Personal Development Portfolio - Reflective Summary

Skills and Research

Throughout the duration of my honours project I have researched into a number of different fields in order to gain the required knowledge and skills to successfully plan and execute my honours project.

As the subject of my project is Sonic Branding, there were a lot of areas that demanded attention. The first of these areas was naturally the use of sound and music in marketing.

There are many different marketing strategies used within this area. One of the most popular methods I researched features the effects of music being targeted at the point of sale in many shopping environments such as shopping centers, restaurants and supermarkets. The music played in these environments is often designed to create a specific mood or atmosphere for the consumer. This specially created ambiance is done so in an attempt to evoke and encourage the consumer purchase intent. Attributes of the music can also contribute towards evoking a sense of comfort within the consumer, which can lead to them staying longer in the store thus creating new opportunities for them to discover a product they wish to purchase. As a result of this research I became acutely aware of this sonic branding strategy in retail environments.

I discovered a significant element involved in the process of creating sonic branding in the form of touch-points. These touch-points are the points of communication between the brand and the consumer. Understanding the power and danger of these touch-points is essential to the success of a brands sonic identity. The main original touch-points available were T.V, radio, materials such as posters and personal interaction. With the emergence of new technologies the amount of available touch-points has increased bringing with them new possibilities for brands to communicate with their consumers. These new touch-points can also present problems for brands. As new technology is evolving and expanding at a fast pace, many brands are struggling to control all aspects of their perception. This is because the new channels are not controlled by the brand nor are the messages they deliver.

Potentially the most important area of music marketing I encountered was the sonic logo. I analysed the success of sonic logos designed by various other brands and drew inspiration for the creation of my own for the IRN-BRU brand. Two of the most inspirational sonic logos I encountered were those of McDonalds and Coca-Cola. Coca-Cola was particularly beneficial as it too was part of the non-alcoholic soft drink industry.

I continued my research by examining aspects of general branding such as brand image, identity and corporate identity. An understanding of branding in general was beneficial when creating a sonic identity to accompany the foundations of branding.

I began to develop a critical framework for the effective creation of sonic branding. I did this by using an exploratory research method to draw inspiration from areas of success with regards to the use of sound and music in media. I determined success factors and refined these factors to contribute towards the specific demands of my project. These areas of success included music in film, advertising and other sonic branding projects. I also examined the use of theoretical factors such as music score, music theory and instrumentation.

One of the most important developments I made was applying the use of semiotics in a sonic capacity. By using semiotic theories, I designed the sonic logo for IRN-BRU to connotatively reflect the history and image of the brand.

I demonstrated practice based research and ability to design a sonic identity in accordance with my critical framework.

Sources

I used various different sources to conduct my research into sonic branding. These sources include…

‘An Introduction to Sonic Branding’ by Jackson. D

‘The Music Instinct’ by Ball. P

‘Music, thought and feeling: Understanding the psychology of music’ by Thomson. W.F

‘Music in Advertising: Commercial Sounds in Media Communication and Other Settings’ by The Aalborg University Press

Why brands are like people by Parr. S

Understanding Jingles and Needledrop: A Rhetorical Approach to Music in 
Advertising by Scott. L. M

Music and Advertising. International Journal of Advertising by Dunbar. D. S

Purchase Occasion Influence on the Role of Music in Advertising by Alpert. M. I

Personal Critical Reflection

Reflecting on my development, it is apparent that my progress has been a consistent, slightly turbulent but overall positive process.

Despite finding my area of interest early on, refining this aim was not a one step task. It’s not until after receiving feedback on my research proposal that I managed to finalise my project aim. Even at this point I had not refined the particular aspects of the project.

It was quite late on that I began applying my work to the IRN-BRU brand as I realised the application of sonic branding to a fictitious soft drink had no basis for testing. All of these elements provide evidence to suggest that more preparation would have been beneficial in avoiding such turbulence during a time I should have been focusing on the project.

