Słowa kluczowe
effect of “acoustic wallpaper”
musique d’ameublement
Erik Satie
Muzak
ambient music
Brian Eno
audiomarketing
acoustic engineering
Jak cytować
Liczba wyświetleń: 534
Liczba pobrań: 153
Abstrakt
Attention is one of the most important cognitive processes. Its functioning and key characteristics play a vital role in the perception of music, especially in everyday situations when music becomes an acoustical background. Thanks to selectiveness, shift and division of attention, the listener can balance between an active and a passive act of listening, however, the results of auditory perception may be difficult to determine.
Can the sender, in the process of musical communication, manage the listener’s attention in such a way as to achieve the effect of “acoustic wallpaper” understood as a perception-based effect of background music, where music, in line with the sender’s intentions, is located in the peripheral zone of the listener’s attention, within extensive attention? What function, from the perspective of the sender, is performed by “acoustic wallpaper”? Is it a target result or a mechanism leading to cer- tain reactions in an indirect way? What factors play a decisive role for the efficiency of an adopted strategy?
The main aim of this article is to answer the above questions by the analysis of two exemplary concepts of background music (musique d’ameublement by Erik Satie and Muzak) through the prism of the author’s theoretical model of “acoustic wallpaper” (Makomaska, 2021). This novel ap- proach derives from the psychologically-based reciprocal feedback model of musical response (hargreaves, et al., 2005) and socio-musicological studies on pragmatic forms of musical communication (brown, 2006). It assumes that the effectiveness of “acoustic wallpaper” being under con- trol of the sender (the composer or a professional company) is conditioned by correlations between structural characteristics of music, the listener, and historical-social context. The analysis shows that the intended functions of background music (seen from the perspective of the sender) can differ from the real ones and in the case of particular concepts can be moderated by various groups of factors. The results provoke further discussion on the application potential of the proposed model in psychologically, historically and/or marketing-oriented studies on such concepts as e.g. ambient music and contemporary audiomarketing strategies implemented in commercial environments, where music located on the periphery of the listener’s attention can become an effective tool of mani- pulation.
Bibliografia
Berlyne, D. E. (1971). Aesthetics and psychobiology. New York: Appleton-Century-Crofts.
Berlyne, D. E. (1974). The new experimental aesthetics. In D. E. berlyne (Ed.). Studies in the new experimental aesthetics: Steps toward an objective psychology of aesthetic appreciation (pp. 1–25). New York, NY: Halsted Press.
Bitner, M. J. (1992). Servicescapes: the impact of physical surroundings on customers and employees. Journal of Marketing, 56, 57–71.
Brown, S. (2006). “how does music work?” Toward a pragmatics of musical communication. In S. Brown & U. Volgsten (Eds.), Music and manipulation: On the social uses and social control of music (pp. 1–27). New York: Berghahn Books.
Chęćka-gotkowicz, A. (2010). Czy umiemy słuchać? Typologia odbiorców muzyki [Can we listen? Typology of music recipients]. Estetyka i Krytyka, 19, 25–35. http://estetykaikrytyka.pl/art/19/eik_19_3.pdf.
Chełkowska-Zacharewicz, M., & Kaleńska-Rodzaj, J. (Eds.). (2020). Psychologia muzyki [Psychology of music]. Warsaw: Wydawnictwo Naukowe PWN.
Eysenck, M. W., & Keane, M.T. (2020). Cognitive Psychology: A Student’s handbook (8th ed.). Psychology Press. https://doi.org/10.4324/9781351058513.
Hargreaves, D. J., MacDonald, R. A., & Miell, D. (Eds.) (2005). Musical communication. New York: Oxford University Press.
Hargreaves, D. J., North, A. C., & Tarrant, M. (2006). Musical preference and taste in childhood and adolescence. In g. E. McPherson (Ed.). The child as musician (pp. 135–154). Oxford: Oxford University Press.
Husch, J. J. (1984). Music of the workplace: A study of Muzak culture (Social change ideology, technology). Unpublished dissertation. University of Massachusetts, Amherst, MA. https://scholar-works.umass.edu/dissertations/AAI8418890.
Humięcka-Jakubowska, J. (2006). Scena słuchowa muzyki dwudziestowiecznej [Auditory scene of the twentieth-century music]. Poznań: Rhytmos.
Jordan-Szymańska, A. (2014). Droga do poznania muzyki. Ucho i umysł [The way to know music. Ear and mind]. Warsaw: Uniwersytet Muzyczny Fryderyka Chopina.
Juola, J. F. (2016). Theories of focal and peripheral attention. In Peripheral Interaction (pp. 39–61). Cham: Springer.
Kassabian, A. (2013). Ubiquitous listening: Affect, attention, and distributed subjectivity. Berkley/LosAngeles/London: University of California Press.
Kivy, P. (2001). New Essays on Musical Understanding. Oxford: Oxford University Press.
Kotler, Ph. (1973–4). Atmospherics as a marketing tool. Journal of Retailing, 49 (4), 48–64.
Krishna, A. (Ed.). (2010). Sensory marketing. Research on the sensuality of products. New York: Routledge.
Lanza, J. (2004). Elevator music: A surreal history of muzak, easy-listening, and other moodsong. Ann Arbor: University of Michigan Press.
Macleod, b. (1979). Facing the Muzak. Popular Music and Society, 7, 18–31.
Makomaska, S. (2017). “Acoustic wallpaper” as a tool of “scientific management”. The echoes of (neo-)Taylorism in public space design. A & P. Art Communication & Popculture, 3 (2), 63–78.
