result 12
Lawrence McKay – Grouped Answer from Question Four
M
eans-endchain
model
Attributes
Concrete
Attributes
Abstract
Attributes
“It plays a phenomenal role, you may go and work with one brand that will
go and give you a twelve month term with all media and they’ll pay you
thirty grand all in. Whereas if you go and pick someone like the Foo
fighters or the black keys you’re looking at adding a zero to that figure just
because of the social standing, it’s an elitist thing, they’ll say well if you
want our record breaking music to portray your visuals and your product
you better be willing to pay through the teeth for it. It’s more exploitation
than social standing, it’s like saying our brand can afford to use the Foo
Fighters where as you can only afford someone no one has ever heard of. ”
Consequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
“It plays a phenomenal role, you may go and work with
one brand that will go and give you a twelve month
term with all media and they’ll pay you thirty grand all
in. Whereas if you go and pick someone like the Foo
fighters or the black keys you’re looking at adding a
zero to that figure just because of the social standing,
it’s an elitist thing, they’ll say well if you want our
record breaking music to portray your visuals and your
product you better be willing to pay through the teeth
for it. It’s more exploitation than social standing, it’s
like saying our brand can afford to use the Foo Fighters
where as you can only afford someone no one has ever
heard of.”
EndTerm
State
“It’s like saying our brand can afford to use the Foo Fighters where as you can only afford someone
no one has ever heard of.”
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Question Four Commonalities
Responses found abstract attributes, psychological consequences and end-term states are
highly influential within this question topic, reputation, partnerships and social standing are
commonly referenced.
Responses found functional consequences are influential within this question topic,
partnerships are commonly referenced.
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David Bass
Question
5. How much of a role do different options, types of use and lengths in the contract for the use
of a piece of music play a role on the price range paid for a piece of music?
David Bass Key points of answer:
That’s completely decided by the client. So I’ll say we want this for a year we want this for six
months, we want an option to extend for a further six months or we don’t. So the terms are pretty
much what the client wants, so every contract is different and every time we get a pitch, what do
you want to clear, do you want it for a year, do you want it for UK, do you want it for TV, do you
want it just for online and anything else. So it completely depends, but we’ll always try and get
options in because retrospectively licensing is very expensive. It absolutely depends on territories
because the UK has however million people and then worldwide is obviously a much bigger territory.
So obviously the world is going to be more expensive and the cheapest is going to be like Malta, so itdoes go up in a scale, depending on which territories. Really the more territories, the more media
and the longer you want to license something for the more expensive it becomes.
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Result 13
David Bass – Grouped Answer from Question Five
Means-endcha
inmodel
Attributes
Concrete
Attributes
Abstract
Attributes
Consequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
ndTerm
State
“It absolutely depends on territories because the UK has however million people and then
worldwide is obviously a much bigger territory. So obviously the world is going to be more
expensive and the cheapest is going to be like Malta, so it does go up in a scale, depending on whichterritories. Really the more territories, the more media and the longer you want to license
something for the more expensive it becomes.”
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Ben Bleet
Question
5 How much of a role do different options, types of use and lengths in the contract for the use
of a piece of music play a role on the price range paid for a piece of music?
Ben Bleet Key points of answer
I think, what i always advise people to do is to put in options to extend the contract. I think that
people expect that the more countries there are included the more expensive it would be.
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Result 14
Ben Bleet – Grouped Answer from Question Five
Means-endch
ainmodel
ttributes
Concrete
Attributes
Abstract
Attributes
“Because it conveys so many more emotions than pictures and lyrics can,
It’s always tremendously important to people what the music is.”
Consequences
Functional
Consequences
“I think, what I always advise people to do is to put in options to extend
the contract. I think that people expect that the more countries there are
included the more expensive it would be.”
Psychological
Consequences
Social
and
Psychological
“Because it conveys so many more emotions than
pictures and lyrics can, It’s always tremendously
important to people what the music is”
EndTerm
State
“I think, what I always advise people to do is to put in options to extend the contract. I think that
people expect that the more countries there are included the more expensive it would be. ”
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Lawrence McKay
Question
5 How much of a role do different options, types of use and lengths in the contract for the
use of a piece of music play a role on the price range paid for a piece of music?
Lawrence McKay Key points of answer:
Well if you go for a twelve month all in all media you’re looking at a lot, but if you say you want it for
four months and it’s only ever going to be shown when we’re at shows advertising our product it will
be less. It’s more about the audience you’re reaching, if you’re reaching five million with your advert
or your piece of music then the price is going to be higher, whereas if you’re doing it to a small
audience the price is going to be very low. If you go for a sixty month deal all in you’re looking at the
high end of six figures, maybe even seven figures. But generally it all depends on options , the same
as record deals.
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Result 15
Lawrence McKay – Grouped Answer from Question
Five
Means-endc
hainmodel
Attributes
Concrete
Attributes
Abstract
Attributes
onsequences
Functional
Consequences
“Well if you go for a twelve month all in all media you’re looking at a lot,
but if you say you want it for four months and it’s only ever going to be
shown when we’re at shows advertising our product it will be less. It’s
more about the audience you’re reaching, if you’re reaching five million
with your advert or your piece of music then the price is going to be
higher, whereas if you’re doing it to a small audience the price is going to
be very low. If you go for a sixty month deal all in you’re looking at the
high end of six figures, maybe even seven figures. But generally it all
depends on options, the same as record deals.”
Psychological
Consequences
Social
and
Psychological
EndTerm
State
“Well if you go for a twelve month all in all media you’re looking at a lot, but if you say you want it
for four months and it’s only ever going to be shown when we’re at shows advertising our product it
will be less. It’s more about the audience you’re reaching, if you’re reaching five million with your
advert or your piece of music then the price is going to be higher, whereas if you’re doing it to a
small audience the price is going to be very low. If you go for a sixty month deal all in you’re looking
at the high end of six figures, maybe even seven figures. But generally it all depends on options, the
same as record deals. “
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Question Five Commonalities
Responses found end-term states to be highly influential within this question topic, option
price ranges are commonly referenced. Responses found functional consequences to be influential, within this question topic,
option price ranges are commonly referenced.
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David Bass
Question
6. How important is the choice of music to a client in order to complete what they want their
project to convey and achieve?
David Bass Key points of answer:
I’ll tell you something interesting, they say that music is half of the advert; it’s fifty percent of the
advert. I think it is incredibly important, music is something that shapes the tone of an ad, engages
with the audience, it can engage with a new audience, it can change people’s feelings, I think music
is incredibly important.
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Result 16
David Bass – Grouped Answer from Question Six
Means-endch
ainmodel
Attributes
Concrete
Attributes
Abstract
Attributes
“I’ll tell you something interesting, they say that music is half of the
advert; it’s fifty percent of the advert. I think it is incredibly important,
music is something that shapes the tone of an ad, engages with the
audience, it can engage with a new audience, it can change people’s
feelings, I think music is incredibly important.”
Consequences
Functional
Consequences
“I’ll tell you something interesting, they say that music is half of the
advert; it’s fifty percent of the advert. I think it is incredibly important,
music is something that shapes the tone of an ad, engages with the
audience, it can engage with a new audience, it can change people’s
feelings, I think music is incredibly important.”
Psychological
Consequences
Social
and
Psychological
“I’ll tell you something interesting, they say that music
is half of the advert; it’s fifty percent of the advert. I
think it is incredibly important, music is something that
shapes the tone of an ad, engages with the audience, it
can engage with a new audience, it can change
people’s feelings, I think music is incredibly
important.”
EndTerm
State
“I’ll tell you something interesting, they say that music is half of the advert; it’s fifty percent of the
advert. I think it is incredibly important, music is something that shapes the tone of an ad, engageswith the audience, it can engage with a new audience, it can c hange people’s feelings, I think music
is incredibly important.”
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Result 17
Ben Bleet – Grouped Answer from Question Six
M
eans-endchainmodel
Attributes
Concrete
Attributes
Abstract
Attributes “There are brands that will just come in to put music on an advert and
then there are brands that come in and are deemed venture brands so it
depends, I’ve dealt with many companies that take both approaches.”
onsequences
Functional
Consequences
“It depends on what they are trying to achieve, there is a number that
I’ve heard people apply before and they say that music is eighty percent of
the ad.”
“There are brands that will just come in to put music on an advert and
then there are brands that come in and are deemed venture brands so it
depends, I’ve dealt with many companies that take both approaches.”
Psychological
Consequences
Social
and
Psychological
EndTerm
State
“It depends on what they are trying to achieve, there is a number that I’ve heard people apply
before and they say that music is eighty percent of the ad.”
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Lawrence McKay
Question
6 How important is the choice of music to a client in order to complete what they want their
project to convey and achieve?
Lawrence McKay Key points of answer:
It completely depends on how shallow the client is and if they’re just going to throw money at it. I
worked on an advert before when they asked for something really different that represented their
product and we found the perfect piece and it was within their thirty thousand pound budget and
then that was the initial brief but in the end they ended up going for a completely different
mainstream pop music and ended up paying one hundred and twenty grand, so that was completely
different from the whole we really want something that relates to our product on a national level
because we’re really proud of it and then they just went for American commercial music. But if abrand wants an artist, which we see a lot with alcohol companies, to be seen as their band, which
Smirnoff do quite a lot with DJ’s, it’s more like an endorsement kind of thing.
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Result 18
Lawrence McKay – Grouped Answer from Question Six
Means-endchainmodel
Attributes
Concrete
Attributes
Abstract
Attributes
“I worked on an advert before when they asked for something really
different that represented their product and we found the perfect piece
and it was within their thirty thousand pound budget and then that was
the initial brief but in the end they ended up going for a completely
different mainstream pop music and ended up paying one hundred and
twenty grand, so that was completely different from the whole we reallywant something that relates to our product on a national level because
we’re really proud of it and then they just went for American commercial
music.”
“But if a brand wants an artist, which we see a lot with alcohol companies,
to be seen as their band, which Smirnoff do quite a lot with DJ’s, it’s more
like an endorsement kind of thing. “
Consequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
“I worked on an advert before when they asked for
something really different that represented their
product and we found the perfect piece and it was
within their thirty thousand pound budget and then
that was the initial brief but in the end they ended up
going for a completely different mainstream pop music
and ended up paying one hundred and twenty grand,
so that was completely different from the whole we
really want something that relates to our product on a
national level because we’re really proud of it and then
they just went for American commercial music.”
“But if a brand wants an artist, which we see a lot with
alcohol companies, to be seen as their band, which
Smirnoff do quite a lot with DJ’s, it’s more like an
endorsement kind of thing. “
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EndTerm
State
“I worked on an advert before when they asked for something really different that represented
their product and we found the perfect piece and it was within their thirty thousand pound budget
and then that was the initial brief but in the end they ended up going for a completely different
mainstream pop music and ended up paying one hundred and twenty grand, so that was completely
different from the whole we really want something that relates to our product on a national level
because we’re really proud of it and then they just went for American commercial music.”
“But if a brand wants an artist, which we see a lot with alcohol companies, to be seen as their band,
which Smirnoff do quite a lot with DJ’s, it’s more like an endorsement kind of thing. “
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Question Six Commonalities
Responses found end-term states and abstract attributes to be highly influential within this
question topic, representation and engagement were commonly referenced. Responses found psychological and functional consequences to be influential within this
question topic, reputation, engagement and importance of music to projects were
commonly referenced.
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David Bass
Question
7. How varied are the fees paid between a prestige act and a lesser known artist?
David Bass Key points of answer:
It can be anything, most of the time it’s what the client has in the budget. If the client only has five
grand in the budget it doesn’t matter if you think it’s worth it. If you can’t get it for five grand then
you’ll go and find something that you can clear for five grand.
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Result 19
David Bass – Grouped Answer from Question Seven
Means-endchainmodel
Attributes
Concrete
Attributes
Abstract
Attributes
“It can be anything, most of the time it’s what the client has in the budget.
If the client only has five grand in the budget it doesn’t matter if you think
it’s worth it. If you can’t get it for five grand then you’ll go and find
something that you can clear for five grand.”
Consequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
ndTerm
State
“It can be anything, most of the time it’s what the client has in the budget. If the client only has five
grand in the budget it doesn’t matter if you think it’s worth it. If you can’t get it for five grand thenyou’ll go and find something that you can clear for five grand. “
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Ben Bleet
Question
7 How varied are the fees paid between a prestige act and a lesser known artist?
Ben Bleet Key points of answer
It depends what people are willing to pay, offer and accept really. You never know so there is
definitely disparity but again someone who hasn’t had a lot of luck on radio one compared to
someone who has, it depends on whether they are on the same level, it really depends.
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Lawrence McKay
Question
7 How varied are the fees paid between a prestige act and a lesser known artist?
Lawrence McKay Key points of answer:
I think they can be very elitist, it just depends because if you pick the perfect piece of music and it’s
from a band that you’ve just signed and no one knows who they are and a big brand comes out and
Sais this is our budget we want something that will blow our minds what have you got? And you
come back with some little band and it suits them perfectly then they’ll go brilliant and give you the
money.
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Result 21
Lawrence McKay – Grouped Answer from Question
Seven
Means-endchainmodel
Attributes
Concrete
Attributes
Abstract
Attributes “I think they can be very elitist, it just depends because if you pick the
perfect piece of music and it’s from a band that you’ve just signed and no
one knows who they are and a big brand comes out and Sais this is ourbudget we want something that will blow our minds what have you got?
And you come back with some little band and it suits them perfectly then
they’ll go brilliant and give you the money.”
onsequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
“I think they can be very elitist, it just depends because
if you pick the perfect piece of music and it’s from a
band that you’ve just signed and no one knows who
they are and a big brand comes out and Sais this is our
budget we want something that will blow our minds
what have you got? And you come back with some
little band and it suits them perfectly then they’ll go
brilliant and give you the money.”
EndTerm
State
“I think they can be very elitist, it just depends because if you pick the perfect piece of music and it’s
from a band that you’ve just signed and no one knows who they are and a big brand comes out and
Sais this is our budget we want something that will blow our minds what have you got? And you
come back with some little band and it suits them perfectly then they’ll go brilliant and give you the
money.”
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Question Seven Commonalities
Responses found abstract attributes to be highly influential within this question topic,
broadcasting levels and worth are referenced.
Responses found Psychological consequences to be influential within this question topic,
broadcasting levels and degree of fit are referenced.
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Result 22
David Bass – Grouped Answer from Question Eight
M
eans-endchainmodel
ttributes
Concrete
Attributes
Abstract
Attributes
“Yeah, for example O2 licensed foster the people last year for their priority
moments ad in the UK, that was because they wanted to tap into the cool
kind of east London kids. And they knew that those kids were into foster
the people at that time and they would engage with that and probably use
o2 priority moments. “
onsequences
Functional
Consequences “Yeah, for example O2 licensed foster the people last year for their priority
moments ad in the UK, that was because they wanted to tap into the cool
kind of east London kids. And they knew that those kids were into foster
the people at that time and they would engage with that and probably use
o2 priority moments.”
Psychological
Consequences
Social
and
Psychological
“Yeah, for example O2 licensed foster the people last
year for their priority moments ad in the UK, that wasbecause they wanted to tap into the cool kind of east
London kids. And they knew that those kids were into
foster the people at that time and they would engage
with that and probably use o2 priority moments.”
EndT
erm
State
“Yeah, for example O2 licensed foster the people last year for their priority moments ad in the UK,
that was because they wanted to tap into the cool kind of east London kids. And they knew that
those kids were into foster the people at that time and they would engage with that and probably
use o2 priority moments. “
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Ben Bleet
Question
8 If a client wants to reach a specific market or portray a message do they use the choice of
music to achieve this and does it affect the price they’re willing to pay?
Ben Bleet Key points of answer
They can do, it’s interesting because a lot of brands still haven’t gone to the trouble of being
knowledgeable. But i hope it does happen because it’s a big opportunity having hyper local targeting
music, so looking up the up and coming bands in Cardiff and reading and in Liverpool and then
potentially working with them on some kind of level. Some people do look at styles, interestingly
everyone is obsessed with the youth market because they are tomorrow’s customers but a lot of the
time they ignore the older market. A part from the holiday market it’s not about being cool but they
still love music so it might be classical, it really depends on what they are trying to achieve. I’d
always don’t choose one style of music choose four because everyone’s got such a wide range of
taste because in the old days you used to be into rock or hip hop or you might be a punk and you
just liked those niche things because that was your identity. But then now your identity is more
about music you like rather being in one tribe, sometimes you will see these brands using more radio
two or radio three artists if they can but it depends on how strategic they are about it.
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Result 23
Ben Bleet – Grouped Answer from Question Eight
Means-endcha
inmodel
Attributes
Concrete
Attributes
Abstract
Attributes
“Some people do look at styles, interestingly everyone is obsessed with
the youth market because they are tomorrow’s customers but a lot of the
time they ignore the older market.”
“A part from the holiday market it’s not about being cool but they still love
music so it might be classical, it really depends on what they are trying to
achieve.”
“In the old days you used to be into rock or hip hop or you might be apunk and you just liked those niche things because that was your identity.
But then now your identity is more about music you like rather being in
one tribe, sometimes you will see these brands using more radio two or
radio three artists if they can but it depends on how strategic they are
about it.”
Consequence
s
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
“Some people do look at styles, interestingly everyone
is obsessed with the youth market because they are
tomorrow’s customers but a lot of the time they
ignore the older market.”
“A part from the holiday market it’s not about being
cool but they still love music so it might be classical, it
really depends on what they are trying to achieve.”
“In the old days you used to be into rock or hip hop or
you might be a punk and you just liked those niche
things because that was your identity. But then now
your identity is more about music you like rather being
in one tribe, sometimes you will see these brands
using more radio two or radio three artists if they can
but it depends on how strategic they are about it .”
EndTerm
State
“Some people do look at styles, interestingly everyone is obsessed with the youth market because
they are tomorrow’s customers but a lot of the time they ignore the older market.”
“A part from the holiday market it’s not about being cool but they still love music so it might be
classical, it really depends on what they are trying to achieve.”
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Lawrence McKay
Question
8. If a client wants to reach a specific market or portray a message do they use the choice of
music to achieve this and does it affect the price they’re willing to pay?
Lawrence McKay Key points of answer:
Yeah it’s very much like a demographic study, if you’re aiming a new toy at 13-15 year olds; you’re
going to use what is hip right now to 13-15 year olds. You’re not going to use bands like the black
keys and the Foo fighters because they won’t be in to that as much as something like the Jonas
brothers, it’s choosing your market and spending correctly. There is no point in spending a hundred
thousand pounds for something unknown to those minors; you’re going to be using something like
Taylor Swift.
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Commonalities in Question eight
Responses found end-term states, psychological consequences and abstract attributes to be
highly influential within this question topic, markets, cool and hip references were
commonly mentioned.
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Result 25
David Bass – Grouped Answer from Question Nine
Means-endchainmodel
Attributes
Concrete
Attributes
Abstract
Attributes
“Some brands have the cool factor and some brands don’t. Pedigree will
never use cool music where as brands like o2, Budweiser and carling you
can tell that invest a lot more in music.”
“Most of the smaller brands for example Pantene, surf and Cif; most of the
music they use is composed and pretty generic. It’s the bigger brands and
the cooler brands that are spending the bigger money on the T-rex’s and
the Elvis Presley tracks and whatever else. They want to be seen as cool,
they’ve got something to live up to. As soon as Budweiser put like Jedward
on their ad everyone’s going to be like Budweiser is shit.”
Consequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
Most of the smaller brands for example Pantene, surf
and Cif, most of the music they use is composed and
pretty generic. It’s the bigger brands and the cooler
brands that are spending the bigger money on the t-
rex’s and the Elvis Presley tracks and whatever else.
They want to be seen as cool, they’ve got something to
live up to. As soon as Budweiser put like Jedward on
their ad everyone’s going to be like Budweiser is shit.
ndTerm
State
“Most of the smaller brands for example Pantene, surf and Cif; most of the music they use is
composed and pretty generic. It’s the bigger brands and the cooler brands that are spending the
bigger money on the T-rex’s and the Elvis Presley tracks and whatever else. They want to be seen as
cool, they’ve got something to live up to. As soon as Budweiser put like Jedward on their ad
everyone’s going to be like Budweiser is shit.”
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Ben Bleet
Question
9. How much of a role does the cool factor; what’s considered cool play on the choice of music
and what is paid for the music do they want to be unique, individualised, prestigious?
Ben Bleet Key points of answer
I’d put it into the status thing, Carl Barat got used by orbit and wells fashion brand and modelled
their range and he would never of got that if he wasn’t part of the libertines, he was like the clean
option. Sometimes if you are from the right label and that it will help you and at the end of the day if
people see you in the right light and you’re in the right places they’ll want to use you.
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Lawrence McKay
Question
9. How much of a role does the cool factor; what’s considered cool play on the choice of
music and what is paid for the music do they want to be unique, individualised,
prestigious?
Lawrence McKay Key points of answer:
It depends, if you have a brand that is trying to re design themselves they want music that is going to
make them stand out. The number one people who do that are banks, the banks don’t have peoples
trust so they’ll do a new advertising campaign and they’ll want the music to stand out such as Lloyds
TSB with the advert on the train and the weird bespoke music and nationwide they’ve got the piano,
they do it so they catch you. Whereas if you’re advertising something fun and exciting you’re going
to want to go for something black keys or white stripes kind of music because it’s really cool andedgy rather than your bespoke you want something that’s like yeah it’s rock it’s fun it’s cool rather
than something that’s like oh I remember that song because it’s the annoying nationwide song. But
loads of people when they need something like car insurance they’ll think of the go compare song,
so it works.
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Result 27
Lawrence McKay – Grouped Answer from Question Nine
Means-endchainmodel
Attributes
Concrete
Attributes
Abstract
Attributes “It depends, if you have a brand that is trying to re design themselves they
want music that is going to make them stand out. The number one people
who do that are banks, the banks don’t have peoples trust so they’ll do a
new advertising campaign and they’ll want the music to stand out such as
Lloyds TSB with the advert on the train and the weird bespoke music and
nationwide they’ve got the piano, they do it so they catch you.”
“Whereas if you’re advertising something fun and exciting you’re going to
want to go for something black keys or white stripes kind of music because
it’s really cool and edgy rather than your bespoke you want something
that’s like yeah it’s rock it’s fun it’s cool rather than something that’s like
oh i remember that song because it’s the annoying nationwide song. But
loads of people when they need something like car insurance they’ll think
of the go compare song, so it works.”
onsequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
“It depends, if you have a brand that is trying to re
design themselves they want music that is going to
make them stand out. The number one people who do
that are banks, the banks don’t have peoples trust so
they’ll do a new advertising campaign and they’ll want
the music to stand out such as Lloyds TSB with the
advert on the train and the weird bespoke music and
nationwide they’ve got the piano, they do it so they
catch you.”
“Whereas if you’re advertising something fun and
exciting you’re going to want to go for something black
keys or white stripes kind of music because it’s really
cool and edgy rather than your bespoke you want
something that’s like yeah it’s rock it’s fun it’s cool
rather than something that’s like oh i remember that
song because it’s the annoying nationwide song. But
loads of people when they need something like car
insurance they’ll think of the go compare song, so it
works.”
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EndTerm
State
“It depends, if you have a brand that is trying to re design themselves they want music that is going
to make them stand out. The number one people who do that are banks, the banks don’t have
peoples trust so they’ll do a new advertising campaign and they’ll want the music to stand out such
as Lloyds TSB with the advert on the train and the weird bespoke music and nationwide they’ve got
the piano, they do it so they catch you.”
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Commonalities in Question Nine
Responses found that psychological consequences and abstract attributes are highly
influential within this question topic; social standing, reputation and social behaviour arereferenced.
Responses found that end term states are influential within this question topic, re design
and standards were referenced.