Time keeping has always been a weakness of mine. This weakness thrived during the first semester and hindered my progress. This is due to the indecisiveness regarding a project aim, which again points towards better preparation being the most important lesson learned here.

For the ‘brand identity’ section of my dissertation, I had hoped to include an interview with Martin Steele, who is the senior brand manager for Barr’s. I tried to contact Mr Steele several times over the phone with not success of getting in touch with him. I eventually acquired his email address and I wrote to him asking for a ten-minute interview. He replied and agreed to meet with me. He asked me for a list of times when I was available. I provided him with these details and he did not respond. I sent a follow up email asking if he was still able to meet with me. Again, there was no response.

I feel that I did everything I could to achieve my goal of interviewing someone directly involved with the brand identity of IRN-BRU. Aside from turning up at his office uninvited, there was nothing more I could do.

Coca-Cola Sonic Logo

While looking for inspiration in creating the sonic 

branding for IRN-BRU, it seemed appropriate to turn to other brands within the non-alcoholic soft drinks industry. So that's what I did. And who better to turn to than the king of soft drink brands...Coca-Cola..!!

Coca-Cola began their ‘Open Happiness’ campaign in 2009. The campaign featured a 5-note sonic logo. This sonic logo featured at the end of many different advertisements. However Coca-Cola also included the logo as the base melody for various songs used to sponsor a variety of major world events. The logo was incorporated into the song ‘Wave the Flag’ by K’naan to promote the 2010 world cup. In the lead up to the 2012 London Olympics, the logo was used as the base melody in the brands promotional song ‘Anywhere in the World.’ Coca-Cola teamed up with Mark Ronson and Katy B to produce the song. Ronson travelled to 5 different continents to record the actual sounds of sports performed by 5 Olympians to use within the song. From this project it became clear that Coca-Cola is very creative when it comes to utilizing sound for its branding purposes. In less ‘world stage’ circumstances, the logo has also been incorporated into songs performed by Train and Jason Derulo.

Inspiration can be drawn from Coca-Cola’s design and implementation of their sonic logo. Not only can a sonic logo be used at the end of adverts on television or radio, it can also be the heart of an entire song. By taking full advantage of their sonic logo’s musical structure, Coca-Cola has essentially created a catalogue of hit songs that literally orbit their brands values.

Coca-Cola have provided me with the inspiration to include a sonic logo as the basis melody for an original score to use in an advert

McDonalds Sonic Logo

I have been inspired by many things throughout my honours project. One of these things is the sonic branding of McDonalds. To be more specific their sonic logo, which in my opinion is just as iconic as their world famous arches logo. According to www.brandirectory.com, McDonalds is ranked at number 18 on the list of most popular globals brands.

The brand launched their current sonic logo in 2003. Within six months the advert awareness stood at 86% in general and 89% among young adults. (Communicate Magazine 2010) Since then the brand has modified the sonic logo to a 5-note whistle. The sound of someone whistling has connotations that reflect the values of the brand. Whistling is associated with a relaxed, comfortable and stress-free attitude. It’s not something someone does when they’re feeling anxious or worried. This reflects the reputation of McDonalds restaurants as somewhere people can go to relax and have a meal with friends and family. There is no need to dress or act a certain way. All customers have to do is come in and relax. The words of the logo, which currently do not feature in the sonic logo but are still very much familiar to consumers states “I’m lovin’ it.” This is also reflective of how the brand wants people to feel about their products and services. Using these words they are directly communicating with their customers and assuring them that if they visit one of the chains, they will indeed be “lovin’ it.”

IRN-BRU Sonic Branding

My project has developed into the sonic branding of Barr's IRN-BRU.

I have developed a critical framework for developing effective sonic branding for the brand.

I have designed a sonic logo that aims to reflect the history and culture of IRN-BRU as a brand.

The testing stage of my honours project provided data which determined the effectiveness of the critical framework I developed.

