What is Sonic Branding???

Since the start of the 20th century, advertisers have leveraged music to captivate audiences and create powerful messaging (Harvey, 2013). Despite a dearth of research into music's role in sonic branding, popular music studies have highlighted sound as an effective tool to boost commercial success (Khamis & Keogh, 2021). John Groves, an esteemed pioneer in sound branding, declared that churches represent one of humanity's first unified corporate identities. A complete merge encompasses structure and behaviour and an iconic audio logo: the peal of bells (Groves, 2009).

“Sonic branding is all things from McDonald's' "I'm lovin' it" earworm and Intel's over-enthusiastic "bing", to Apple's self-congratulatory announcement on start-up and Sony PlayStation's ethereal waiting-room-of-the-future music on its homepage.” (Lentin, 2016)

Sound branding is a multifaceted endeavour, stretching across brand management and psychology to marketing strategy and music management (Wong, 2018). Andersen, 2019 states that audio branding is a “kind of alchemy”, a combination of knowledge of consumer psychology, statistics, testing techniques, behavioural economics, design thinking, music science, and psychophysics. Experience with composition, sound design, audio production and directing creative teams is also advantageous (Andersen,

2019).

By leveraging sound elements in ads, designers actively invoke emotion or physical affinity for the brand—thus establishing an experiential link with other associated signifiers (Kurpiers 2009). According to Lennon (2022), it is "a unique and comprehensive approach to a brand's use of music, sound, and voice". At numerous customer touchpoints, it generates brand-sound personalities2 or sound identities (Khamis and Keogh, 2021). It is the systematic process of creating, executing, and controlling the sound and music that a brand utilises in its communications; it uses sound to generate meaning for businesses (Gustafsson, 2015), develop a brand identity and influence customers. This includes carefully chosen voices, music, or functional sounds (Riggins, 2007) that symbolise a brand's values or offers.

Aaker (1997) defines brand personality as the emotional and physical elements that distinguish brands and makes their commercial goods appealing. In other words, brand personality is "the collection of human traits connected with a brand" (Aaker, 1997, p. 347).

“Sound profoundly affects people, from productivity to sales, to brand value, and customer experience” (Treasure, 2021).

A company's sonic identity is just as important as its visual one (Stewart, 2019). Rajamannar (2019), the Chief marketing and communications officer of Mastercard, argues that aural identity is vital for a brand to maintain itself. This adds another level to the overall functionality and satisfaction the user receives. Using a recognisable sound in branding is a simple but effective way to get people to pay attention. Numerous musical effects are subliminal (Hammond, 2022). Arnold (2005) states that Sonic branding “implants a memory in the aural pathways of your brain that is so powerful it is virtually impossible to forget”.

.

“In simplest terms, audio branding is a process that helps establish a sonic personality and identity for a brand – an identity that can be communicated audibly through a variety of touchpoints designed to engage consumers emotionally, rationally, and behaviorally.” (Keller, 2013)

Audio branding is integral to the modern consumer experience, creating tangible connections through touchpoints such as telephone calls and application intros, advertisements, videos and more. These audio dimensions influence consumers in meaningful ways, from elevating a shopping journey with overhead music to leaving lasting impressions via commercial soundtracks. Treasure, 2015 states that brand sound is "all the deliberate sound that conveys and reinforces the traits, tones, and values most aligned with the brand promise and magnifies the desired components of the brand experience". He, Identified eight expressions of branding sound: (see picture below)

Strategy The impact of the sound design. Thus the effectiveness of the advertisement is defined by the complex mechanisms of marketing strategy, such as the fabrication of a brand identity, the imagination of a target audience identity, and assumptions about how target audiences derive meaning about the brand from the ad (Wong, 2018).

Crafting a strategy for constructing audio assets is essential to ensure the successful and effective production of those resources.

Phases of a sonic branding strategy First phase: Sonic brand visualisation “ The reason why we get a gig is that a brand wants a musical sound that makes feel you good about their product” (Jarvis, 2022) During the first phase, a firm may decide to try to expand and reinforce its brand via the creation of a musical identity. An information-rich music brief provides insight into an organisation, but it is ultimately up to creatives with a flair for interpretation to turn abstract concepts into reality (Agüero, 2020). Jarvis (2022) states that the creative process starts with “totally understanding the brief, what is the emotion, what does the message, how do we want our listener feel”, and “spend much time with the creative department of the company reflecting on these characteristics”.

Second phase: Sonic brand development

“When the brief is decided, we do several recording workshops with composers, then we present 6-7 ideas, the company might like and address any comments” (Jarvis, 2022). During the second step, the sonic branding agency interprets and analyses the brief regarding how it might be conveyed most effectively via music and sound. While it is essential to identify a brand's core values, delivering those through music and sound must be done thoughtfully. To ensure proper suitability for target audiences, understanding their tastes and needs is a key consideration in the process (Anderson, 2009). Phase three: Sonic brand implementation Upon arriving at the third and final step of sonic branding strategy implementation, end customers are exposed to assigned sound identities via chosen touchpoints. After successfully introducing a sonic logo to the public, individuals will draw differentiated impressions and connections with its sound. For optimum effect, this “mnemonic” should be accepted as initially intended: easily evoked in memory due to strong ties between itself and brand values. Afterwards, it is ready for various realisations across platforms. The three phases can take two to three months (Jarvis, 2022).

Efficacy Research concerning the sound identity and sonic branding is lacking in music marketing. This presents an opportunity to expand upon existing knowledge and develop deeper insights into this study area. With far fewer data available to analyse, how can one effectively determine the success of a sonic identity? What key factors must be taken into consideration when constructing sound identities? Sanders 2022 proposes that the power of audio logos can be assessed based on brand memory, appeal and purchase intent. To gauge this impact further, SoundOut - a prominent sonic branding company in the UK – have developed three methods to measure success: Effectiveness, Personality, and Market Penetration. “Because of the work we did with Goldsmith university, we brought science into the mix, and Brands love this because finally, they have something to test against and prove to their superiors that they made the right decisions” (Sound Out, 2022) The effects of music in real-world advertising contexts are geared towards sub- or semi-conscious processing, therefore, Sound Out sought to evaluate the power of sonic identity by implementing implicit testing; a method which bypasses conscious processing and self-monitoring such as questionnaires or evaluation surveys. These techniques do not require consumers to process music analytically and in detail. Instead, Courtier-Dutton, 2022 states: “We should attempt to measure the effects of music combining audio and visual contents without explicitly asking the participant about the music”. The primary goal of a successful sonic logo is to create an emotional connection to the brand and to stimulate constant brand identification. The first step in making this link is to ensure that the logo is easily remembered. What happens over time is that the brain links the sound to the larger personality of the brand, and the sound itself becomes a Pavlov’s trigger: “you hear the sound, and immediately all the personality of the brand is delivered to you, that is the goal” (Courtier-Dutton, 2022). Five traits are particularly effective in driving recall: 'Uncomplicated,' 'Welcoming,' 'Happy,' 'Friendly,' and 'Childlike.' There is a 70% positive association between these and recall (Sound Out, 2022). Although emotion may be considered a feeling, it is challenging to express objectively, owing to cultural and individual variances in perception. However, Marpung (pg. 108) created a list of emotions with relative musical expressions (see picture below).