Makomaska, S. (2018). how to “furnish” the public space with (artistic) background music... Erik Satie and brian Eno. In Proceedings of the 5th International Multidisciplinary Scientific Conference on Social Sciences & Arts SGEM 2018, Vienna (Austria) 19–21 March 2018, Science & Arts, vol. 5 (487–494). Vienna: STEF92 Technology ltd.
Makomaska, S. (2019a). Erik Satie – the “progenitor” of muzak or the precursor of “pipedown” movement? On the concept of musique d’ameublement. Interdisciplinary Studies in Musicol- ogy, 19, 137–147.
Makomaska, S. (2019b). (Shared) meaning in the strategy of audiomarketing – theory and prac- tice. Journal of Interdisciplinary Music Studies, 9, 18–31. http://musicstudies.org/wp-con-tent/uploads/2020/11/JIMS-19SI-02-Makomaska.pdf.
Makomaska, S. (2020). Efekt “tapety akustycznej” – ekstrawagancja czy strategia? Musique d’ameublement i audiomarketing [The effect of “acoustic wallpaper” – extravagance or strategy? Musique d’ameublement and audiomarketing]. In M. Chełkowska-Zacharewicz & J. Kaleńska-Rodzaj (Eds.), Psychologia muzyki [Psychology of music] (pp. 133–152). Warsaw: Wydawnictwo Naukowe PWN.
Makomaska, S. (2021). Muzyka na peryferiach uwagi. Od musique d’ameublement do audiomarketingu [Music on the periphery of attention. From musique d’ameublement to audiomarket- ing]. Warsaw: Warsaw University Press.
Makomaska, S. [in press]. Music(scape) and consumer behaviour – towards the “anatomy” of approach and avoidance. The case of contemporary shopping malls.
Margulis, E. h. (2014). On repeat: How music plays the mind. Oxford: Oxford University Press.
Maruszewski, T. (2001). Psychologia poznania. Sposoby rozumienia siebie i świata [Psychology of cognition. The ways of understanding self and world]. Gdańsk: Gdańskie Wydawnictwo Psychologiczne.
McPherson, G. E. (Ed.) (2006). The child as musician. Oxford: Oxford University Press.
Miell, D. E., MacDonald, R.A.R., & Hargreaves, D. J. (Eds.). (2004). Musical Communication. Oxford: Oxford University Press.
Milhaud, D. (1949). Notes sans musique. Paris: Julliard.
Myers, R. (1948). Erik Satie. London: Dennis Dobson.
Nęcka, E., Orzechowski, J., Szymura, b., & Wichary, Sz. (2020). Psychologia poznawcza [Cognitive psychology]. Warsaw: Wydawnictwo Naukowe PWN.
North, A., & hargreaves, D. (2008). The social and applied psychology of music. Oxford: Oxford University Press.
North, A., hargreaves, D. J., & Krause, A. E. (2018). Music and consumer behavior. In S. Hallam, I. Cross & M. Thaut, (Eds.). The Oxford handbook of music psychology (pp. 789–801). Croydon: Oxford University Press.
Huron, D. (2013). A psychological approach to musical form: The habituation – fluency theory of repetition. Current Musicology, 96, 7–35.
Orledge, R. (1990). Satie the Composer. New York/ Oakleigh: Cambridge University Press.
Potter, C. (Ed.). (2013). Erik Satie: Music, Art and Literature. London: Routledge.
Potter, C. (2015). Erik Satie’s musique d’ameublement and Max Jacob’s Ruffian toujours, truand jamais. Revue de Musicologie, 101 (2), 345–366.
Potter, C. (2016). Erik Satie: A Parisian composer and his world. Woodbridge: The boydell Press. Quiñones, M. g., Kassabian, A., & Boschi, E. (Eds.). (2013). Ubiquitous Musics: The Everyday
Sounds That We Don’t Always Notice. Burlington, vT: Ashgate.
Radano, R.M. (1989). Interpreting Muzak: Speculations on Musical Experience in Everyday life. American Music, 7, 448–60.
Reber, A. S., & Reber, E. S. (2005). Słownik Psychologii [Dictionary of Psychology]. Edition in Polish. I. Kurcz & K. Skarżyńska (Eds.). Warsaw: Wydawnictwo Naukowe SCHOlAR.
Roquet, P. (2009). Ambient landscapes from brian Eno to Tetsu Inoue. Journal of Popular Music Studies, 21 (4), 364–383.
Satie, E. (2010). Musiques d’ameublement pour petit ensemble. Paris: Éditions Salabert.
Selvin, B. (1943). Programming music for industry. The Journal of the Acoustical Society of America, 15 (2), 131–132.
Słownik języka polskiego [Polish Dictionary].http://sjp.pwn.pl.
Sterne, J. (1997). Sounds like the mall of America: Programmed music and the architectonics of commercial space. Ethnomusicology, 41 (1), 22–50.
Sterne, J. (Ed.). (2012). The Sound Studies Reader. Abingdon: Routledge.
Tamm, E. (1988). Brian Eno: The Vertical Color of Sound. https://archive.org/details/brianEnohisMusicAndTheverticalColorOfSound.
Vanel, h. (2008). John Cage’s Muzak-Plus: The Fu(rni)ture of Music. Representations, 102 (1), 94–128.
Vanel, h. (2013), Triple Entendre: Furniture Music, Muzak, Muzak-Plus. Urbana: Univeristy of Illinois Press.
Volta, O. (1998). Introduction to the edition of the score Erik Satie: Musiques d’ameublement pour petit ensemble. Paris: ÉditionsSalabert.