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David Bass
Question
10. How much does the price paid for a similar synchronisation effect the price a client
willing to pay for a piece of music, do they use past fees or market standards as a
precedent?
David Bass Key points of answer:
Yeah i would say if Muller paid x amount for their advert last year they would expect to pay the
same amount this year. So I think clients do use fees for precedents and so do we, when we’re
talking to publishers and labels we’ll say, well look last year you quoted us this for this so how could
you be quoting us this for this? So we use it to our advantage, not when it’s not to our advantage, so
that’s all part of the negotiating process. So a lot of the time when you’ll get really good deals from
publishers and labels they’ll say look this is on a non precedent basis, so that you can’t use that next
time. But ultimately every track is negotiable and these days because sync is so important and such
an important revenue stream you’ll find any publisher will be willing to talk on fees.
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EndTerm
State
Yeah I would say there is, so if Muller paid x amount for their advert last year they would expect to
pay the same amount this year. So i think clients do use fees for precedents and so do we, when
we’re talking to publishers and labels we’ll say, well lo ok last year you quoted us this for this so how
could you be quoting us this for this? So we use it to our advantage, not when it’s not to our
advantage, so that’s all part of the negotiating process. So a lot of the time when you’ll get really
good deals from publishers and labels they’ll say look this is on a non precedent basis, so that you
can’t use that next time. But ultimately every track is negotiable and these days because sync is so
important and such an important revenue stream you’ll find any pu blisher will be willing to talk on
fees.
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Ben Bleet
Question
10 How much does the price paid for a similar synchronisation effect the price a client willing to
pay for a piece of music, do they use past fees or market standards as a precedent?
Ben Bleet Key points of answer
It depends on the paradigm, a general thing for Saatchi and Saatchi was that every year they would
reduce their music budget and be asking if they could get this for this. The budget will be set by the
creative and the agency will argue it but the publisher will always say so and so got this for that and
they paid this much, that’s always the conversation really. So it’s a stereotypical brand versus record
company conversation.
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Result 29
Ben Bleet – Grouped Answer from Question Ten
Means-endcha
inmodel
Attributes
Concrete
Attributes
Abstract
Attributes
“It depends on the paradigm, a general thing for Saatchi and Saatchi was
that every year they would reduce their music budget and be asking if they
could get this for this. The budget will be set by the creative and the
agency will argue it but the publisher will always say so and so got this for
that and they paid this much, that’s always the conversation really. So it’s
a stereotypical brand versus record company conversation. “
Consequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
“It depends on the paradigm, a general thing for
Saatchi and Saatchi was that every year they would
reduce their music budget and be asking if they could
get this for this. The budget will be set by the creative
and the agency will argue it but the publisher will
always say so and so got this for that and they paid this
much, that’s always the conversation really. So it’s a
stereotypical brand versus record company
conversation. “
EndTerm
State
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Lawrence McKay
Question
10. How much does the price paid for a similar synchronisation effect the price a client willing to
pay for a piece of music, do they use past fees or market standards as a precedent?
Lawrence McKay Key points of answer:
It depends on how much money the brand has, if you get some completely unknown brand saying I
want your music but I want it for a year all media and a thirty second clip but we only have ten
thousand pounds, whereas you could get a company like McDonalds who come in and say we want
all of that then we’re not going to clear it for that because we’re going to say it will be say forty
grand for you because you have that much, it all depends on the company behind it. Quite often
you’ll get a brief that will say it’s for a client who doesn’t wish to be named or they just say it’s a fast
food client or a supermarket client. But that can range anywhere from co-op to Asda or it can be the
local kebab shop or McDonalds. They have every right to do that because why should they have to
pay four times the amount someone else would but at the same time why shouldn’t you exploit
someone else when they’re trying to exploit you at the same time.
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Result 30
Lawrence McKay – Grouped Answer from Question
Ten
Means-endc
hainmodel
Attributes
Concrete
Attributes
Abstract
Attributes
It depends on how much money the brand has, if you get some completely
unknown brand saying I want your music but I want it for a year all media
and a thirty second clip but we only have ten thousand pounds, whereas
you could get a company like McDonalds who come in and say we want all
of that then we’re not going to clear it for that because we’re going to say
it will be say forty grand for you because you have that much, it all
depends on the company behind it.
Consequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
EndTerm
State
“why should they have to pay four times the amount someone else would but at the same time why
shouldn’t you exploit someone else when they’re trying to exploit you at the same time.”
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David Bass
Question
11. What effect does a client’s budget have on the price willing to be agreed for the use of a
piece of music?
David Bass Key points of answer:
Sometimes a client will say we’ve got twenty grand, you find a track and it’s James Brown and you
know it’s going to cost eighty grand. There’s nothing you can do about the price because the
publisher knows it’s a massive track and they’re not going to let it go for less and the client loves it
so much they suddenly find an extra sixty grand in the budget, it happens all the time. If it works so
well on the creative the client would rather spend the money and have the best advert they can
have rather than make do and just find a cheaper track. But it depends because some clients will just
go for the cheaper track.
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Result 31
David Bass – Grouped Answer from Question Eleven
Means-endcha
inmodel
ttributes
Concrete
Attributes
Abstract
Attributes Sometimes a client will say we’ve got twenty grand, you find a track and
it’s James Brown and you know it’s going to cost eighty grand. There’s
nothing you can do about the price because the publisher knows it’s a
massive track and they’re not going to let it go for less and the client loves
it so much they suddenly find an extra sixty grand in the budget, it
happens all the time
Consequences
Functional
Consequences
If it works so well on the creative the client would rather spend the money
and have the best advert they can have rather than make do and just find
a cheaper track. But it depends because some clients will just go for the
cheaper track.
Psychological
Consequences
Social
and
Psychological
Sometimes a client will say we’ve got twenty grand,
you find a track and it’s James Brown and you know it’s
going to cost eighty grand. There’s nothing you can do
about the price because the publisher knows it’s a
massive track and they’re not going to let it go for less
and the client loves it so much they suddenly find an
extra sixty grand in the budget, it happens all the time
ndTerm
State
If it works so well on the creative the client would rather spend the money and have the best advert
they can have rather than make do and just find a cheaper track. But it depends because some
clients will just go for the cheaper track.
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Ben Bleet
Question
11 What effect does a client’s budget have on the price willing to be agreed for the use of a
piece of music?
Ben Bleet Key points of answer
It really depends on what they want to do with that artist, if they want that artist then they’ll put a
lot more money into the campaign, into the budget. I think generally 5-10% is a fair amount of the
music budget for the campaign but that can vary massively. There are so many people still that
don’t think about the music until it’s too late, a while ago a big brand spent a huge amount of money
on a huge live event, the DJ’s were getting paid a lot of money and they filmed it and wanted to use
a track and they didn’t have a budget for it. I had to call up the guy and try and get it for five
hundred quid and the guy told me to stick in where the sun don’t shine and rightly so. They asked
well how much did they pay for that, how much did they get paid for that and you can’t really argue
with that. So a lot of people have the psychology that eventually they’ll find something that is
affordable or that they can get for nothing.
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Lawrence McKay
Question
11 What effect does a client’s budget have on the price willing to be agreed for the use of a
piece of music?
Lawrence McKay Key points of answer:
It depends who you’re working with, if you send that brief to someone like universal and say you
want someone big then they’re not going to pitch it to you because if you send a pitch to universal,
universal are going to send you back all the new signings and none of the good stuff. If you want a
catalogue or relatively known artist who are of a workable standard of music then obviously it’s
going to work better and if you’re going to offer ten grand then quite a lot of people will take that
ten grand because it’s ten grand.
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Result 33
Lawrence McKay – Grouped Answer from Question
Eleven
Means-endc
hainmodel
Attributes
Concrete
Attributes
Abstract
Attributes
“It depends who you’re working with, if you send that brief to someone
like universal and say you want someone big then they’re not going to
pitch it to you because if you send a pitch to universal, universal are going
to send you back all the new signings and none of the good stuff. If you
want a catalogue or relatively known artist who are of a workable
standard of music then obviously it’s going to work better and if you’re
going to offer ten grand then quite a lot of people will take that ten grand
because it’s ten grand.”
onsequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
“It depends who you’re working with, if you send thatbrief to someone like universal and say you want
someone big then they’re not going to pitch it to you
because if you send a pitch to universal, universal are
going to send you back all the new signings and none
of the good stuff. If you want a catalogue or relatively
known artist who are of a workable standard of music
then obviously it’s going to work better and if you’re
going to offer ten grand then quite a lot of people will
take that ten grand because it’s ten grand.”
EndTerm
State
“It depends who you’re working with, if you send that brief to someone like universal and say you
want someone big then they’re not going to pitch it to you because if you send a pitch to universal,universal are going to send you back all the new signings and none of the good stuff. If you want a
catalogue or relatively known artist who are of a workable standard of music then obviously it’s
going to work better and if you’re going to offer ten grand then quite a lot of people will take that
ten grand because it’s ten grand.”
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Commonalities in question eleven
Responses found that abstract attributes, psychological consequences and end-term states
are highly influential within this question topic, reputation, targets and social standings are
commonly referenced.
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Result 34
David Bass – Grouped Answer from Question Twelve
Means-endchainmodel
Attributes
Concrete
Attributes
Abstract
Attributes “But i think sometimes the coolness of a label can work against them, for
example XL who are very cool and hard, they’re less easy to work with
because they’ve got great tracks and they don’t need the money and
whatever else, it can almost put you off wanting to license from them.”
onsequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological “But I think sometimes the coolness of a label can
work against them, for example XL who are very cool
and hard, they’re less easy to work with because
they’ve got great tracks and they don’t need the
money and whatever else, it can almost put you off
wanting to license from them.”
ndTerm
State
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Ben Bleet
Question
12 Does the prestige or reputation of the record company or publisher of the artist have an
effect on what music is chosen by a client and the price they would pay and why?
Ben Bleet Key points of answer
I think most of the time no, most of the time it’s about the artist. If it’s for a campaign, i mean Moshi
Moshi is a good one because they have a lot of new talent. When I created some content for
Guinness i basically worked for a guy called James who done a cover song and him being on Moshi
Moshi was a really good way to sell it to the client because we could say, this artist is signed to
Moshi Moshi the label that discovered bloc party, hot chip, dance machine and that was brilliant. So
there are times when using certain labels is to your benefit and i only went there when we got sent
back four times on the creative direction. As soon as you put that on the table the reputation helps.When you deal with pr and social media companies the reputation of a label can play a part.
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Result 35
Ben Bleet – Grouped Answer from Question Twelve
Means-endchainmodel
ttributes
Concrete
Attributes
Abstract
Attributes
“I think most of the time no, most of the time it’s about the artist. If it’s for
a campaign, I mean Moshi Moshi is a good one because they have a lot of
new talent. When I created some content for Guinness i basically worked
for a guy called James who done a cover song and him being on Moshi
Moshi was a really good way to sell it to the client because we could say,
this artist is signed to Moshi Moshi the label that discovered bloc party,
hot chip, dance machine and that was brilliant. So there are times when
using certain labels is to your benefit and i only went there when we gotsent back four times on the creative direction. As soon as you put that on
the table the reputation helps. When you deal with pr and social media
companies the reputation of a label can play a part.”
Consequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
“I think most of the time no, most of the time it’s
about the artist. If it’s for a campaign, I mean Moshi
Moshi is a good one because they have a lot of new
talent. When I created some content for Guinness i
basically worked for a guy called James who done a
cover song and him being on Moshi Moshi was a really
good way to sell it to the client because we could say,
this artist is signed to Moshi Moshi the label that
discovered bloc party, hot chip, dance machine and
that was brilliant. So there are times when using
certain labels is to your benefit and i only went there
when we got sent back four times on the creative
direction. As soon as you put that on the table the
reputation helps. When you deal with pr and socialmedia companies the reputation of a label can play a
part.”
EndTerm
State
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Lawrence McKay
Question
12. Does the prestige or reputation of the record company or publisher of the artist have an
effect on what music is chosen by a client and the price they would pay and why?