Audio ID After conducting an extensive review of the available research, I have decided to refine and focus on specific elements of audio branding for further exploration (see picture below):

Audio logos: “An audio logo is a sonic mnemonic - an audible mnemonic device that can make associations and link” (Groves, pg. 65) A sonic logo or sonic mnemonic (Bull, 2009), is a brief succession of notes and sounds representing a corporation or brand. Research reveals that audio logos have the capacity to become part of a company's identity (McCusker, 1997) and may elicit brand identification, brand familiarity, and brand recall (Wazir and Wazir, 2015). A sound logo may contextualise or trigger memories, develop brand associations, and help consumers remember the brand even when they are not paying attention. Moreover, they may convey symbolic significance (Bonde and Hansen, 2013). Sonic logos have also been proven to impact customers' inclination to pay, which is influenced by the number of notes (Krishnan et al., 2012). Their tonal pitch, intensity, and speed can influence psychophysiological states such as heart rate (Mas et al., 2020). In 2005, Simmons established three key objectives for the sonic logo: to capture attention, ensure memorability, foster recognition, and introduce an identity linked with a particular brand or service (Tagg and Clarida, 2003). However, brand melodies must also adhere to specific rules. There are five main characteristics that an “Audio logo” should follow. These are stringent requirements interactive advertising must meet (Beyer and Meier, pgs 66-67). Duration: “If a mnemonic is longer than 3 seconds it works differently because we shift from hearing to listening, so if it is 3 seconds it touches our subconscious more than anything else, when is more than 6 seconds people start to interact with it, they see more content, becomes more music then a mnemonic” (Walter Werzowa, 2018)

Sound logos are generally between 2 and 6 seconds in length (Bonde and Hansen, 2013), even though certain sonic logos for entertainment companies are much longer (see figure below).

Distinction: Any sound design created for brand reasons should be simple and instantly recognised. Playing a cheerful sonic logo increased consumer attitudes toward the advertising and the brand (Sound Out, 2022). With limited combinations of note and instrumentation available, breaking new sonic ground is becoming increasingly challenging. According to Davide (2022), the only way

we can construct something innovative in music is by experimenting with innovative sound design and a distinctive melodic array. This inventive approach to music production strays from the standard construction of piano or guitar. Microphone techniques can capture unconventional audio sources to bring new sounds alive (Davide, 2022). In his research Max (2019) noticed that listeners see a decreasing or steady pitch as the most appropriate; participants saw slow audio logos as calmer and more pleasant, but quick or stimulating sonic logos were not perceived as more energetic or dynamic. Four-note sonic logos are the most frequent (Sound Out, 2022). Fit: Ideally, a sound logo as part of a sound identity will reflect the brand’s values and interpret its attributes into sound. It is essential not to contradict any brand values or attributes' suitability. “ The melody is important, but the sound is even more powerful to the ownability and recognisability of that brand” (Walter Werzowa, 2018). Numerous studies have demonstrated that fitting music can positively impact commercial, product, and brand evaluation, as well as purchase intentions and recall of spot details (e.g., Galan, 2009). The definitions of musical fit range from the correspondence between pop song lyrics and commercial audio-visual elements (MacInnis & Park, 1991) to the affective-associative correspondence between instrumental music and a marketing strategy (Kellaris et al., 1993) to the cultural congruence between music and culture-specific products (McKinnis & Park, 1993). In their research, Herget, Breves and Schramm, 2020, participants viewed ads (and linked companies) featuring Eastern items more favourably. They expressed more willingness to purchase when accompanied by Eastern music rather than Western music (and vice versa).

Addressing the issue of defining musical fit, Shevy and Hung (2013, p. 320) argued that musical fit could result from "many other variables, such as words, emotion, product, and spokesperson traits, the overall tone or style of an advertisement, or the emotional state of the audience member”. The music instinctively recognised as appropriate in audio-visual ads corresponds to at least one of three reference points: spot narrative (i.e., the story told by the commercial), the product is shown, and the targeted audience of the commercial. How can the compatibility of music with a commercial's narrative, product, and intended audience be determined? Consistent or inconsistent emotional meanings influence the congruence of music and spot narration. For instance, pleasant music might be appropriate for a commercial depicting a cheery family at breakfast. However, it would not be appropriate for an action-packed automobile advertisement stressing the fantastic driving experience. Herget, Breves and Schramm, 2020 determined the compatibility of music with goods and audiences based on six specific pictures (gender, maturity, class, category, seriousness, and complexity).

Graakjaer and Jantzen (2009, p. 13) referred to research on the impacts of music in advertising as an "area of fresh perceptual beginnings" due to the absence of a broad, integrated study language. Based on the current understanding of musical fit, the issue of how music may be utilised economically and successfully in advertising cannot be addressed conclusively. According to North and Hargreaves (2005, p. 412), a significant unanswered question "concerns how precisely 'musical fit' may be characterised in a manner that is economically beneficial and scientifically testable". In some cases, the audio logo matches the visual itself. In recent years, sonic branding has increased rapidly due to Intel's success (Franus, 2008). The Intel chime was linked to the brand's ideals with persistent use. The Intel ‘bongs’ were created by Walter Werzowa in 1994. These “bongs” are among the most recognisable sounds in the branding world (Groves, 2012). The sound represents the phrase “Intel inside”, and the harmonic journey is tonic to the subdominant and tonic to dominant (first to 4, then first to fifth), In D flat. The first tone is audio with more than 20 sounds, including a tambourine, an electric spark, a hammer on the pipe, and an anvil (Treasure, 2021). Another one is “Deutsche Telekom''. Its logo highlights impressively the visual-acoustic linkages that are possible. Upon closer inspection of the logo, it musically resembles what is being depicted visually (see picture below)