The experiment consisted of three visually identical and visually appropriate TV adverts. All of the adverts were filmed and edited by myself on the Isle of Skye. I acquired the help of my friend to act within the adverts. Each of the adverts ran for 30 seconds. The adverts were designed to hypothetically promote Barr’s IRN-BRU’s sponsorship of the Glasgow 2014 Commonwealth Games.

The content of the visuals features a young man performing stretches and various other actions that suggest he is preparing for a run or exercise of some kind. The voiceover reads, “Believe in your own ability. The only person standing in your way is you. If you want something…take it.” At this point the young man begins escaping from the scene of a house robbery having stolen a small television. The house owner, who eventually gives up, is chasing him. The young man escapes with the television and smiles the entire time. The advert closes with him, now safely away from the scene, sitting on a rock enjoying a can of IRN-BRU. The voice over concludes the advert by saying, “Barrs IRN-BRU sponsors the Glasgow Commonwealth Games.”

 Despite being visually identical, all of the soundtracks present in the adverts were different. One of the soundtracks was designed in accordance with the previously established critical framework. The remaining two soundtracks were created without this framework in mind. However, the remaining two soundtracks were designed with potential stereotypical acoustic triggers that may influence the results of the test. Each soundtrack also featured a different voiceover artist. The voiceover heard in the critical framework influenced soundtrack was also selected in accordance with the critical framework.

Advert A was performed in a minimalist style using an acoustic guitar for a rhythm section layered by a lead acoustic guitar score. It could be argued that the soundtrack comically contrasted the visuals. The sonic logo at the end was played by both the acoustic guitar and single piano notes. Scottish singer/TV presenter Michelle McManus (Glaswegian female age 32) performed the voiceover. This voiceover is a potential trigger for influencing the results of the test, as the voice may be recognisable to the consumer public.

Advert B was an adapted sample from a song called ‘SubDisco’ by a Celtic/Dance group called ‘NiteWorks.’ The designed sonic logo is performed using a synthesizer and repeated throughout the soundtrack. The soundtrack is a continuous build up to a climax in which the bagpipes are featured towards the end of the advert. The presence of the bagpipes is a potential acoustic trigger that may influence the test results, as the bagpipes are associated with the Scottish culture, much like IRN-BRU. I performed the voiceover (Glaswegian male aged 25) in a low and rough sounding voice, reminiscent of the voiceover present in many of IRN-BRU’s earlier adverts.

Advert C was designed in accordance with the critical framework. The piece opens with a dramatic drumroll on a bass drum, which introduces the main body of the soundtrack. The percussion of the piece features a marching style snare drum. A variety of instruments, including the piano, acoustic guitar and a brass section drive the music to a climax, which results in an increase in tempo. The music then features a drum section performed on the toms and the inclusion of synthesisers and an electric guitar. From the point of the tempo increase the sonic logo is performed on synthesised chimes and repeated until the end of the advert. Christopher Casey (Glaswegian male age 27) performed the voiceover. 

Portfolio Progress

Over the past three weeks I have been developing my portfolio of sounds that will contribute towards the sonic universe of my fictional soft drink brand.

I have designed a 5 note sonic logo that will be consistent throughout all of the brand’s sonic elements. This is important to show consistency within my brand. Consistency is one of the most important attributes a brand can have. Consumers are more likely to trust in a brand that knows who they are and isn't continuously changing its appearance and sound. As my brand is a Scottish brand I have designed the sonic logo to subtly encourage a sense of patriotism within the consumer. The score of the sonic logo is actually the last 4 notes of the famous Scottish Anthem 'Loch Lomond' made famous by Runrig in 1983. This song is often played at the end of Scottish weddings or special occasions in general. It is therefore very well known and commonly highly regarded within Scottish culture. I have added a 5th note in the role of the penultimate note to create a larger contrast between the penultimate and last notes. I feel this compliments the perfect cadence of the logo. 