Lawrence McKay Key points of answer:
The most is artist, because we may have an artist that sounds exactly like black keys but if they can
actually get the black keys then everyone is going to say its black keys, it’s brilliant. Not so much for
the record label or the publisher, you don’t see it as prestige when you say oh they’re signed to BMG
they say fuck, it’s more of a ball ache having to go to a major rather than an indie, because majors
are just massive dickheads really and they make life so much harder. They have massive overheads
so they expect a huge income and their terms and contracts are so hard to work with rather than
saying yep done, where is our modestly priced cheque.
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Result 36
Lawrence McKay – Grouped Answer from Question
Twelve
Means-endchainmodel
Attributes
Concrete
Attributes
Abstract
Attributes
“The most is artist, because we may have an artist that sounds exactly like
black keys but if they can actually get the black keys then everyone is
going to say its black keys, it’s brilliant. Not so much for the record label or
the publisher, you don’t see it as prestige when you say oh they’re signed
to BMG they say fuck, it’s more of a ball ache having to go to a major
rather than an indie, because majors are just massive dickheads really and
they make life so much harder. They have massive overheads so they
expect a huge income and their terms and contracts are so hard to work
with rather than saying yep done, where is our modestly priced cheque. “
onsequences
Functional
Consequences
Psychological
Consequences
Social
and
Psychological
The most is artist, because we may have an artist that
sounds exactly like black keys but if they can actually
get the black keys then everyone is going to say its
black keys, it’s brilliant. Not so much for the record
label or the publisher, you don’t see it as prestige
when you say oh they’re signed to BMG they say fuck,
it’s more of a ball ache having to go to a major rather
than an indie, because majors are just massive
dickheads really and they make life so much harder.
They have massive overheads so they expect a huge
income and their terms and contracts are so hard to
work with rather than saying yep done, where is our
modestly priced cheque.
EndTerm
State
“The most is artist, because we may have an artist that sounds exactly like black keys but if they can
actually get the black keys then everyone is going to say its black keys, it’s brilliant. Not so much for
the record label or the publisher, you don’t see it as prestige when you say oh they’re signed to
BMG they say fuck, it’s more of a ball ache having to go to a major rather than an indie, because
majors are just massive dickheads really and they make life so much harder. They have massive
overheads so they expect a huge income and their terms and contracts are so hard to work with
rather than saying yep done, where is our modestly priced cheque.”
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Commonalities in question twelve
Responses found that abstract attributes and psychological consequences are highly
influential within this question topic, reputation was commonly referenced.
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Overall Commonalities of all questions
Responses heavily reference abstract attributes from all elites within 92% of questions, with 64 % of
those responses commonly mentioning themes of artist status, characteristics and reputation.
Responses again heavily reference psychological consequences from all elites within 58% of
questions and are again referenced by two elites in a further 33% of questions with 64% of those
responses commonly mentioning artist status, characteristics and reputation. End-term state
references are referred to by all elites within 50% of questions and referenced to by two elites in
17% of questions. Responses also commonly referenced functional consequences from two elites
within 33% of questions
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Discussion
Introduction
The results of this study have given rise to several conclusive interpretations into the
prominent factors which contribute to the formulation of perceived value within
music synchronisation. As depicted within the literature review, perceived value,
meaning transfer and match up hypothesis studies can be interpreted within the
means-end chain model to link commonalities in the literature. By obtaining results
within the context of the means-end chain model sections it is now possible to
decipher and interpret the findings in comparison to the underlying themes and
constructs within the literature to conclude the significance and wider implications of
this study.
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Abstrac t Attr ibu tes (when refe rred to res ults see abstract at tr ibute
section)
The most crucial findings of this study stem from the importance of non –economic,
abstract attributes within the construction of perceived value in music
synchronisation licenses for brand advertisements. As the abstract attributes
sections of the grouped results show (See Results), there is a phenomenal emphasis
on artist status, artist characteristics and artist reputation within the determination
of perceived value in music synchronisation licenses for brand advertisements. As
these factors are ‘intangible, subjective characteristics of a product’ (Peter and
Olson, 1993 cited in Jantrania, 2002, p.84) with the product being the music chosen
for the synchronisation, they can be defined as abstract attributes and prove likewise
to the studies of Li and Green (2011), Kotler (1972) and others (See Zeithaml, 1988;
Monroe, 1990; Dodds et al., 1991; Gale, 1994; Nessim and Dodge, 1995;Christopher, 1996; Woodruff and Gardial, 1996; Woodruff, 1997; Grewal et al .,
1998; Naumann and Jackson, 1999; Snoj in Zavrsnik and Male, 1999; Skater and
Narver, 2000) that non-economic factors play a significant role in the determination
of perceived value within music synchronisation licenses for brand advertisements.
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The grouped abstract attributes results show the most influential non-economic
factors within the perceived value of music synchronisation are artist status, artist
characteristics and artist reputation (See Overall Commonalities of all questions in
results). These results draw importance upon measurements and meaning transfer
within the construction of perceived value in the context of music synchronisation
licenses for brand advertisements. The elite’s references to cool brands being
matched with cool artists (See Result 1) higher priced synchronisations being popular
music (See Results 2 and 31) and popular brands going for popular music (See Result
3) conveys likewise to McCracken’s (2005) study that meaning subsists within the
cultural, physical and social world which is constituted by the principles of the
prevailing culture and when the advertiser decides what they want the product to
say, they survey the culturally constituted world for the objects, persons and
contexts that already contain these elements to allow for the transfer of value from
the celebrity to the product (See Appendices I).
As the results indicate artists characteristics, specifically their behaviour, can have an
impact on the perceived value of the music synchronisation license for a brand
advertisement. The elite’s emphasised the importance of artist behaviour in the
context of YouTube (See Result 4) and in the context of Pete Doherty and clothing
brands (See Result 5), interestingly they referenced Pete Doherty’s behaviour to be
rock and roll and cool (See Result 5) which likewise to McCracken’s (2005) Study
demonstrates ‘rock stars invent and reinvent the possibilities of the adolescent self’
(McCracken, 2005, p.111). These results indicate that Likewise to Seno and Lukas’
(2007) literature on the celebrity activation role, brands single out celebrities’
activities and achievements including ‘socially desirable behavioural conduct, life-
changing events, or changes in fortune’ (Seno and Lukas, 2007, p.128) to
communicate the brands association and enhance their image.
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Degree of fit (when referred to results see abstract attributes section)
These findings are further emphasised by the elite’s reference to not putting a
known alcoholic forward for a drinks brand (See Result 1), not using Gary Glitter for a
Children’s brand (See Result 2) and O2 licensing an artist due to their popularity with
their target audience (See Result 22), which likewise to the match up hypothesis
literature, specifically of Choi et al (2005) indicates that a synchronisation is moreeffective and therefore higher in perceived value ‘when the images or
characteristics of the celebrity are well matched with the endorsed product.’ (Choi,
Wei-Na and Hee-Jung, 2005, p.86)
This hypothesis is again emphasised by the O2 and foster the people reference (See
result 22) which similarly to Schiffman and Kanuk’s (2003) study indicates ‘It is
possible to alter attitudes toward products, services and brands by pointing out
their relationships to particular social groups.’(Schiffman and Kanuk, 2003, p.273)
Pointing out the relationship allows, as McCracken’s (2005) hypothesis
demonstrates, the value to transfer from the artist to the product. These results
therefore indicate that the greater the artist’s status, characteristics and cultural
reputation in context to the degree of fit to the brand and their campaign, the higher
the perceived value of the synchronisation license.
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Conclusively these results indicate that as the popular music with the cultural
reputation has the greatest value, the perceived value of music synchronisation
licenses for brand advertisements is subject to Parasuraman and Grewal’s (2000)
acquisition value; the benefits received for the monetary price given. These results
indicate that in the context of music synchronisation licenses, these benefits are
direct derivatives of the cultural reputation instilled upon the artist which can be
transferred to the product. Therefore likewise to Sheth et al (1991) and Sweeney
and Soutar’s (2001) hypothesis’s the perceived value of music synchronisation
licenses for brand advertisements has a fundamental reliance upon social factors and
subsequently likewise to Kantamneni and Coulson’s (1996) studies depict, is subject
to societal value. As these benefits have to be sought for and understood, the results
indicate that likewise to Berry and Yadav’s (1996) research the perceived value of a
music synchronisation license is subject to search and experience attributes.
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Psychological Consequences (When referred to results see Psychological
Consequence section)
Likewise to the study of Peter & Olson (1993) the results of this study indicate that
‘the meaning of an attribute is given by the consequences Consumers perceive that
it leads to’ (Peter and Olson, 1993 cited in Jantrania, 2002, p.84).The elite’s
substantial emphasis on artist status characteristics, and reputation within the
psychological consequence section of the grouped results (See Overall
Commonalities of all questions in results) portrays the interconnection between the
attributes desired by brands and the subsequent consequences they wish to
achieve. As the results indicate that brands perceive the value of a music
synchronisation license for advertisements to be the extent at which they can
transfer the highest amount of relevant cultural reputation and value endowed upon
an artist to their product, in order to reach and engage their target market more
effectively.
As the elite’s reference to borrowing equity from an artist to give the brand more
credibility (See Result 10), partnership promotion (See Result 11) and brands
showing they can afford more established artists (See Result 12) demonstrate, the
societal value and social factors are valued by brands due to their ability to
consequently enhance their image and reputation within those social groups, which
portrays that brands most valued consequences are psychological consequences;
those social and psychological consequences associated with certain attributes. This
is a key finding as it indicates that likewise to Bhattacharya and Singh’s (2008) study
‘The attribute level elements too are linked to the consequence level in that they
should be aligned to them’ (Bhattacharya and Singh, 2008, p.68) and subsequently
allow brands to, as Lee and Lin (2011) note, attract attention.
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This hypothesis is further indicated by the elite’s reference to music engaging with an
audience and changing people’s feelings (See Result 16), music representing
products (See Result 18), brands wanting bands to be seen as their band (See result
18) and O2 selecting an artist popular with a target market they wish to engage with
(See Result 22). These results indicate that the perceived value of a music
synchronisation license for brand advertisements stems from the aforementioned
ability of transferring cultural meaning and societal value from the artist into the
product to change or enhance targeted societal groups feelings, views and opinions
on their product. Likewise to Seno and Lukas’s (2007) study, a brands perceived
value of an artist’s track for a synchronisation license can be succinct to their ability
‘to affect the brand equity of the endorsed product through augmenting the
product’s brand image’ (Seno and Lukas, 2007, p124)
The importance of obtaining this psychological consequence of enhancing the brands
image within targeted social groups is a point once again emphasised by the elites in
their reference towards bigger cooler brands spending more money on bigger artists
with more cultural reputation to be seen as cool and living up to their reputation
(See Result 25), the effect of ill matched synchronisations in the context of
Budweiser and Jedward (See Result 25) and the ability to use music to re design a
brands image (See Result 27) in the results. These results once again indicate that
brands perceive the value of a music synchronisation license for advertisements to
be the extent at which they can transfer the highest amount of relevant cultural
reputation and value endowed upon an artist to their product, in order to reach and
engage their target market more effectively.
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Functional Consequences (when referred to results see Functional
Consequences section)
The results of this study indicate that the perceived value of a music synchronisation
license for brand advertisements is subject to functional consequences
interconnected with the desired psychological consequences. As aforementioned the
perceived value of a music synchronisation license relies upon the ability of an
artist’s relevant cultural reputation to be transferred to the brand in order to
persuade the targeted social group to adopt the brand as part of their own attitudes,
preferences and behaviours. However the results of this study also indicate that the
ability to reach the maximum amount of the targeted social group also has an
overbearing impact on the perceived value of a music synchronisation license for
brand advertisements. As the elites references to the curvilinear effect between the
amount of people reach and the price paid for the synchronisation license (See
Results 10, 11, 14 and 15) indicates the media format, territories and length of
contract can impact on the perceived value of the synchronisation license.