Flexible: “What I love most about the Mastercard melody is just how flexible and adaptable it is across genres and cultures” (Mike Shinoda, 2022) For a sound logo, two kinds of flexibility are advantageous, musical and technical flexibility. Musical flexibility means a melody can be combined with different contexts and emotional situations of different advertisements by recording it with different instrumentations or styles. Technical flexibility means that the sound can be perceived cross-platform (e.g. via phone, computer, or television) without impairments (Ringe, 2009). Musical flexibility is necessary if a theme is adaptable enough to be quoted in different musical contexts, styles, and instrumentations. Work effectively across all platforms and equally well in all the touchpoints. McDonald’s audio-branding strategy (2003) is an excellent example of this concept: a long history of experimenting with re-recorded versions in multiple arrangements, instrumentation and styles, yet still maintaining its instant recognisability. Memorable: In a 2012 study, Lewis et al. found that familiarity and interest in sound can significantly heighten the emotion one feels towards it; furthermore, even simply paying attention to auditory stimuli could increase in emotional intensity felt. Most audio logos now and throughout history are melodic and consist of tones and rhythms. Complex melodic forms create singable, memorable audio logos (Groves, 2009). Also, incorporating Lyrics and vocals can improve brand association. Scherman (2022) reveals that sonic logos can be divided into two subsets; those utilising melodic components and those crafted from sound design elements. Melodic logos incorporate distinct melodies and note sequences to make up their unique audio identity; meanwhile, the harmony-focused sound design also uses semiotics to produce cues that resonate with the audience. The Netflix Sonic logo is an example of a sound design-based logo, joining the ranks of brands such as HBO that opt for audio design rather than a different tune. These logos can provide a versatile accompaniment to any content, avoiding discordance with pre-existing or succeeding musical elements due to their minimal melodic structure. However, another crucial aspect is repetition. According to Zajonc’s repeated-exposure paradigm5 (2001), our preferences can develop as an unconscious consequence of repeated exposure, overriding the idea that we make decisions based solely on reason. This is a revolutionary concept compared to traditional common sense, which suggests that liking must be formed after careful consideration.

Sound for Commercial: “Use and selection of music and sound for advertising and communication cannot be left to chance or the personal taste of a marketing manager. The motto Let’s take some beautiful music to make people buy our stuff is simply not enough” (Kai Bronner, 2009). Advertising sound is all the sound involved in TV or cinema commercials, comprising voice, music and sound effects, with the whole more significant than the sum of the parts. It can also include an audio logo; Scott, Sheinin and Labrecque (2022) found that consumer attitudes were higher when the logo was played at the conclusion of the advertisement. In 2022, Company “Sound Out" researched several distinct instrumentation features. This data has been instrumental in understanding the nuances and variations between different types of music.

On one hand, sound has direct physiological effects on humans. On the other hand, music affects perception: through the phenomena of added value, it interprets the meaning of the picture. It causes us to perceive in the image what we otherwise would not see or would see differently. Thus, it is evident that sound is not invested and localised in the same manner as the picture. Incorporating sound into images can drastically alter the perception of time. Temporalisation is one of the most important effects of added value6, making it a powerful tool for creating value in media. The nature of sound can be instrumental in impressions created by an image - its density, internal texture, tone quality and progression all work together to imbue the visual with temporal animation that is either stronger or more subdued. According to Chion (pg. 14), this phenomenon has a powerful dynamic potential for imparting emotion to viewers. Through his analysis, Chion noted that the perception of musical time predominantly depends not on tempo as we traditionally assume (beats-per-minute) but rather upon whether the sonic sequence is regular or irregular. Music in the video has a powerful ability to evoke emotion and reflect the situation on screen. According to Chion, music can either express empathy or remain indifferent towards the scene; we might refer to these methods as empathetic and anempathetic musical approaches, respectively (Chion, pg. 8). The anempathetic effect can also be expressed by noise. Allan (2007) concluded that music could elicit both positive and negative recipient responses in terms of attention, mood, attitude, recall of on-the-spot information, and purchase intentions, depending on the characteristics of the music, the recipients, the context, and the myriad interactions between these variables. Results suggested that the impacts of musical stimuli may range from negative to positive depending on a myriad of factors specific to each situation (Allan, 2007). With a universe of sound design possibilities, conventional choices remain popular; however, some push the limits to showcase an auditory experience that transports viewers into another realm: audio-visual dissonance is the use of a soundtrack7 that greatly contrasts the visual subject or activity.

Product Sound, UI Sounds Google’s sound designer Conor O'Sullivan, 2019 states that Sound designers should create a soundscape that feels like an honest expression of the product, with sounds that enhance the flow of interaction. Qian Janice and Spence, 2019, state, "It is essential to recognise that package noises may influence customers' buying choices.” Product sound, or "sound icons," can unlock the potential for creating strong and lasting memories associated with brand use. Authors Bronner, Hirt and Ring (2010) refer to this as a powerful resource of distinguishing marks in the marketplace, an acoustic signal whose expressiveness is often embedded within audio logos or recognisable jingles (Coca-Cola's signature fizz, KitKat's iconic crackle). Utilising such simple yet evocative noises stands at the forefront of inciting feelings of gratification among consumers. They are all anchors for feelings of great satisfaction in the product users (Treasure, 2014). The sound of a vehicle door shutting may seem insignificant, yet it might indicate the automobile's quality (Andersson and Knutsson, 2009). In the user interface domain, we refer to these as auditory icons. Bill Gaver created the phrase 'auditory icons' in the early 1980s when researching the use of sound in Apple's 'Finder' file management tool. These sounds could be digital, or Skumorphism sounds8. “Auditory icons are like sound effects for computers, everyday sounds mapped to computer events by analogy with everyday sound-producing events” (Pg. 83). The second type of sound that occurs in a UI is earcon. Blattner, Sumikawa, and Greenberg invented earcons. Earcons are nonspeech audio signals used in computer interfaces to describe digital objects, operations, and interactions. Earcons are made from simple motifs9, unlike auditory icons. They often follow these patterns: Upward motion commonly indicates starting, openness, positivity, or assurance; downward motion commonly indicates ending or closedness; and repetition commonly indicates thinking, waiting, or lack of progress. User interface sounds can convey positive, neutral, and negative emotions. Confirm is an example of a cheerful sound. Try again is an example of a neutral sound. Finally, an error is an example of a negative sound. The decline is irreversible. It is lower in frequency and relatively brief. An abrupt decline suggests “you have reached a dead end, like hitting a wall” (Stafford and Milton, 2016). Three effective techniques for sound design UI are melody, harmony, and semiotics. Melody is one of the most potent memory triggers we possess. Studies suggest that ascending tones are associated with more favourable feelings, while descending notes may evoke a rather indifferent emotion (Scherman, 2022).

