My Brand is Bigger Than Yours

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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



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.



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.



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................................................................................. 0

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



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])



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.



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.



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)



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.



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.



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.



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)



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.



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)



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.



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.



13 | P a g e

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.



14 | P a g e

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.



15 | P a g e

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.



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.



17 | P a g e

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)



18 | P a g e

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.



19 | P a g e

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)



20 | P a g e

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.



21 | P a g e

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.



22 | P a g e

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.



23 | P a g e

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.



24 | P a g e

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.



25 | P a g e

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).



26 | P a g e

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)



27 | P a g e

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.)



28 | P a g e

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.



29 | P a g e

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.



30 | P a g e

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;



31 | P a g e

‘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)



32 | P a g e

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)



33 | P a g e

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.



34 | P a g e

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.



35 | P a g e

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.



36 | P a g e

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.



37 | P a g e

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.



38 | P a g e

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).



39 | P a g e

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.



40 | P a g e

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.



41 | P a g e

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.



42 | P a g e

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”



43 | P a g e

Ben Bleet

Question:



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.



44 | P a g e

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



45 | P a g e

Lawrence McKay

Question:



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.



46 | P a g e

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.”



47 | P a g e

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.



48 | P a g e

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?


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.



49 | P a g e

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



50 | P a g e

Ben Bleet

Question




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.



51 | P a g e

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



52 | P a g e

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



53 | P a g e

Lawrence McKay

Question

2 How much of a role does the characteristics, image and persona of an artist specifically what



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.



54 | P a g e

Result 6


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



55 | P a g e

Question Two Commonalities

Responses found abstract attributes and psychological consequences highly influential

within this question topic, artist characteristics and reputation are commonly referenced.



56 | P a g e

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?


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.



57 | P a g e

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.”



58 | P a g e

Ben Bleet

Question




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.



59 | P a g e

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.”



60 | P a g e

Lawrence McKay

Question

3 How much of a role does the lyrical content and message portrayed in a song pay a part in



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.



61 | P a g e

Result 9


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



62 | P a g e

EndTerm

State

“Generally, it is a massive amount depending on what they are trying to portray, going back to the




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.”



63 | P a g e

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.



64 | P a g e

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?


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.



65 | P a g e

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 .”



67 | P a g e

Ben Bleet

Question

4 How much of a role does the success and the social reputation of an artist play on the price



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.



68 | P a g e

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.”



69 | P a g e

Lawrence McKay

Question

4 How much of a role does the success and the social reputation of an artist play on the price



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.



70 | P a g e

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.”



71 | P a g e

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.



72 | P a g e

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?


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.



73 | P a g e

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.”



74 | P a g e

Ben Bleet

Question

5 How much of a role do different options, types of use and lengths in the contract for the use



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.



75 | P a g e

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. ”



76 | P a g e

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?


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.



77 | P a g e

Result 15


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. “



78 | P a g e

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.



79 | P a g e

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?


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.



80 | P a g e

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.”



82 | P a g e

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.”



83 | P a g e

Lawrence McKay

Question

6 How important is the choice of music to a client in order to complete what they want their



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.



84 | P a g e

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. “



85 | P a g e

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



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. “



86 | P a g e

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




87 | P a g e

David Bass

Question

7. How varied are the fees paid between a prestige act and a lesser known artist?


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.



88 | P a g e

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. “



89 | P a g e

Ben Bleet

Question

7 How varied are the fees paid between a prestige act and a lesser known artist?


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.



91 | P a g e

Lawrence McKay

Question

7 How varied are the fees paid between a prestige act and a lesser known artist?


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.



92 | P a g e

Result 21


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




money.”



93 | P a g e

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.



95 | P a g e

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. “



96 | P a g e

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?


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.



97 | P a g e

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.”



98 | P a g e

Lawrence McKay

Question

8. If a client wants to reach a specific market or portray a message do they use the choice of



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.



100 | P a g e

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.



102 | P a g e

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.”



103 | P a g e

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?


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.



105 | P a g e

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?


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.



106 | P a g e

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.”



107 | P a g e

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.”



108 | P a g e

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.



109 | P a g e

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?


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.



111 | P a g e

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.



112 | P a g e

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?


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.



113 | P a g e

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



114 | P a g e

Lawrence McKay

Question

10. How much does the price paid for a similar synchronisation effect the price a client willing to



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.



115 | P a g e

Result 30


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.”



117 | P a g e

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?


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.



118 | P a g e

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.



119 | P a g e

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?


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.



121 | P a g e

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?


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


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



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




125 | P a g e

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



126 | P a g e

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?


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.



127 | P a g e

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



128 | P a g e

Lawrence McKay

Question

12. Does the prestige or reputation of the record company or publisher of the artist have an



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.



129 | P a g e

Result 36


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


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.”



130 | P a g e

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



132 | P a g e

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.



136 | P a g e

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.



138 | P a g e

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.



150 | P a g e

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



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.



152 | P a g e

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Appendices

A

(Zeithaml, 1988, p.6)



163 | P a g e

B

(Snoj and Mumel, 2004, p.158)



164 | P a g e

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).’



165 | P a g e

(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.’


‘Fine (1981, in Murphy and Enis, 1986) used the term social price composed of time, effort, psyche

and life style.’




166 | P a g e

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.


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)




167 | P a g e

‘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.’


‘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.’


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)


‘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.’




168 | P a g e

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)



169 | P a g e

‘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)



170 | P a g e

I

(McCracken, 2005, p.104)



171 | P a g e

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




172 | P a g e

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).


L

(Punch, 2009, p.16)



173 | P a g e

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)



174 | P a g e

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



175 | P a g e

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



176 | P a g e

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



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:



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



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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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



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.


Generally, it is a massive amount depending on what they are trying to portray, going back to the




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


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.


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


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.


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


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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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



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.


I think they can be very elitist, it just depends because if you pick the perfect piece of music and it’s




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


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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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.


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


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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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



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


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.


The most is artist, because we may have an artist that sounds exactly like black keys but if they can


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

My Brand is Bigger Than Yours

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Transcript of My Brand is Bigger Than Yours