Furthering from this, the elites reference to the successful fit between a brand and
an artist leading to the raising of awareness and promotion of sales (See Results 9
and 10) indicates that the strategic partnership between a brand and an artist
leading to mutual beneficiaries outside of the synchronisation license can impact on
the perceived value of the synchronisation license. This is emphasised by the elite’s
reference to Apple not paying for music synchronisation licenses (See Result 10) and
gives rise to the conception that a brands cultural reputation can also be transferred
back to the artist, with the functional consequences of promoting sales for the artist
impacting on the perceived value of the synchronisation license.
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This is an important indication as likewise to Parasuraman and Grewal’s (2000)
study, these results announce that a brands perceived value of a synchronisation
license is subject to in use value, as it can be reliant upon the functional
consequences of using the product, which Peter and Olson (1993) describe arises
from the successful choice of attributes. These consequences have an impact on the
perceived value of the music synchronisation license as likewise to Hendriksen’s
(1970) belief portrays ‘Expected earning power is considered a key source of value
for both tangibles and intangibles’ (Hendriksen, 1970 cited in Jantrania, 2002, p.18)
Additionally the elite’s reference to the importance of music in completing an
affective advertisement (See Results 1, 16 and 17) indicates that the perceived value
of a synchronisation license is partially manifested from its ability to complete a
brands advertisement and therefore is subject to Moliner’s (2007) functional
dimension of perceived value as it is a subsequence of ‘the economic utility derived
from the attributes of the products and services.’ (Moliner, 2007, p.1397) But as the
elite’s reference to the clients wants for the advert indicates (See Result 31) the
effect of the perceived value being lowered or raised is dependent on the desired
end-term states of the brand.
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End-Term State (When referred to results see end-term states section)
As Reynolds and Gutman (1984) emphasised, consumers have an intuition to choose
a product which could give rise to a desired consequence to achieve valued ends.
Likewise to this, the results of this study show a brands perceived value of a music
synchronisation license is established through a ‘structure that links product
attributes to the Consequences produced by these attributes, and, in turn, links
these consequences with the values or end goals to which they lead’ (Gutman,
1982 and Olson and Reynolds, 1983 cited in Jantrania, 2002, p.30). Therefore, much
like woodruff’s (1997) hypothesis conveyed, the perceived value of a music
synchronisation license in the context of brand advertisements is a brands ‘perceived
preference for and evaluation of those product attributes, attribute performances,
and consequences arising from use that facilitate (or block) achieving the
customer’s goals and purposes in use situations.’ (Woodruff, 1997 cited in
Jantrania, 2002, p.28)
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The elite’s references towards the importance of the brands budget or price willing
to be paid (See Results 19, 30, 32 and 33) on the perceived value of a
synchronisation license gives indication to the link between their desired
consequences and desired end-term states, implying that the brands perceived value
determination process is succinct with the means-end chain model. The elites
reference to spending more money on bigger tracks because they’re cooler and the
brand needs to live up to their reputation (See Result 25), spending more money on
a track that works with the creative aim (See Result 31) and correspondingly not
spending money on something the targeted social group can’t relate to (See Result
24), indicates that likewise to the hypothesis of Moliner (2007) and others (See
Dodds et al , 1991; Rapp and Collins, 1991, 1996; Grewal et al. , 1998; Cronin et al. ,
1997, 2000; Bigné et al. , 2001; Oh, 2003) perceived value is a construct configured
of two dimensions, what is given for what is sacrificed.
These results indicate that in the context of a brands conception of the perceived
value of a music synchronisation license, the higher the level and amount of succinct
cultural reputation that is able to be transferred from the artist to the brand and the
amount of the targeted social group they can reach and persuade to alter their
behaviours, views and opinions on a brand; the societal factors and affective factors
aforementioned in the psychological consequence sub section (what is given), the
higher the value of the track for the synchronisation license is perceived to be,
justifying a higher price to be paid; Moliner’s (2007) Functional factors of price
exchanged for quality.
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This indication is a key finding as it demonstrates that a brand’s desired end –state,
the extent at which they want to instil a desired amount of cultural reputation or
alter perceptions on their brand by transferring the reputation from the artist and
persuading the target social group that is succinct with their brand, in order to alter
their behaviours, views and opinions as aforementioned is interconnected and
partially curvilinear with the price paid. These results indicate that likewise to
Agarwal and Teas’s (2001) and others (See Leavitt 1967; Hisrich, Dornoff, and
Kernan 1972; Kelley 1958) studies which indicated consumers pay premiums for
recognised products because they stand for quality, brands pay premiums for
recognised artists within their desired target social group because of their ability to
reduce the risk of failure; not persuading the targeted social group that their brands
cultural reputation is succinct with the artists to alter their behaviour, views and
interaction with their brand.
Furthering from this the elites reference to record labels not pitching artists of higher
prestige for low budgets set by brands (See Result 33) indicates that much like the
literature on perceived value discusses, the construct of the acceptable price range
plays a role in the brands perceived value of a synchronisation license. As Dodds et
al. (1991) indicated ‘as price increases beyond the acceptable range, the
perceptions of value (will) decline (and) thus, the relationship between price and
perceived value should also be curvilinear.’ (Dodds et al , 1991, p.308.)
It is evident to see that the aforementioned results which indicate the curvilinear
affect of what is given for what is received on perceived value convey aspects of the
acceptable price range. As they insinuate that the greater the perceived benefits
received from the synchronisation license, the greater the perceived value instilled
upon it. And likewise, as Result 33 indicates, lower benefits will incur lower
perceived value.
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As the literature suggests, any instances of the price being greater than the benefits
of the synchronisation license received would diminish the perceived value of the
license. This was highlighted in the results (See Results 28 and 30), which indicated
likewise to the hypothesis of Olander (1970) the judgement upon this is based on
recent market prices as ‘a buyer’s price judgement is influenced by his perception
of prevailing market prices and his perception of the price most frequently
charged.’(Olander, 1970 cited in Monroe, 1973, p.77) This hypothesis conveys that
likewise to Bolton and Lemon’s (1999) study, the perceived value within music
synchronisation licensing for brand advertisements is subject to the brands
‘evaluation of what is fair, right, or deserved for the perceived cost of the offering
(Bolton and Lemon, 1999 cited in Yang and Peterson, 2004, p.811).
The final consideration to discuss is the results indication of the impact of the
timescale of obtaining a license on the perceived value of a synchronisation license
for brand advertisements (See Result 8). This result indicates that much like Li and
Green’s (2011) and Kotler’s (1972) studies conclude consideration and time can play
a role in perceived value. Therefore it’s possible to hypothesise that timescale aims
can be influential on the perceived value of the synchronisation license to a brand,
dependant on their desired end-term states.
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Conclusively these results are of significant importance to this study, as they prove
the hypothesis that the perceived value of a music synchronisation license for a
brand advertisement can be logically determined through the means-end chain
model. By interpreting these results in light of past research on perceived value and
meaning transfer literature, it was possible to acknowledge the active components
and the extent of their effect on the construction of perceived value in the context of
a music synchronisation license for brand advertisements.
However, the results of this study raise wider implications on the relationship
between perceived value, meaning transfer and synchronisation licensing. To what
extent specific artist status bearings, characteristics and behaviours impact on the
perceived value of a synchronisation license for brand advertisements, or further,
any synchronisation license is a topic to be further studied. As the specificity of this
study in comparison to the overall synchronisation market is a limitation on how far
the conclusions of this study can be interpreted, widening the synchronisation
sections to be studied would be an improvement on this research.
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Conclusion
In conclusion this study has achieved its aim by determining that there is a logical
process behind the construction of perceived value within music synchronisation
licenses for brand advertisements. By interpreting and collating commonalities
within literature upon perceived value, the acceptable price range, meaning transfer
theory and match up hypothesis into the means-end chain model, it was possible to
form interview questions to distinguish the underlying constructs from which the
perceived value of a music synchronisation license for a brand advertisement is
formed. These questions were put to industry elites who conjointly contributed to
distinguishing the factors which could be grouped as attributes, consequences and
end term states in order to determine the process of concluding the perceived value
of a music synchronisation license for a brand advertisement.
The results obtained from this study indicate that there is a means-end chain model
framework which can be followed in order to better apprehend the perceived value
of a music synchronisation license for a brand advertisement. The hypothesis
concluded dictates that brands seek out abstract attributes of an artist; the artist’s
status, characteristics and reputation alongside the level of their connection and
expertise within the context of the degree of fit to the target social group the brand
is targeting in the first step of the framework.
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The brands do this in order to achieve specific psychological consequences; to reach
and engage their target social group more effectively, to enhance their image and
reputation within those social groups and to transfer cultural meaning and societal
value from the artist into the brand to change or enhance the targeted societal
group’s feelings, views and opinions on their product. These consequences coupled
by the desired functional consequences; to reach the maximum amount of the
targeted social group, raise awareness and promote sales, to complete the
advertisement and enhance earning power, constitute as the second step in the
framework and are desired in order to reach a desired end-state.
The third step of the framework is a direct derivative of the abstract attributes,
psychological and functional consequences desired by the brand, which the brand
selects in order to achieve a desired end-term state; to obtain desired consequences
for the price paid (maintain budget within prevailing market prices) and to complete
an advertisement within a timescale. To emphasise this framework, a demonstration
has been provided below on both the formulation of a low and high perceived value
synchronisation license for a brand advertisement.
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High perceived value for music
synchronisation License
Low perceived value for music
synchronisation License
Abstract
Attributes
Artist has high status and is a
recognised figure
Artist has desirable characteristics
brand wishes to convey
Artist has a good reputation and is
considered to have expertise and
connection with the product and target
social group
Artist is not a well recognised figure
Artist has undesirable characteristics
which the brand does not wish to convey
Artist has a bad reputation and is not
considered to have expertise or a high
connection with the product and target
social group
Degree of fit Artist has high degree of fit with brand and
advertisement
Artist has low or no degree of fit with brand and
advertisement
Psychological
Consequences
Reaches and engages target social
group more effectively
Enhances brand image and reputation
within target social group
Cultural meaning and Societal value are
successfully transferred from the artist
to the brand and change or enhance
the targeted societal group’s feelings,
views and opinions on the product
Fails to reach and engage target social
group
Damages brand image and reputation
within target social group
Unwanted cultural meaning and societal
value is transferred from the artist to the
brand and fails to enhance or change the
targeted societal group’s feelings, views
and opinions on the product
Functional
Consequences
Reaches large amount of targeted
social group
Raises awareness and promotes sales
Successfully completes the
advertisement
Enhances earning power
Reaches a low amount or none of the
targeted social group
Fails to raise awareness and promote
sales
Fails to complete the advertisements
Does not enhance earning power
End-Term
State
obtain desired consequences for the
price paid (maintain budget within
prevailing market prices) complete advertisement within desired
timescale
Do not obtain desired consequences for
the price paid (fail to maintain budget
within prevailing market prices) Fail to complete advert within desired
timescale
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151 | P a g e
Using a qualitative research method within this study enabled for the clearest and
most accurate results to be determined. By conducting elite interviews the most
relevant and informed knowledge was able to be obtained and analysed for the
purpose of the study. The semi structured format of interviews allowed for the elite’s
to add additional in depth knowledge on the subject matter which a fully structured
interview may have restricted. Furthermore the use of open coding, axial coding and
quantitative descriptive statistics allowed for the results to be grouped and
interpreted and subsequently analysed and concluded in the most effective manner.
This study brings to life further implications to be researched, specifically To what
extent specific artist status bearings, characteristics and behaviours impact on the
perceived value of a synchronisation license for brand advertisements, or further,
any synchronisation license is a topic to be further studied. The results of this study
and the further research recommended would have an impact on the real world
situations of synchronisation licensing; allowing for both the licensor and licensee to
better conceive the value of a synchronisation license and make detailed informed
decisions on the choice of music to directly impact the success of their project.
The next step in this research would be to further examine the extent of the factors
specifics on the perceived value of a synchronisation license in both brand
advertising and the other stems of music synchronisation licensing; this would lead
to a broader understanding of the perceived value of music synchronisation licenses.