Harmony is very effective in conveying emotion and also adheres to some universal rules10. Semiotics, or representational sound effects, are the last category. They cannot provide context or meaning for action (Scherman, 2022).

Reference List / Bibliography Aaker, J. (1997). Dimensions of brand personality. Journal of Marketing Research, 34(3), 347-356. Doi: http://dx.doi.org/10.2307/3151897 Adams, I. (2013). An Introduction to Audio Branding: Interview with Steve Keller. [online] Available at: https://www.optimizationgroup.com/an-introduction-to-audio-branding-interview-with-ste ve-keller/ [Accessed 21 Oct. 2022]. Adi Robertson (2015). Inside the world of audio branding with Skype’s new pings, bounces, and pops. [online] The Verge. Available at: https://www.theverge.com/2015/10/7/9455159/skype-sound-design-computer-audio-bra nding-longform. Agüero, G. (2020). Audio Branding Case Study: From music brief to finished audio logo. [online] HolaBrief Community. Available at: https://www.holabrief.com/blog/audio-branding-case-study-from-music-brief-to-finished- audio-logo [Accessed 21 Oct. 2022]. Aitamurto, T., Jean-Baptiste, B., Kaiping C., Ahmed, C. and Skanda Shridhar (2018). The Impact of Augmented Reality on Art Engagement: Liking, Impression of Learning, and Distraction. Available at: https://www.researchgate.net/publication/325495974 (Accessed 5 March 2021). Allan, D. (2007). Sound advertising: A review of the experimental evidence on the effects of music in commercials on attention, memory, attitudes, and purchase intention. Journal of Media Psychology, 12(3), 1–35. Allan, D. (2021). Super sonic logos : the power of audio branding. New York Business Expert Press.

Amores, J., Lanier, J. (2017). ‘HoloARt: Painting with Holograms in Mixed Reality’, Proceedings of the 2017 CHI Conference Extended Abstracts on Human Factors in Computing Systems. [Online] Available at: https://dl-acm-org.saeezproxy.idm.oclc.org/doi/epdf/10.1145/3027063.3050435 (Accessed 14 March 2021). Andersen, A. (2019). How to succeed in Audio Branding, Music Editing, and sound for VR/AR/MR - with Steve Keller, Steven Saltzman, Helena McGill & Anna Woźniewicz: [online] A Sound Effect. Available at: https://www.asoundeffect.com/sound-success-audio-branding-music-editing-vr/ [Accessed 21 Oct. 2022]. Andersen, A. (2021). Sound Opinions: The Sounds of Technology are Making Us Less Happy, Less Healthy, and Less Productive - by Matthew Bennett. [online] A Sound Effect. Available at: https://www.asoundeffect.com/product-sound-design-audio-branding/ [Accessed 7 Oct. 2022]. Andersson, N. and Knutsson, R. (2009). successful sonic branding Degree project: Business administration, graduate level, 15 University credit points (UCP or ECTS-cr) Archive No. ______ Course: FEKP01 – A music marketing study of how to effectively reinforce the perception of brands by the creation of sound identities. [online] Available at: https://lup.lub.lu.se/luur/download?func=downloadFile&recordOId=1437363&fileOId=24 35471 [Accessed 6 Oct. 2022]. Arce-Lopera, C., Ospina, R. and Daniela Victoria, M. (2021). Augmented Reality Game for Brand Recognition and Recall. Extended Abstracts of the 2021 CHI Conference on Human Factors in Computing Systems. doi:10.1145/3411763.3451792.

Arnaldi, B., Guitton, P. and Moreau, G. (2018), Virtual Reality and Augmented Reality : Myths and Realities. Adobe Digital Edition. London: ISTE Ltd. (Accessed: 3 March 2021). Arnold, S. (2005) That jingle is part of your brand. Broadcasting & Cable, 135(4), 78. Retrieved from https://saeezproxy.idm.oclc.org/login?url=https://www.proquest.com/trade-journals/that-ji ngle-is -part-your-brand/docview/225322424/se-2?accountid=145504 Association for Psychological Science - APS. (2015). Background Music Influences Buying Behavior. [online] Available at: https://www.psychologicalscience.org/news/minds-business/background-music-influenc es-buyer-behavior.html. Baxendale, S., Macdonald, E.K. and Wilson, H.N. (2015). The Impact of Different Touchpoints on Brand Consideration. Journal of Retailing, [online] 91(2), pp.235–253. doi:10.1016/j.jretai.2014.12.008. Beate Flath and Klein, E. (2014). Advertising and design : interdisciplinary perspectives on a cultural field. Bielefeld: Transcript. Beckerman, J. (2014). The sonic boom : how sound transforms the way we think, feel, and buy. Boston: Houghton Mifflin Harcourt. Belliotti, J. (2022). What should brands sound like in the metaverse? [online] The Drum. Available at: https://www.thedrum.com/news/2022/05/11/what-should-brands-sound-the-metaverse [Accessed 1 Jul. 2022]. Beyer, G. and Meier, M. (n.d.). Interactive Advertising Jingles: Using Music Generation for Sound Branding. [online] Available at: https://www.researchgate.net/profile/Gilbert-Beyer/publication/228827145_Interactive_A dvertising_Jingles_Using_Music_Generation_for_Sound_Branding/links/00b7d52c6d27