I have provided three versions of this sonic logo. The first is a solo piano rendition to simply exhibit the logo in its most basic form. The score of the logo is as follows…

A – G# - F# - G# - E

I have also provided a more decorated version of the logo. This version includes the addition of a bass guitar. This, as in most cases, is to add depth to the range of frequencies within the piece. There is also the addition of some synthesized female vocals. This is effective as it adds a human element to the brand. The listener can hear this and immediately relate to this element. There is a replica of this section but two octaves higher. This adds range to the frequencies within the music but also symbolizes a group of people working together. This supports the brand’s moral framework of teamwork.

I have also provided a third rendition of the sonic logo. This rendition would be used in any advertisements aimed at children. The choice of timbre in this piece is appropriate for an target audience of children. The piece features the use of a xylophone and a vibraphone. These are not commonly used instruments in popular music. They are, however, commonly used in schools for teaching music to young children. By relying on the memories children have of playing these instruments, the piece should naturally build a small connection between the brand and the children. Almost as though they are playing the logo themselves. They may even attempt to do so next time they are in music class, thus building upon the relationship between child and brand.

I have developed a piece of music that would be appropriate as part of a television advertisement for my soft drink brand during the festive period. I have an idea for the visual aspect of the advert and I have designed the music to reflect the mood of the advert's main character.

The advert will feature a young boy around the age of 8 years old. In the heart of a family Christmas party he is determined to have a sip of one of the adult's alcoholic beverages. He tries Dad and his beer, mum and her wine, grandfather and his whiskey. Even the family dog nudges his water bowl away from the young boy. Disgruntled, the young boy sits on the stairs in a bad mood. At this point his mother appears with a can/bottle of the fictional beverage. The little boy's face lights up. As this happens, the mood of the music changes to reflect this turn of events. The little boy is now happy because he everyone has their own beverage and he now has his. The scene ends with the little boy enjoying his beverage in the heart of the family room.

The first half of the music features a descending minor scale which has connotations of sadness. The descending scale also reflects the atonal characteristics of a sad sounding voice. In complete contrast to this, when the little boy receives the beverage, the music changes to an ascending major scale. This reflects the contrast in the little boys mood and the major scale is associated with happiness. The piece ends with a slow version of the sonic logo.

The use of the piano and the guitar is appropriate in reflecting the culture of Christmas as these are instruments that are normally associated with group singing. Christmas is a time when many people come together to sing traditional songs and carols. These are the to most common instruments used in at these events. There is also a cello providing the bass. This a very fluid sounding substitute for a bass guitar. It is also an acceptable instrument at this time of year when at other times it may not be. Various instruments are socially acceptable during the festive period more so than others. The french horn is a good example of this.

For future progress, I plan to include the vocals of a choir to emphasise the idea of people coming together around Christmas time. I also plan to acquire the voice of a middle-aged, well spoken, Scottish woman to use as a voice over. This type of voice will encourage the viewer to trust in the brand as they would their own mother. It is also effective as the mother in the advert is the instigator of the change in the little boy's mood.

The third piece I have recorded is the music designed for use in an advertisement on Spanish television.  The piece is structured around the brand's 5 -note sonic logo. It is recorded at a tempo of 148 BPM. The piece is played using acoustic guitar, bass guitar and brass instruments. These instruments are commonly found with in Spanish cultural music. There is also the addition of a micro-tambourine that provides part of the percussion of the track.
The piece features a repetition of the sonic logo as the main melody of the tune. The sonic logo is played on lead acoustic guitar which contributes towards the spanish sound. An additional guitar harmonises with the 5th note of the logo on each repetition. This helps to add variety to the last notes of each repetition and prevents the piece from sounding repetitive. Also two different notes working together to make a pleasant sound symbolises two different people working together for an effective outcome.

I think these developments contribute towards a solid base for my practice based research progress. I plan to build upon these pieces in the future before including them in my final portfolio.