This research is of specific importance to brands, record companies, publishers and
music supervisors within creative agencies, as the results are specific indications on
the basis of their trade. Therefore these results will be made available to these
companies and industry professionals to further enhance the knowledge upon the
perceived value of music synchronisation licenses for brand advertisements.
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152 | P a g e
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Appendices
A
(Zeithaml, 1988, p.6)
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B
(Snoj and Mumel, 2004, p.158)
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C
‘Another multi-dimensional scale for the measurement of perceived value of a product was
presented by Sweeney, Soutar and Johnson (1998). Utilizing exploratory factor analysis of 29 items
generated from a literature review, the factors of quality, emotional response, price and social
emerged as dimensions of perceived value of a product.’
(Petrick, 2002, p.129)
‘Further, the product/services reputation has been identified as an influence on consumer's
perceived quality, and perceived value (Dodds et al., 1991; Zeithaml, 1988). Thus it could be argued
that dimensions of what a consumer receives from the purchase of a service include: the emotional
response to the service, quality received from the service, and the reputation of the service
rendered. While the dimensions related to what is given, consist of monetary and non-monetary
(behavioral) price.’
(Petrick, 2002, p.130)
‘maintaining the concept of perceived value as a comparison between "getting" and "giving", the
affective variables should also enter the equation: "emotional benefits may also affect choices
between instrumental alternatives that are functionally equivalent in other aspects" ([38] Havlena
and Holbrook, 1986, p. 394).’
(Moliner, 2007, p.1398)
‘Since perceived value is a dynamic variable that is also experienced after consumption, it is
necessary to include subjective or emotional reactions that are generated in the consumer ([38]
Havlena and Holbrook, 1986; [13] Bolton and Drew, 1991; [83] Sweeney and Soutar, 2001).’
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(Moliner, 2007, p.1399)
D
‘Behavioral price was defined as the price (non-monetary) of obtaining a service, which included the
time and effort, used to search for the service’
(Zeithaml, 1988 cited in Petrick, 2002, P.124).
‘She defines perceived value as a trade-off of "higher order abstractions," such as perceived benefits
and sacrifice, which are formed from both intrinsic and extrinsic product attributes, including
texture, quality, price, performance, service, and brand name.’
(Zeithaml, 1988 cited in Petrick, 2002, P.127).
‘Kotler and Zaltman (1971, in Murphy and Enis, 1986) say, that price of a product includes, among
the monetary costs, opportune costs, energy costs and psychical costs.’
(Snoj and Mumel, 2004, p.159)
‘Fine (1981, in Murphy and Enis, 1986) used the term social price composed of time, effort, psyche
and life style.’
(Snoj and Mumel, 2004, p.161)
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E
‘Perceived value results from an evaluation of the relative rewards and sacrifices associated with the
offering.’
(Yang and Peterson, 2004, p.811)
The first stream of research, which builds on the work of Zeithaml (1988) and which produced the
Dodds, Monroe and Grewal (1991) model, suggests that consumers use extrinsic cues (such as price,
brand name, and store name) to form perceptions of product quality (or benefits) and perceptions of
monetary sacrifice (or costs), which, in turn, lead them to form perceptions of value (Dodds et al.
1991).
(Agarwal and Teas, 2001, p.3)
The converging point in both of these research streams is that extrinsic cues play an important role;
consumers use them to infer product quality and sacrifice in one model and risks in the other.
(Agarwal and Teas, 2001, p.5)
Furthermore, consumers often pay premiums for branded products because brands are perceived to
stand for quality and reduce the risk of failure. Likewise, higher store name image or reputation
(Leavitt 1967; Hisrich, Dornoff, and Kernan 1972; Kelley 1958)
(Agarwal and Teas, 2001, p.7)
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‘Perceptions of value are often conceptualized as involving a tradeoff between quality and sacrifice
(Hauser and Urban 1986; Zeithaml 1988; Dodds et al. 1991; Teas and Agarwal 2000), which results inquality having a positive association with value and sacrifice having a negative association with
value.’
(Agarwal and Teas, 2001, p.10)
‘consumers form assessments about product value based on risks associated with purchasing the
product, it is logical to conclude that risks mediate the relationship between quality and value and
between sacrifice and value. Specifically, performance risk is expected to mediate the relationship
between quality and value whereas financial risk is expected to mediate the relationship between
sacrifice and value.’
(Agarwal and Teas, 2001, p.10)
One framework suggests that consumers infer value based on their evaluation of product quality and
monetary sacrifice, which, in turn, is influenced by extrinsic quality and sacrifice cues (Zeithaml 1988;
Dodds et al. 1991; Teas and Agarwal 2000)
(Agarwal and Teas, 2001, p.11)
‘Thus, the findings suggest that consumers' perceptions of product value are neither a simple
tradeoff between quality and monetary sacrifice nor merely an outcome of an assessment of risks. It
is based on a combined assessment of all three factors-that is quality, sacrifice, and risks. Consumers,
when exposed to extrinsic product cues, do not just make judgments about product quality and
sacrifice, they also make judgments about uncertainties that may pose potential long-term losses.’
(Agarwal and Teas, 2001, p.11)
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F
‘Several studies have investigated the effects on consumer price perceptions of three types
of advertised reference prices: plausible low, plausible high, and implausible high. Plausible
low prices are well within the range of acceptable market prices; plausible high are near the
outer limits of the range but not beyond the realm of believability, and implausible high are
well above the consumer’s perceived range of acceptable market prices.’
(Schiffman and Kanuk, 2003, p.187)
G
‘Every human sensory process has an upper and lower limit of responsiveness to a stimulus –
absolute thresholds that mark the transition between response and no response. Within the stimulus
set in which responsiveness occurs the differential threshold is the minimum amount of change in a
stimulus necessary to produce “just noticeable difference” or JND.’
(Monroe, 1973, p.74)
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‘When a (price) range exceeded the latitude of acceptance (range of acceptable prices), higher values
were assimilated into acceptable categories; but at the same time, a contrast effect occurred, as
revealed in the tendency to lump together highly discrepant values into a broad objectionable
category. . . . As a result of the interaction between internal anchor and stimulus range, subjectsdiscriminated most keenly among the acceptable values when they were not faced with numerous
objectionable items.’
(Monroe, 1973, p.74)
H
‘A given product may be high quality, but if the consumer does not have enough money to buy it (or
does not want to spend the amount required), its value will not be perceived as being high as that of
a product with lower quality but a more affordable price. In other words, when get a – give a > get b
– give b but the shopper has a budget constraint, then give a > budget constraints > give b and hence
b is chosen. The same logic may apply to products that need more preparation time than the
consumer’s time constraint allows. ‘
(Zeithaml, 1988, p.11)
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I
(McCracken, 2005, p.104)
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J
When consumers evaluate the expertise and trustworthiness of a celebrity, they reflect on the
validity of the assertions made by the celebrity (expertise) and their confidence in the celebrity’s
intent to represent the most valid assertions (trustworthiness) (e.g. Hovland et al., 1953). The more
favourable a consumer’s perception of these credibility ingredients is, the more the celebrity
endorser is seen to be a credible source of product information and a credible representation for a
brand (e.g. Ohanian, 1990).
(Seno and Lukas, 2007, p125)
An example of a celebrity whose credibility works in favour of a brand’s image is actor John Travolta,
who endorses the Australian airline, Qantas. Travolta has a passion for airlines and holds a
commercial pilot license. He also owns a Boeing 707. Given these attributes, Travolta is considered to
be a credible aviation expert.
Therefore, Qantas values Travolta as a celebrity endorser for their brand (Gotting, 2002). From the
above discussion, the following can be proposed:
Celebrity credibility is related positively to brand image; on the basis that brand image is related
positively to brand equity, celebrity credibility has an indirect and positive effect on brand equity
(Seno and Lukas, 2007, p126)
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K
Extending this reasoning, it is plausible that if the relevant characteristics of the celebrity endorser
match the relevant attributes of the endorsed product, then the meanings conveyed by the
characteristics of the endorser and the attributes of the product should combine more effectively to
contribute to a desired brand image (see Kamins, 1990; McCracken, 1989).
(Seno and Lukas, 2007, p127)
L
(Punch, 2009, p.16)
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M
David Bass –
Music Manager
Platinum Rye Entertainment
Privately Held; 11-50 employees; Entertainment industry
April 2010 – Present (2 years 1 month)
Look after all things music for clients. From music sourcing / bespoke / license and negotiations / music exploitation /
band/DJ/Event bookings....
Music Manager
TBWA
Public Company; 10,001+ employees; OMC; Marketing and Advertising industry
October 2006 – April 2010 (3 years 7 months)
STREAM\TBWA
source and license/negotiate music (commercial, bespoke, library) for all TBWA/London/Manchester/Europe campaigns.We also have an office within DDB London, and retained by various agencies including MAL (Apple) and Cawley-Nea
(Ireland).
specialise in brand content through music - so giving a campaign more fame through music (branded single release with
record label, downloads, showcase, e-cards etc).
work for other agencies and brands direct.
Stream has 3 other disciplines - events / TV / film - which also specialise in branded content through these platforms.
music manager
TBWA
2006 – 2008 (2 years)
Licensing Exec
Demon Music Group
2004 – 2005 (1 year)
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Ben Bleet
Ben is an experienced music specialist, he founded Howling Monkey in 2007 to create high
engagement through the creation and curation of music and music culture.
Ben has over 15 years experience in the music industry including launching iCrunch.com
Europe’s first legal download site, Slice PR and EMI Music, Virgin and Parlophone Recor ds
during which time he worked with UK’s influencer/tastemaker network helping launch and
establish acts including Jamie T, LCD Soundsystem, Robbie Williams, Kylie, Hot Chip and
Gorillaz, then at EMI Records as A&R Manager.
Between 2007 and 2009 Howling Monkey were retained by Saatchi & Saatchi as In-House
Music Consultants. During this time Ben worked on projects for clients including Toyota,
Sony Ericsson, Guinness, Visa, NSPCC, T- Mobile, Head & Shoulders and Olay.
Most notably T-Mobile’s ‘Dance’ project which won numerous awards including BTAA Best
Television Commercial of the Year, 6 Lions at Cannes including Best Use Of Music and
Music Week Sync Of The Year 2010.
Between 2009 - 2011 Howling Monkey have provided music and content strategy, insight,
music supervision and rights management for clients including Range Rover, Real Madrid,
Smirnoff, Hyundai, Jeremiah Weed, Jack Wills, Action Aid, NSPCC, Louis Vitton, Kate
Spade and Marks and Spencer.
Specialties
music supervision, rights management, music & content strategy , project management, music
marketing, content creation
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Lawrence McKay
Lawrence works within Music synchronisation for television at A&G sync as well as heading
the position of synchronisation co-ordinator, delegating new pitches to relevant employees.He has worked extensively with artists, building relationships between companies and the
artists they work with whilst working with them to create a final product, be it commercial or
promotional.
Music for TV
A&G Songs
January 2012 – Present (4 months)
Liaising with TV production companies, producers & music supervisors to exploit A&G Songs
catalogue for music to be placed on TV, with music used on programmes such as Top Gear, Sky
Sports, Hollyoaks, Emmerdale & Holby City.
Sync Coordinator
A&GSync
Public Company; 1-10 employees; Music industry
July 2011 – Present (10 months) London
The Coordination of all materials & documentation for A&G and partners, as well the processing of
new signings & any relevant material for the creative teams in London, LA & NY Partners Office's.
Working closely with artists, managers & labels in relation to contracts, new signings, placements &
maintaining a healthy relationship.
Specialties
Artist Relations. Team Coordination. A&R, Project Management. Brand Development.
Digital & Physical Music Distribution. Artist Development. Online Media. Detailed PPL
Experience. Blanket License Agreements. Company Relations.
N
Questions formulated and grouped from themes arising from literature
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Mean
s-endchainmo
del
Attributes
Concrete
Attributes
1. When considering which music is best suited to the project,
what aspects do you consider and how do they alter the value of
what a client might pay?