21fb84000000/Interactive-Advertising-Jingles-Using-Music-Generation-for-Sound-Brand ing.pdf [Accessed 6 Oct. 2022]. Bollue, S. (2015). Sonic Branding: a framework for understanding sound branding and an overview of its most notable practices across industries. [online] Available at: https://www.theseus.fi/bitstream/handle/10024/97285/Bollue_Sebastien.pdf?sequence= 1 [Accessed 27 Jul. 2022]. Bonde, A. and Hansen, A.G. (2013), “Audio logo recognition, reduced articulation, and coding orientation: rudiments of quantitative research integrating branding theory, social semiotics, and music psychology”, Soundeffects – an Interdisciplinary Journal of Sound and Sound Experience, Vol. 3 Nos 1/2, pp. 112-135. Bonde, A. and Hansen, A.G. (2013), “Audio logo recognition, reduced articulation, and coding orientation: rudiments of quantitative research integrating branding theory, social semiotics, and music psychology”, Soundeffects – an Interdisciplinary Journal of Sound and Sound Experience, Vol. 3 Nos 1/2, pp. 112-135. Bosch, J. (2021). Sonic identity is the missing component for social metaverse experiences. [online] TechCrunch. Available at: https://techcrunch.com/2021/12/14/sonic-identity-is-the-missing-component-for-social-m etavers e-experiences/ [Accessed 27 Jul. 2022]. Bronner, K., Hirt, R. and Ringe, C. (2010b). (((Aba))) Audio Branding Academy Yearbook 2009/2010. Nomos Verlagsgesellschaft Mbh & Co. Bruner, G.C. (1990), “Music, mood, and marketing”, Journal of Marketing, Vol. 54 No. 4, pp. 94-104, doi: 10.2307/1251762. Brüner, G.C. (1990) Music, mood, and marketing. Journal of Marketing 54 (4): 94–104. Ceraso, S. (2022). (Re)Educating the Senses: Multimodal Listening, Bodily Learning, and the Composition of Sonic Experien. [online] Oclc.org. Available at: https://www-jstor-org.saeezproxy.idm.oclc.org/stable/pdf/24238169.pdf?refreqid=excelsi or%3A

6f5895b7b7b6384b7ab292a8f48713c1&ab_segments=0%2FSYC-6490%2Fcontrol&ori gin=&ac ceptTC=1 [Accessed 4 Jul. 2022]. Chuah, S.H.-W. (2018). Why and Who Will Adopt Extended Reality Technology? Literature Review, Synthesis, and Future Research Agenda. SSRN Electronic Journal. [Online] Available at: https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3300469 (Accessed 14 March 2021). Collins, K. (2020). STUDYING SOUND : a theory and practice of sound design. ‘The MIT Press Cambridge, Massachusetts London, England’ Excerpt From: Karen Collins. ‘Studying Sound’. Apple Books.. Conor O'Sullivan (2019). Designing Sound and Silence. [online] Medium. Available at: https://medium.com/google-design/designing-sound-and-silence-1b9674301ec1. Conor O'Sullivan (2019). Designing Sound and Silence. [online] Medium. Available at: https://medium.com/google-design/designing-sound-and-silence-1b9674301ec1. Copans, V. (2022). Sonic Branding Q&A: How Brands Are Leveraging Music and the Metaverse in 2022. [online] amp sound branding. Available at: https://www.ampsoundbranding.com/amp-news/sonic-branding-qampa-how-brands-are- leveragi ng-music-and-the-metaverse-in-2022. Courtier-Dutton, D., McCrostie, J. and Lennon, A. (2022). WARC x SoundOut Webinar Unlocking the Subconscious Power of Music 2: Optimising the branding/marketing music mix | WARC. [online] Available at: https://www.warc.com/content/paywall/article/warc-webinars/warc-x-soundout-webinar-u nlocking-the-subconscious-power-of-music-2-optimising-the-branding-marketing-music- mix/en-gb/146692?utm_source=webinar&utm_medium=webinar&utm_campaign=sound out-webinar [Accessed 19 Jul. 2022]. Courtier-Dutton, D. (2022). Interview with David Courtier-Dutton by Davide Laurito. 22 Jul.

Damala, A., Cubaud, P., Bationo, A., Houlier, P. and Marchal, I. (2008). ‘Bridging the gap between the digital and the physical’, Proceedings of the 3rd international conference on Digital Interactive Media in Entertainment and Arts - DIMEA ’08. [Online] Available at: https://dl-acm-org.saeezproxy.idm.oclc.org/doi/epdf/10.1145/1413634.1413660 (Accessed 14 March 2021). Davide (2022). Sonic Branding The critical aspects of designing one. [online] Samplify. Available at: https://www.samplify.studio/what-is-sonic-branding/ [Accessed 18 Nov. 2022]. Daw, H. (2017). Henry Daw on The Small Sounds That Make A Big Difference | TNW Conference 2017. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=XOMlQzyWk28&list=PLBbHSYwyT4M6Vdx80fwopH xsHuzLc0-Ig&index=3&t=19s [Accessed 18 Oct. 2022]. Design, G. (2019). Design Is [Audible] - Designing sound for human experiences. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=FVNuVKy90Do&t=131s [Accessed 22 Jun. 2022]. Dumais, D. (2021). 4 Layering Techniques for Creating Sound Effects. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=8xAjLS7oMsU [Accessed 8 Nov. 2022]. Edds, K. (2018). Sonic Branding. [online] Twenty Thousand Hertz. Available at: https://www.20k.org/episodes/sonicbranding. Facebook IQ. (2022). Beyond ‘sound-on:’ How brands are honing their sonic identity in the metaverse. [online] Available at: https://www.facebook.com/business/news/insights/beyond-sound-on-how-brands-are-ho ning-thei r-sonic-identity-in-the-metaverse [Accessed 1 Jul. 2022]. Feng, Y. and Mueller, B. (2018). The State of Augmented Reality Advertising Around The Globe: A Multi-Cultural Content Analysis. Journal of Promotion Management, 25(4), pp.453–475. doi:10.1080/10496491.2018.1448323.

Filimowicz, M. (2021b). Doing research in sound design. New York: Routledge. Franinović, K. and Serafin, S. (2013). Sonic interaction design. Cambridge, Massachusetts: The Mit Press. Franus, Noel (2008) “Sonic Branding: Sound foundations” Brand Strategy, 52-53 Funderburk, T. (2018). Audio Branding: The persistent power of personalized words and music is your unforgettable advantage. Kindle. Galan, J.-P. (2009). Music and responses to advertising. The effects of musical characteristics, likeability and congruence. Recherche et Applications en Marketing, 24(4), 3–22. https://doi.org/10.1177/205157070902400401 Gould, R. (2016). Auditory Icons. [online] designingsound.org. Available at: https://designingsound.org/2016/11/24/auditory-icons/. Graakjaer, N. and Jantzen, C. (2009) Producing corporate sounds: An interview with Karsten Kjems and Soren Holme on sonic branding. In: C.N. Graakjaer (ed.) Music in Advertising: Commercial Sounds in Media Communication and Other Settings. Aalborg, Germany: Aalborg University Press, pp. 259–274. Graakjær, N. J., & Jantzen, C. (2009). Mapping research on music in TV commercials. In N. J. Graakjær, & C. Jantzen (Eds.), Music in advertising: Commercial sounds in media communication and other settings (pp. 13–52). Aalborg University Press. Graakjær, N.J. (2019). Sounding out i’m lovin’ it – a multimodal discourse analysis of the sonic logo in commercials for McDonald’s 2003–2018. Critical Discourse Studies, pp.1–14. doi:10.1080/17405904.2019.1624184. Groves, J. (2011). Commusication. Oak Tree Press (Ireland). Gustafsson, C. (2015). Sonic branding: A consumer-oriented literature review. Journal of Brand Management, 22(1), pp.20–37. doi:10.1057/bm.2015.5.