Abstract
Attributes
1. When considering which music is best suited to the project,
what aspects do you consider and how do they alter the value of
what a client might pay?
2. How much of a role does the characteristics, image and persona
of an artist specifically what they represent pay a part in the
consideration of what music is suitable for the project?
3. How much of a role does the lyrical content and message
portrayed in a song pay a part in the choice of music for the
project?
4. How much of a role does the success and the social reputation of
an artist play on the price paid and choice for the use of the
music?
7. How varied are the fees paid between a prestige act and a lesser
known artist?
8. If a client wants to reach a specific market or portray a message
do they use the choice of music to achieve this and does it affect
the price they’re willing to pay?
9. How much of a role does the cool factor; what’s considered cool
play on the choice of music and what is paid for the music do
they want to be unique, individualised, prestigious?
10. How much does the price paid for a similar synchronisation
effect the price a client willing to pay for a piece of music, do
they use past fees or market standards as a precedent?
12. Does the prestige or reputation of the record company or
publisher of the artist have an effect on what music is chosen by a
client and the price they would pay and why?
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Consequences
Functional
Consequences
4 When considering which music is best suited to the project,
what aspects do you consider and how do they alter the
value of what a client might pay?
5 How much of a role do different options, types of use and
lengths in the contract for the use of a piece of music play a
role on the price range paid for a piece of music?
7. How varied are the fees paid between a prestige act and a
lesser known artist?
8. If a client wants to reach a specific market or portray a
message do they use the choice of music to achieve this
and does it affect the price they’re willing to pay?
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Psychological
Consequences
Social
And
Psychological
1. When considering which music is best suited
to the project, what aspects do you consider
and how do they alter the value of what a
client might pay?
2. How much of a role does the characteristics,
image and persona of an artist specifically
what they represent pay a part in the
consideration of what music is suitable for
the project?
4 How much of a role does the success and the
social reputation of an artist play on the
price paid and choice for the use of the
music?
7. How varied are the fees paid between a
prestige act and a lesser known artist?
6. If a client wants to reach a specific market or
portray a message do they use the choice of
music to achieve this and does it affect the
price they’re willing to pay?
9. How much of a role does the cool
factor; what’s considered cool play on
the choice of music and what is paid for
the music do they want to be unique,
individualised, prestigious?
10. How much does the price paid for a
similar synchronisation effect the price
a client willing to pay for a piece of
music, do they use past fees or market
standards as a precedent?
12. Does the prestige or reputation of
the record company or publisher of the
artist have an effect on what music is
chosen by a client and the price theywould pay and why?
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EndTerm
State
1. When considering which music is best suited to the project, what aspects do you consider
and how do they alter the value of what a client might pay?
7. How much of a role do different options, types of use and lengths in the contract for
the use of a piece of music play a role on the price range paid for a piece of music?
8. How important is the choice of music to a client in order to complete what they want
their project to convey and achieve?
9. How much of a role does the cool factor; what’s considered cool play on the choice
of music and what is paid for the music do they want to be unique, individualised,
prestigious?
11. What effect does a client’s budget have on the price willing to be agreed for the use
of a piece of music?
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O
Interview Transcripts
Question:
1. When considering which music is best suited to the project, what aspects do you consider
and how do they alter the value of what a client might pay?
David Bass answer:
We don’t choose it’s down to the client, they’ll provide us with recommendations and we’ll present
the tracks from our educated recommendation. Sometimes they know what track they want, we’ll
get a creative brief which outlines their considerations such as a lyrical theme or a reference from
other tracks, genre, style wise; they might just want a folk piece with yellow in the lyrics, this limits
your job if it’s that specific. We consider the brand, if the artist is suited to the brand. For example
you wouldn’t put forward a track from a known alcoholic for a beer brand, because it will bite them
in the bum. If it’s a cool brand, like a 02 brand, you might go for up and coming, cool just signed or
unsigned artist. First you have to talk to the creative’s and discuss if they care and is it important if they’ve got an up and coming band or is it just there for background music, some music is just there
to serve a purpose. Sometimes they might be far more up front, they’ll want to break a band, we
want this to become the o2 song they’ll want people to hear the music and think this is the o2 song,
depends on the creative brief and the brand and what the client wants to achieve, sometimes brands
want to release tracks as singles of the back of ad’s other times they’ll just want to license the
cheapest piece of music and forget about it. It depends on what everyone’s goals are, as a general
rule we always try to push cool new music and big back catalogue tracks.
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Ben Bleet answer:
I think the key one is the status of the artist, it could be someone like lady gaga and the higher priced
stuff is the popular music. That is when a budget comes up, the stereotypical model is that a client
will ask for a well known track because that’s what they know and then we say you haven’t got it
within your budget and then you work within the styles which are in that sort of place but are much
more affordable.
Lawrence McKay answer:
It will depend on number one the client and number two on the brief, what they ask for depends on
what you give. You’re not so much working to their brief, but more to what the want of the client
might be. If it is a big popular brand they’re more likely to go for popular music in the charts, where
as if it’s a smaller brand they’re going to go for something quirky and different, if that’s the creative
aim of the actual project.
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Question
2. How much of a role does the characteristics, image and persona of an artist specifically what
they represent pay a part in the consideration of what music is suitable for the project?
David Bass answer:
It’s a big part, for example I’ve been working for a fast food brand brief and they wanted a hip hop
artist, but one of the criteria’s was that no one could have a criminal record. And also we have to
think about that there was one artist we put forward that done a demo which we then found a
YouTube video of him talking about really disgusting things, and they were glad that they didn’t
select that artist because it would of really looked bad on them. There is a responsibility on us to do a
bit of background research and not put forward people who are alcoholics for beer brands and so on
and so forth. But at the same time it is also the responsibility of the agency and the client to do that
as well, we can’t really do background checks on every artist, for one pitch we might put forward
eighty tracks and we can’t be expected to do a background check on everyone. But however if we
know that a particular singer is an alcoholic we will let it be known to the client, to tell them well this
guy is a drug addict or whatever. So yeah I think it does, if you think about if your pitching something
to do with kids, pitching for Mothercare, you’re not going to put forward Gary Glitter. You need a bitof common sense I think.
Ben Bleet answer:
It depends on what the project, if it’s online content for a drinks brand a lot of people want to just
put something up to flagship what they’ve done and no one really watches it, so if it’s something like
that the artist’s characteristics will have no impact at all. If it’s a vodka brand they’ll want some coolclub music and they won’t care where it comes from. But if it’s obviously a Beyonce track and they
spent a fortune on a global campaign then the artists profile and their characteristics are very
important, so it really depends on that. Fred Perry does a really good job of spotting new talent and
associating them with their clothes and that’s obviously really important to them. Interestingly on
the other side of that at the moment there’s a clothing company that’s released a Pete Doherty
range and you think okay so the man that may or may not of pushed someone out of a balcony and
doing smack but at the end of the day I think some people just see that as rock and roll and cool. So it
really depends.
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Lawrence McKay answer:
It completely depends on the brand, say if you’re doing a beer brand they’re going to be looking for
something that’s different and fun and cool. But another brand who is trying to go for a comical
advert will go for something that is quite out of the blue. A brand we worked with went for
something from the forties instead of something that’s hip and now because of the comical aspect
with the visuals, where as fosters will go and use something comical. But makeup adverts will often
go for something like composed pieces.
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Question
3. How much of a role does the lyrical content and message portrayed in a song pay a part in
the choice of music for the project?
David Bass answer:
Okay, that completely depends on the brief, if it’s a brief to find an instrumental track then it doesn’t
play any part, if it’s a brief to find a vocal track quite often will ask the creative’s which lyrics, what do
you want the song to be talking about, is there any particular lyrical themes or words that you want
and will do a search based on that. Likewise if we are just doing a generic search we’ll just think if the
ads about driving around town, we’ll think of lyrical things that we can do a search around that
would work for that, for example bright lights big city. Again it’s just common sense and what we’ve
been asked to do.
Ben Bleet answer:
Specifically for TV adverts, they might want something with lyrics that portrays unity and happiness.We might get a pitch that they want back tomorrow and they’ve got to think of something around a
word the key search comes in handy and it must of been used a few times and sometimes they’ll just
search key words inside iTunes and just find a track, so lyrical content if it’s derogatory to minority
groups then it’s obviously not going to be suggested. Again traditionally you don’t want anything
with swear words or anything like that because it’s not going to be used.
Lawrence McKay answer:
Generally, it is a massive amount depending on what they are trying to portray, going back to the
lynx advert the whole worlds falling to pieces because people can’t stop being attracted to each
other and the music called something psychological and all the lyrics are about the attraction
between men and women and how she loves a new boy she’s met and the lyrics fit the visuals
absolutely perfectly. Whereas generally something like a Twinings adverts where she’s rowing across
the ocean to the calling wherever you may go it doesn’t make sense to the story of the product.
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Question
4. How much of a role does the success and the social reputation of an artist play on the price
paid and choice for the use of the music?
David Bass answer:
I think this touches on two things, you’ve got borrowed equity, so you’ve got times where a brand
might spend shit loads of money on licensing a Beyonce track, but then having Beyonce on that
brands advert gives the brand more credibility and almost borrowing the equity from Beyonce and
passing it over. At the same time for us we don’t ever feel like a label is doing us a favour for lettingus use their track on our advert. The labels might affect their prices for an advert, so for example, an
apple advert, everyone wants to be on an apple advert, it’s cool, it’s massive, apple doesn’t pay for
music. So in that case any band or artist would be stupid to turn down an apple advert, purely
because of the reach it has and how many people hear it and think the tracks cool and you sell shit
loads of singles on iTunes. But at the same time we’ve had situations were VW have said well you
should give us a price drop because we’re putting your song on our advert and it’s going to be seen
by millions of people, that won’t work, because at the end of the day right owners and artists don’t
give a shit about the advert, they care about the money. Some care about the creative but ultimately
it’s about the money. So, I think it depends but generally no, the publisher will set a price but there’s
always negotiation you know in between that. But at the same time if it was a Beyonce track, theprice would go up because it is a Beyonce track. So it goes hand in hand with the pricing anyway. Any
huge artist like lady gaga it will be millions; it will be loads of money because they’re huge right now.
An unknown artist or unsigned artist is going to be a hell of a lot cheaper, but ultimately it’s down to
how the publisher values that piece of music. So if I’m only offering ten grand for it, they’ll probably
think well if we done the deal it probably won’t get used for the next two years so we’re going to
hold out for a bigger deal if they know it’s a great track. The weird thing with licensing is there are no
rules and there is no set way things happen, back in the day when i worked for a label brands used to
come to me and ask how much for this and you’d just pluck a number out of the air that you think
you can get away with and brands would pay it because they don’t understand the value of music,
which is why they need people like us to sit here and say why are you paying that much, this band is
nothing and their last album flopped, they really need a bit of a hand.
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Ben Bleet answer:
Definitely, i think it’s linked to the first question. I think the interesting thing which a lot of people
still don’t get their heads round is that you talk about the artist needs promotion, say you went to abigger artist who is just about to release their second album you could do a deal with them you could
say we’ll pay you x amount for this but then you’re going to get this many eyeballs on you as well so
it’s kind of a strategic partnership. So I think definitely it works on both sided, it’s what the record
companies and publishers want for that artist and it’s also what the brand wants. And the other thing
is as well that say for example a high profile artist a client might say well hang on the market rates
are this but in the clients head they don’t know this artist and they think it will be a lot cheaper.
Lawrence McKay answer:
It plays a phenomenal role, you may go and work with one brand that will go and give you a twelve
month term with all media and they’ll pay you thirty grand all in. Whereas if you go and pick
someone like the Foo fighters or the black keys you’re looking at adding a zero to that figure just
because of the social standing, it’s an elitist thing, they’ll say well if you want our record breaking
music to portray your visuals and your product you better be willing to pay through the teeth for it.
It’s more exploitation than social standing, it’s like saying our brand can afford to use the Foo fighterswhere as you can only afford someone no one has ever heard of.
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Question
5. How much of a role do different options, types of use and lengths in the contract for the use
of a piece of music play a role on the price range paid for a piece of music?
David Bass answer:
That’s completely decided by the client. So I’ll say we want this for a year we want this for six
months, we want an option to extend for a further six months or we don’t. So the terms are pretty
much what the client wants, so every contract is different and every time we get a pitch, what do you
want to clear, do you want it for a year, do you want it for U.K., do you want it for TV, do you want it just for online and anything else. So it completely depends, but we’ll always try and get options in
because retrospectively licensing is very expensive. It absolutely depends on territories because the
U.K. has however million people and then worldwide is obviously a much bigger territory. So
obviously the world is going to be more expensive and the cheapest is going to be like Malta, so it
does go up in a scale, depending on which territories. Really the more territories, the more media
and the longer you want to license something for the more expensive it becomes.
Ben Bleet answer:
I think, what I always advise people to do is to put in options to extend the contract. I think that
people expect that the more countries there are included the more expensive it would be.
Lawrence McKay answer:
Well if you go for a twelve month all in all media you’re looking at a lot, but if you say you want it for
four months and it’s only ever going to be shown when we’re at shows advertising our product it will
be less. It’s more about the audience you’re reaching, i f you’re reaching five million with your advert
or your piece of music then the price is going to be higher, whereas if you’re doing it to a small
audience the price is going to be very low. If you go for a sixty month deal all in you’re looking at the
high end of six figures, maybe even seven figures. But generally it all depends on options, the same
as record deals.
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Question
6. How important is the choice of music to a client in order to complete what they want their
project to convey and achieve?
David Bass answer:
I’ll tell you something interesting, they say that music is half of the advert; it’s fifty percent of the
advert. I think it is incredibly important, music is something that shapes the tone of an ad, engages
with the audience, it can engage with a new audience, it can change people’s feelings, I think music is
incredibly important.
Ben Bleet answer
It depends on what they are trying to achieve, there is a number that i’ve heard people apply before
and they say that music is eighty percent of the ad. Because it conveys so many more emotions than
pictures and lyrics can, it’s always tremendously important to people what the music is. It depends
on who the client is, some others are far more mechanical about how they go about their business,
and other people see the bigger picture. There are brands that will just come in to put music on an
advert and then there are brands that come in and are deemed venture brands so it depends, I’ve
dealt with many companies that take both approaches. We always try to get behind the artist and
tell them to do stuff with social media. Like when an artist had a big track through a Hyundai advert
we were trying to push her to do stuff on social media bearing in mind her page was very untouched.
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Lawrence McKay answer:
It completely depends on how shallow the client is and if they’re just going to throw money at it. I
worked on an advert before when they asked for something really different that represented theirproduct and we found the perfect piece and it was within their thirty thousand pound budget and
then that was the initial brief but in the end they ended up going for a completely different
mainstream pop music and ended up paying one hundred and twenty grand, so that was completely
different from the whole we really want something that relates to our product on a national level
because we’re really proud of it and then they just went for American commercial music. But if a
brand wants an artist, which we see a lot with alcohol companies, to be seen as their band, which
Smirnoff do quite a lot with DJ’s, it’s more like an endorsement kind of thing.
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Question
7. How varied are the fees paid between a prestige act and a lesser known artist?
David Bass answer:
It can be anything, most of the time it’s what the client has in the budget. If the client only has five
grand in the budget it doesn’t matter if you think it’s worth it. If you can’t get it for five grand then
you’ll go and find something that you can clear for five grand.
Ben Bleet answer
It depends what people are willing to pay, offer and accept really. You never know so there is
definitely disparity but again someone who hasn’t had a lot of luck on radio one compared to
someone who has, it depends on whether they are on the same level, it really depends.
Lawrence McKay answer:
I think they can be very elitist, it just depends because if you pick the perfect piece of music and it’s
from a band that you’ve just signed and no one knows who they are and a big brand comes out and
Sais this is our budget we want something that will blow our minds what have you got? And you
come back with some little band and it suits them perfectly then they’ll go brilliant and give you the
money.
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Question
8. If a client wants to reach a specific market or portray a message do they use the choice of
music to achieve this and does it affect the price they’re willing to pay?
David Bass answer:
Yeah, for example O2 licensed foster the people last year for their priority moments ad in the UK,
that was because they wanted to tap into the cool kind of east London kids. And they knew that
those kids were into foster the people at that time and they would engage with that and probably
use o2 priority moments.
Ben Bleet answer
They can do, it’s interesting because a lot of brands still haven’t gone to the trouble of being
knowledgeable. But i hope it does happen because it’s a big opportunity having hyper local targeting
music. So looking up the up and coming bands in Cardiff and reading and in Liverpool and then
potentially working with them on some kind of level. Some people do look at styles, interestinglyeveryone is obsessed with the youth market because they are tomorrow’s customers but a lot of the
time they ignore the older market. A part from the holiday market it’s not about being cool but they
still love music so it might be classical, it really depends on what they are trying to achieve. I’d
always don’t choose one style of music choose four because everyone’s got such a wide range of
taste because in the old days you used to be into rock or hip hop or you might be a punk and you just
liked those niche things because that was your identity. But then now your identity is more about
music you like rather being in one tribe, sometimes you will see these brands using more radio two
or radio three artists if they can but it depends on how strategic they are about it.
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Lawrence McKay answer:
Yeah it’s very much like a demographic study, if you’re aiming a new toy at 13-15 year olds; you’re
going to use what is hip right now to 13-15 year olds. You’re not going to use bands like the blackkeys and the Foo fighters because they won’t be in to that as much as something like the Jonas
brothers, it’s choosing your market and spending correctly. There is no point in spending a hundred
thousand pounds for something unknown to those minors; you’re going to be using something like
Taylor Swift.
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Question
9. How much of a role does the cool factor; what’s considered cool play on the choice of music
and what is paid for the music do they want to be unique, individualised, prestigious?
David Bass answer:
Some brands have the cool factor and some brands don’t. Pedigree will never use cool music where
as brands like o2, Budweiser and carling you can tell that invest a lot more in music. Most of the
smaller brands for example Pantene, surf and Cif, most of the music they use is composed and pretty
generic. It’s the bigger brands and the cooler brands that are spending the bigger money on the t-
rex’s and the Elvis Presley tracks and whatever else. They want to be seen as cool, they’ve got
something to live up to. As soon as Budweiser put like Jedward on their ad everyone’s going to be
like Budweiser is shit.
Ben Bleet answer:
I’d put it into the status thing, Carl Barat got used by orbit and wells fashion brand and modelled
their range and he would never of got that if he wasn’t part of the libertines, he was like the clean
option. Sometimes if you are from the right label and that it will help you and at the end of the day if
people see you in the right light and you’re in the right places they’ll want to use you.
Lawrence McKay answer:
It depends, if you have a brand that is trying to re design themselves they want music that is going to
make them stand out. The number one people who do that are banks, the banks don’t have peoples
trust so they’ll do a new advertising campaign and they’ll want the music to stand out such as Lloyds
TSB with the advert on the train and the weird bespoke music and nationwide they’ve got the piano,
they do it so they catch you. Whereas if you’re advertising something fun and exciting you’re going to
want to go for something black keys or white stripes kind of music because it’s really cool and edgy
rather than your bespoke you want something that’s like yeah it’s rock it’s fun it’s cool rather than
something that’s like oh i remember that song because it’s the annoying nationwide song. But loads
of people when they need something like car insurance they’ll think of the go compare song, so itworks.
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Question
10. How much does the price paid for a similar synchronisation effect the price a client willing to
pay for a piece of music, do they use past fees or market standards as a precedent?
David Bass answer:
Yeah i would say there is, so if Muller paid x amount for their advert last year they would expect to
pay the same amount this year. So i think clients do use fees for precedents and so do we, when
we’re talking to publishers and labels we’ll say, well look last year you quoted us this for this so how
could you be quoting us this for this? So we use it to our advantage, not when it’s not to our
advantage, so that’s all part of the negotiating process. So a lot of the time when you’ll get really
good deals from publishers and labels they’ll say look this is on a non precedent basis, so that you
can’t use that next time. But ultimately every track is negotiable and these days because sync is soimportant and such an important revenue stream you’ll find any publisher will be willing to talk on
fees.
Ben Bleet answer
It depends on the paradigm, a general thing for Saatchi and Saatchi was that every year they would
reduce their music budget and be asking if they could get this for this. The budget will be set by the
creative and the agency will argue it but the publisher will always say so and so got this for that and
they paid this much, that’s always the conversation really. So it’s a stereotypical brand versus record
company conversation.
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Question
11. What effect does a client’s budget have on the price willing to be agreed for the use of a
piece of music?
David Bass answer:
Sometimes a client will say we’ve got twenty grand, you find a track and it’s James Brown and you
know it’s going to cost eighty grand. There’s nothing you can do about the price because the
publisher knows it’s a massive track and they’re not going to let it go for less and the client loves it so
much they suddenly find an extra sixty grand in the budget, it happens all the time. If it works so well
on the creative the client would rather spend the money and have the best advert they can have
rather than make do and just find a cheaper track. But it depends because some clients will just go
for the cheaper track.
Ben Bleet answer
It really depends on what they want to do with that artist, if they want that artist then they’ll put a
lot more money into the campaign, into the budget. I think generally 5-10% is a fair amount of the
music budget for the campaign but that can vary massively. There are so many people still that don’t
think about the music until it’s too late, a while ago a big brand spent a huge amount of money on a
huge live event, the djs were getting paid a lot of money and they filmed it and wanted to use a
track and they didn’t have a budget for it. I had to call up the guy and try and get it for five hundred
quid and the guy told me to stick in where the sun don’t shine and rightly so. They asked well how
much did they pay for that, how much did they get paid for that and you can’t really argue with that.
So a lot of people have the psychology that eventually they’ll find something that is affordable or
that they can get for nothing.
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Lawrence McKay answer:
It depends who you’re working with, if you send that brief to someone like universal and say you
want someone big then they’re not going to pitch it to you because if you send a pitch to universal,
universal are going to send you back all the new signings and none of the good stuff. If you want a
catalogue or relatively known artist who are of a workable standard of music then obviously it’s
going to work better and if you’re going to offer ten grand then quite a lot of people will take that
ten grand because it’s ten grand.
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Question
12. Does the prestige or reputation of the record company or publisher of the artist have an
effect on what music is chosen by a client and the price they would pay and why?
David Bass answer:
No, with music supervisors it does because we’re all muso’s and into it, but i don’t think clients care
really. But i think sometimes the coolness of a label can work against them, for example XL who are
very cool and hard, they’re less easy to work with because they’ve got great tracks and they don’t
need the money and whatever else, it can almost put you off wanting to license from them.
Ben Bleet answer
I think most of the time no, most of the time it’s about the artist. If it’s for a campaign, I mean Moshi
Moshi is a good one because they have a lot of new talent. When I created some content for
Guinness i basically worked for a guy called James who done a cover song and him being on Moshi
Moshi was a really good way to sell it to the client because we could say, this artist is signed to Moshi
Moshi the label that discovered bloc party, hot chip, dance machine and that was brilliant. So there
are times when using certain labels is to your benefit and I only went there when we got sent back
four times on the creative direction. As soon as you put that on the table the reputation helps. When
you deal with pr and social media companies the reputation of a label can play a part.
Lawrence McKay answer:
The most is artist, because we may have an artist that sounds exactly like black keys but if they can
actually get the black keys then everyone is going to say its black keys, it’s brilliant. Not so much for
the record label or the publisher, you don’t see it as prestige when you say oh they’re signed to BMG
they say fuck, it’s more of a ball ache having to go to a major rather than an indie, because majors
are just massive dickheads really and they make life so much harder. They have massive overheads
so they expect a huge income and their terms and contracts are so hard to work with rather than
saying yep done, where is our modestly priced cheque.
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Means-
endchainmodel
Attributes
Concrete
Attributes
Abstract
Attributes
C
onsequences
Functional
Consequences
Psychological
Consequences
Social
Psychological
EndTerm
State
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