Hackl, C. (2021). Sounds Of The Future: Sonic Branding In The Metaverse. [online] Forbes. Available at: https://www.forbes.com/sites/cathyhackl/2021/10/12/sounds-of-the-future-sonic-brandin g-in-the- metaverse/?sh=2c141392111c. Hammond, G. (2022). Putting the implicit/subconscious impact of music to work for brands and marketers. [online] SoundOut. Available at: https://www.soundout.com/post/putting-the-implicit-subconscious-impact-of-music-to-wo rk-for-brands-and-marketers [Accessed 6 Oct. 2022]. Haverkamp, M. (2012). Synesthetic Design Handbook for a Multi-Sensory Approach. De Gruyter. Holger Schulze (2021b). Sound works : a cultural theory of sound design. New York ; London ; Oxford ; New Delhi ; Sydney Bloomsbury Academic. Hopper, M. (2020). WHAT SHOULD A BRAND SOUND LIKE? [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=BS4lODFjw2Y&list=PLBbHSYwyT4M6Vdx80fwopHx sHuzLc0-Ig&index=50&t=897s [Accessed 14 Nov. 2022]. https://www.connexionfrance.com. (2016). SNCF tune inspires ex-Pink Floyd. [online] Available at: https://www.connexionfrance.com/article/French-news/SNCF-tune-inspires-ex-Pink-Floy d [Accessed 7 Oct. 2022]. Jackson, D. (2021). 25 Years of Sonic Branding. [online] Transform magazine. Available at: https://www.transformmagazine.net/articles/2021/25-years-of-sonic-branding/ [Accessed 7 Oct. 2022]. Jackson, D.M. (2003) Sonic Branding: An Introduction. New York: Palgrave Macmillan. Jarvis, T. (2022). Interview with Tony Jarvis by Davide Laurito. 13 Jul.

Judith Irene Lochhead, Mendieta, E. and S Decatur Smith (2022). Sound and affect: voice, music, world. Chicago: University Of Chicago Press. Kellaris, J. J. (2008). Music and consumers. In C. P. Haugtvedt, P. M. Herr, & F. R. Kardes (Eds.), Handbook of consumer psychology (pp. 837–856). Taylor & Francis. Keller, S. (n.d.). Sound Experiences Are the Future of Sonic Identity. [online] Available at: https://www.adweek.com/partner-articles/sound-experiences-are-the-future-of-sonic-ide ntity/ [Accessed 1 Jul. 2022]. Khamis, S. and Keogh, B. (2021a). Sonic branding and the aesthetic infrastructure - ProQuest. [online] www.proquest.com. Available at: https://www.proquest.com/docview/2603910219/B27F70345628455EPQ/1?accountid=1 45504 [Accessed 4 Jul. 2022]. Kilian, K. (2009) From brand identity to audio branding. In: H. Bronner and H. Rainer (eds.) Audio Branding: Brands, Sound and Communication. pp. 35–48, Baden-Baden, Germany: Nomos. Krangle, J. (n.d.). Audio Branding - The Podcast - by host & voice actor, Jodi Krangle. [online] Jodi Krangle. Available at: https://voiceoversandvocals.com/podcast/ [Accessed 16 Oct. 2022]. Krishnan, V., Kellaris, J.J. and Aurand, T.W. (2012), “Sonic logos: can sound influence willingness to pay?”, Journal of Product & Brand Management, Vol. 21 No. 4, p. 275. Kurpiers, J. (2009). Reality by Design: Advertising Image, Music and Sound Design in the Production of Culture. [online] Available at: https://dukespace.lib.duke.edu/dspace/bitstream/handle/10161/1072/D_Kurpiers_Joyce _a_200904.pdf&rct?sequence=1 [Accessed 18 Nov. 2022]. Kurpiers, J. (2009). Reality by Design: Advertising Image, Music and Sound Design in the Production of Culture. Dissertation.

Lanier, J. (2016). Jaron Lanier, Virtual-Reality Pioneer: Jaron Lanier on His Breakthrough Moment - ProQuest. [Online] Available at: https://search-proquest-com.saeezproxy.idm.oclc.org/docview/1763315513/7388F838C 8A3474 5PQ/1?accountid=145504 (Accessed 12 March 2021). Lentin, G. (2016, Sep 02). Sonic branding: Why logos should be heard as well as seen. Design Week (Online), Retrieved from https://saeezproxy.idm.oclc.org/login?url=https://www.proquest.com/magazines/sonic-br anding- why-logos-should-be-heard-as-well/docview/1816537166/se-2?accountid=145504 Lewis, C., Fretwell, C. and Ryan, J. (2012). An Empirical Study of Emotional Response to Sounds in Advertising. [online] Available at: http://www.na-businesspress.com/AJM/LewisC_Web12_1_.pdf [Accessed 12 Nov. 2019]. Lindstrom, Martin. 2005. Brand Sense: How To Build Powerful Brands through Touch, Taste, Smell, Sight, and Sound. New York: Free Press Lindstrom, Martin (2005) Brand sense – how to build powerful brands through touch, taste, smell, sight & sound Kogan Page, London, UK Lukasiewicz, R. (2021). commercial | Listening to Movies. [online] sites.nd.edu. Available at: https://sites.nd.edu/listening-to-movies/tag/commercial/ [Accessed 18 Nov. 2022]. Lynch, H. (2019). The New Role of Extended Reality in Music | Accenture. Available at: https://www.accenture.com/us-en/blogs/technology-innovation/lynch-extended-reality-m usic (Accessed 15 March 2021). MacInnis, D. J., & Park, C. W. (1991). The differential role of characteristics of music on high- and low involvement consumers’ processing of ads. Journal of Consumer Research, 18(2), 161–173. https://doi.org/10.1086/209249

MacInnis, D. J., & Park, C. W. (1991). The differential role of characteristics of music on high- and low involvement consumers’ processing of ads. Journal of Consumer Research, 18(2), 161–173. https://doi.org/10.1086/209249 Mangini, M. (2022). Dune | The Sound of Dune | Warner Bros. Entertainment. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=Gkf_rdROyWw. Mars, N. (2017). A tour of the process - Logic Pro Video Tutorial | LinkedIn Learning, formerly Lynda.com. [online] LinkedIn. Available at: https://www.linkedin.com/learning/audio-design-for-interactive-projects/a-tour-of-the-pro cess?autoplay=true&contextUrn=urn%3Ali%3AlyndaLearningPath%3A5b07279d498e4 ef31386867b&resume=false&u=76178842 [Accessed 18 Nov. 2022]. Marshall, S. (2019). How Sound Design, Not Just Music, Can Drive an Ad Emotionally. [online] Muse by Clio. Available at: https://musebycl.io/postscript/how-sound-design-not-just-music-can-drive-ad-emotionall y. Mas, L., Bolls, P., Rodero, E., Barreda-Ángeles, M. and Churchill, A. (2020), “The impact of the sonic logo’s acoustic features on orienting responses, emotions and brand personality transmission”, Journal of Product & Brand Management, Vol. 30 No. 5, pp. 740-753. Mas, L. (2019). Sonic logos: An Experimental Design on Sound Features and Brand Personality. Anuario Electrónico de Estudios en Comunicación Social “Disertaciones”, 12(2), 125-141. Doi: http://dx.doi.org/10.12804/revistas.urosario.edu.co/disertaciones/a.6373 Masters, J., 2022. [podcast] Adelphoi Music Podcast. Available at: <https://podcasts.apple.com/gb/podcast/adelphoi-music-podcast/id1530281444> [Accessed 5 October 2022]. Mbryonic. (2018). Ways VR Is Changing The Music Industry. [Online] Available at: https://mbryonic.com/music-vr/ (Accessed 14 March 2021).

McCusker, G. (1997), “The audio logo: a case study of radio Scotland’s on-air identity”, Journal of Communication Management, Vol. 1 No. 4, pp. 362-373. Mcleod, S. (2021). Pavlov’s Dogs. [online] Simplypsychology.org. Available at: https://www.simplypsychology.org/pavlov.html. Meyer, B. (2016). Evoking emotion in pure sound design. [online] designingsound.org. Available at: https://designingsound.org/2016/08/03/evoking-emotion-in-pure-sound-design/. Minsky, L. and Fahey, C. (2017). Audio Branding Using sound to build your brand. Kogan Page Limited. Mongeau, A.-S. (2017). How to create sound for commercials - insights from an award-winning sound team: [online] A Sound Effect. Available at: https://www.asoundeffect.com/sound-for-commercials/ [Accessed 10 Nov. 2022]. Morrow, G. (2020). Conclusions: Virtual Reality, Augmented Reality and Mixed Reality. Music Business Research, pp.177–201. [Online]. Available at: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7286426/#CR32 (Accessed 12 March 2021). North, A. C., & Hargreaves, D. J. (2010). Music and marketing. In P. N. Juslin, & J. A. Sloboda (Eds.), Handbook of music and emotion: Theory, research, applications (pp. 909–930). Oxford University Press. Obst, B and Troller, L, Augmented Reality, retrieved from http://wiki.informatik.hu- berlin.de/nomads/images/9/96/Augmented_Reality.pdf, 2009, retrieved on November 11, 2012 Oram, B. (2017). Rule of Thirds: A Sound Design Approach by Barney Oram. [online] A Sound Effect. Available at: https://www.asoundeffect.com/rule-of-thirds-sound-design/ [Accessed 10 Nov. 2022]. O’Sullivan, C. (2019). Sound Design and Sonic Brand (Google I/O’19). [online]

Peters, S. (2020). Sensory marketing – how to win in the experience economy. [online] www.linkedin.com. Available at: https://www.linkedin.com/pulse/sensory-marketing-how-win-experience-economy-stefan -peters/ [Accessed 1 Jul. 2022]. Poupyrev, I., Berry, R., Billinghurst, M. and Jun Kurumisawa (2001). Augmented Reality Interface for Electronic Music Performance. [Online] Available at: https://www.researchgate.net/publication/228605694_Augmented_Reality_Interface_for _Electro nic_Music_Performance (Accessed 14 March 2021). Pugliese, R., Politis, A. and Takala, T. (2015). ATSI: Augmented and Tangible Sonic Interaction. In: TEI ’15: Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction. Pp.97–104. Puronas, V. (2014). Sonic hyperrealism: illusions of a non-existent aural reality. The New Soundtrack, 4(2), pp.181–194. doi:10.3366/sound.2014.0062. Qian Janice, W. and Spence, C. (2019). Sonic Packaging: How Packaging 2 Sounds Influence Multisensory Product 3 Evaluation. Crossmodal Research Laboratory, Department of Experimental Psychology: University of Oxford. Rajamannar, R. (2019). Sound On: Mastercard Debuts Sonic Brand. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=_0ZPDxEJ7wA&t=81s [Accessed 1 Jul. 2022]. Riggins, N. (2007). Sound’s function in the branding process. Master’s thesis. Riggins, N. (2007). Sound’s function in the branding process - ProQuest. [online] www.proquest.com. Available at: https://www.proquest.com/openview/b6eb52821035aa1f66af309300eadc8f/1?cbl=1875 0&pq-ori gsite=gscholar [Accessed 27 Jul. 2022]. Rose, B. (2015). Julian Treasure - Sound Business. [online] London Real. Available at: https://londonreal.tv/julian-treasure-sound-business/ [Accessed 2 Oct. 2022].

Sanders, J. (2022). How Sonic Branding and Audio Logos Activate Emotion & Memory. [online] Audio Content Lab. Available at: https://www.audiocontentlab.com/blog/sonic-branding-and-audio-logos/ [Accessed 7 Oct. 2022]. Says, D. (2022). Tips on Preparing for Early Sound Design for Film – Insight from Award-Winning Sound Designer Nia Hansen. [online] A Sound Effect. Available at: https://www.asoundeffect.com/sound-design-for-film/ [Accessed 10 Nov. 2022]. says, P.J.M. (2017). 10 Second Technique: Tips to Improve Your Sound Design by Barney Oram. [online] A Sound Effect. Available at: https://www.asoundeffect.com/10-second-sound-design-technique/ [Accessed 10 Nov. 2022]. Scherman, B. (2022). Sonic Design - Three Powerful Tools #sounddesign #uxui. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=yV_7pVf2W-Y&list=PLqz2d6Yhl7SAl7H6Vq5I4K9Lq NhHwj_RJ&index=5 [Accessed 21 Nov. 2022]. Scholz, J., & Smith, A. N. (2016). Augmented reality: Designing immersive experiences that maximize consumer engagement. Business Horizons, 59, 149–161. Scott, S.P., Sheinin, D. and Labrecque, L.I. (2022). Small sounds, big impact: sonic logos and their effect on consumer attitudes, emotions, brands and advertising placement. Journal of Product & Brand Management. doi:10.1108/jpbm-06-2021-3507. Shaptunova, Y. (2018). ‘What Is Extended Reality and What Can We Do with It’, Sam-Solutions,24 August. Available at: https://www.sam-solutions.com/blog/what-is-extended-reality-and-what-can-we-do-with-i t/#:~:text=Although%20XR%20allows%20people%20to,The%20high%20cost%20of%20 implementation. (Accessed 30 March 2021). Shevy, M., & Hung, K. (2013). Music in television advertising and other persuasive media. In S.-L. Tan, A. J. Cohen, S. D. Lipscomb, & R. A. Kendall (Eds.), The psychology of music in multimedia (pp. 311–334). Oxford University Press

Singh, P. and Pandey, M. (2014). Augmented Reality Advertising: An Impactful Platform for New Age Consumer Engagement. IOSR Journal of Business and Management, [online] 16(2), pp.24–28. doi:10.9790/487x-16222428. Smedley, K. (2021). Sound for commercials: Kip Smedley shares tips and pointers - from 16 years of doing audio for advertising: [online] A Sound Effect. Available at: https://www.asoundeffect.com/sound-for-commercials-kip-smedley/ [Accessed 22 Nov. 2022]. Sochurkova, M. (2018). Facebook continues to invest more in Augmented Reality. Available at: https://newsfeed.org/facebook-continues-to-invest-more-in-augmented-reality/ (Accessed 30 March 2021). Stafford, A. and Milton, S. (2016). Audio Experts Break Down The Most Common Tech Sounds|WIRED.[online]www.youtube.com. Available at: https://www.youtube.com/watch?v=S_gBMJe9A6Q&list=PLBbHSYwyT4M6Vdx80fwopH xsHuzLc0-Ig&index=3 [Accessed 17 Nov. 2022]. Stewart Hodgson (2018). Your Guide to Sonic Branding: A Sound Strategy For Business Growth. [online] Fabrik Brands. Available at: https://fabrikbrands.com/guide-to-sonic-branding/ [Accessed 1 Jul. 2022]. Sung, E. (Christine), Han, D.D. and Choi, Y.K. (2021). Augmented reality advertising via a mobile app. Psychology & Marketing, 39(3). doi:10.1002/mar.21632. Tagg, P. and Clarida, B. (2003). Ten little title tunes : towards a musicology of the mass media. New York ; Montréal: Mass Media Music Scholars’ Press. TED (2015) The birth of virtual reality as an art form | Chris Milk. Available at: https://www.youtube.com/watch?v=cJg_tPB0Nu0&t=390s (Accessed: 3 March 2021). Thielen, E., Letellier, J., Sieck, J., Thoma, A. (2018). ‘Bringing a virtual string quartet to life’, Proceedings of the Second African Conference for Human Computer Interaction: Thriving Communities. [Online] Available at:

https://dl-acm-org.saeezproxy.idm.oclc.org/doi/10.1145/3283458.3283477 (Accessed 14 March 2021). Treasure, J. (2000). Sound business. Cirencester: Management Books Ltd. Treasure, J. (2014). #InterfaceAcoustics: the importance of sound in a work environment. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=KTVQinrYE-Y [Accessed 21 Oct. 2022]. Treasure, J. (2021). Voiceworks: Sound Business. [online] Spotify. Available at: https://open.spotify.com/show/3MjIT7fJ73igirNqWHknnT [Accessed 16 Oct. 2022]. Turner, J. (2022). A creative vision for generative music. [online] Fmod.com. Available at: https://www.fmod.com/blog/finnish-springtime-joonas-turner [Accessed 21 Nov. 2022]. Verhoeven, A. (2021). Learn all about AR for mobile marketing today | Adjust. [online] www.adjust.com. Available at: https://www.adjust.com/blog/augmented-reality-for-mobile-marketing/ [Accessed 5 Oct. 2022]. Voicebot.ai. (2016). Home. [online] Available at: https://voicebot.ai [Accessed 1 Jul. 2022]. Weiss, J. (2021b). The new advertising frontier: actionable audio ads. [online] DLMDD. Wazir, M.I. and Wazir, O. (2015), “Effects of sonic logo on brand recognition of the advertised brand”, City University Research Journal, Vol. 5 No. 2, pp. 327-337. Weiss, J. (2022). Sonic branding in the metaverse. [online] DLMDD. Available at: https://dlmdd.com/sonic-branding-in-the-metaverse [Accessed 1 Jul. 2022]. Wong, A.C. (2018). Sound branding: The role of music in consumer perceptions, behaviours, and practitioner beliefs. Thesis.

Yaoyuneyong, G., & Flynn, L. R. (2014). Factors impacting the efficacy of augmented reality vir- tual dressing room technology as a tool for online visual merchandising. Journal of Global Fashion Marketing, 5(4), 283–296. Yih Wu, W., Su Fu, C. and Chun Wan, H. (2010). Effects of Sound Stimuli Applied in Branding: An Empirical Study of Its Antecedents and Consequences. Asian Journal of BusineEsfsfeacntds oAfcScoundtinSgti, 3(ISSN 1985-4064), pp.2d7-i5n4B. Zajonc, R.B. (2001). Mere Exposure: A Gateway to the Subliminal. Current Directions in Psychological Science, [online] 10(6), pp.224–228. doi:10.1111/1467-8721.00154. Zinda, P. (2017). Signal Processing For Sound Design. [online] www.youtube.com. Available at: https://www.youtube.com/watch?v=jVac5IFXpFo&t=2250 [Accessed 23 Oct. 2022].