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"Musical ... mente"
polysemy OF MUSIC IN ADVERTISING '
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The objective of my thesis was to describe, in a creative and original, the role of music in everyday life, technology and new media, especially in communication advertising.
I focused more on aspects SEMIOTICS (sense of) the use of music in commercials, and not only on the evocative music that determines the consumer of the product being advertised.
My analysis wants to highlight the function polysemic (ie who has more than one meaning) of the music and its ability to focus on the primary, innate and natural to generate excitement and create meanings !
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SPOT
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"Levi's Engineered Jeans - freedom of movement" is a charming spot, advertising tends to bring out more exciting than the thickness content of the metaphor on which it is built, rather than the promotional purpose for which it was designed.
No images or narrator says about the product: the narrative power is conferred primarily to visual images.
The ad has received, in addition to the broad public consensus, an important recognition in the gala ceremony of the "Half a minute of gold" (runner-up in 2002).
The most significant aspect of this movie advertising is not so much the technical issues, as choices rather than narrative.
The long version of the spot can be divided into three main sequences .
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The first macro-sequence begins with an guy who opens a door, steps back, pauses for a moment and then began to run and smash all the walls in its path.
The first macro-sequence begins with an guy who opens a door, steps back, pauses for a moment and then began to run and smash all the walls in its path.
During the run of a young girl who appears on the scene, too, is launched against the walls and through them.
The protagonists run on two different paths, and perhaps still do not know to be in two.
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The second macro-sequenza ci mostra i due protagonisti nella stessa stanza. I ragazzi si sono accorti di non essere soli a correre, adesso camminano, lentamente, e si guardano.
The second macro-sequenza ci mostra i due protagonisti nella stessa stanza. I ragazzi si sono accorti di non essere soli a correre, adesso camminano, lentamente, e si guardano.
I volti dei due sono tesi, i ragazzi non si sorridono, si guardano intensamente per qualche momento e poi, ricominciano a correre.
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La terza macro-sequenza si apre con un ennesimo muro che si rompe, questa volta il muro è quello di un edificio: i ragazzi adesso si trovano all’esterno.
La terza macro-sequenza si apre con un ennesimo muro che si rompe, questa volta il muro è quello di un edificio: i ragazzi adesso si trovano all’esterno.
Corrono sugli alberi, accelerano la loro corsa come in volata finale verso un traguardo.
Un last jump, and after the walls and trees, now in the atmosphere, are continuing to run in infinite space, in the absence of gravity.
The spot stops, but not the two boys are still in motion, and their race is not over yet. .!
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What better example of this, a spot that does not "say anything" but that is based solely on the effect of evocative images, to understand and analyze the role of the soundtrack for an advertisement?
What better example of this, a spot that does not "say anything" but that is based solely on the effect of evocative images, to understand and analyze the role of the soundtrack for an advertisement?
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I TOPIC
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The spot is completely focused on travel and movement without constraint.
The spot is completely focused on travel and movement without constraint.
But why the two boys run?
It runs to reach someone or something,
It runs to reach someone or something,
but also to get away from someone or something;
often runs for fun,
but more often for competition;
we run to release tension,
or even to express anger and disagreement.
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TOPIC (strands of interpretation) of the race are many and all plausible.
TOPIC (strands of interpretation) of the race are many and all plausible.
Allo spot senza musica sono state date molteplici interpretazioni, ma come si può indirizzare lo spettatore verso una piuttosto che un’altra? L’esperimento di montaggio che ho realizzato ha lo scopo di dimostrare come melodie diverse, montate su uno stesso visivo, riescano ad indirizzare la nostra interpretazione verso un topic piuttosto che un altro.
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Interpretazione della Versione Originale
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Spot Originale - “Sarabande” di Haendel
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Il topic utilizzato dalla Levi’s nella versione originale dello spot è quello della Complicità amorosa: i due ragazzi sono due fidanzati, la metafora soggiacente è quella del rapporto amoroso che si evolve drammaticamente in un’irrazionale corsa verso il nulla, e quindi verso il sacro. È l’amore che si svela in tutta la sua dirompente forza anarchica, che spinge dall’interno e che fa mettere in discussione addirittura le leggi della fisica (spaccare i muri, correre sui tronchi degli alberi, fluttuare nello spazio). I volti dei protagonisti esaltano il senso della passione e il desiderio di spingersi insieme al proprio compagno/a oltre le soglie del possibile.
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Interpretazione della Fuga.
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Spot Fuga - V Sinfonia di Beethoven
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Approfittando della portata comunicativa e dalla fama di tale pezzo, si cerca, in questa versione, di rendere il senso d’inquietudine e di sospensione, creando l’attesa del “ ta ta ta taa, ta ta ta taa”. Attesa si risolve in due momenti dello spot (quando lei e lui si guardano e nel finale).
Approfittando della portata comunicativa e dalla fama di tale pezzo, si cerca, in questa versione, di rendere il senso d’inquietudine e di sospensione, creando l’attesa del “ ta ta ta taa, ta ta ta taa”. Attesa si risolve in due momenti dello spot (quando lei e lui si guardano e nel finale).
L’emozione suggerita è quella della paura, dell’incertezza e dell’ignoto.
Le note e le scale armoniche, nonché l’attesa del momento topico della sinfonia, riescono a creare l’effetto di tensione e paura cercato.
Seguendo il topic della Fuga, i due protagonisti ci apparirebbero inquieti, tormentati, spaventati. Lui corre rabbiosamente, lei urla. S’incontrano e si guardano, e poi ricominciano a fuggire.
Le note e le scale armoniche, nonché l’attesa del momento topico della sinfonia, riescono a creare l’effetto di tensione e paura cercato.
Seguendo il topic della Fuga, i due protagonisti ci apparirebbero inquieti, tormentati, spaventati. Lui corre rabbiosamente, lei urla. S’incontrano e si guardano, e poi ricominciano a fuggire.
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Interpretazione della Vitalità
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Spot Vitalità - “Objection” di Shakira
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Il ritmo incalzante, dinamico e continuo accompagna i ragazzi dal primo scatto all’ultimo salto. La musica è fresca e allegra e il sincronismo con le immagini dà alla corsa un senso divertito; la competizione is not negative. The two are young and nimble, and run because they have the strength and vitality to do it. A final cry, happy and synchronic, pictures and closes the spot.
The sense of vitality is made dall'andatura melodic and rhythmic piece that conveys feelings of joy and movement.
Il ritmo incalzante, dinamico e continuo accompagna i ragazzi dal primo scatto all’ultimo salto. La musica è fresca e allegra e il sincronismo con le immagini dà alla corsa un senso divertito; la competizione is not negative. The two are young and nimble, and run because they have the strength and vitality to do it. A final cry, happy and synchronic, pictures and closes the spot.
The sense of vitality is made dall'andatura melodic and rhythmic piece that conveys feelings of joy and movement.
If we follow the topic of Vitality, young people seem to run for the test;
are dynamic and ambitious, dare, fail to take actions and implement projects that seem impossible (they have the courage to go against walls and the strength to knock them down, not around them) are constantly moving, not satisfied, seek new incentives, continue to run even when there's space (the infinite flight is not a point of arrival is not the goal, is not the end, is not the goal, but a new beginning).
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Interpretation Contest
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Contest Spot - "Bring Me To Life" by Evanescence
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Evanescence The piece is very rhythmic and has sung in two voices: one male and one female alternate in music as in the spot. The woman's voice is higher, screamed, the man's voice is strong and more serious. The clash of voices is the same image and topic. The final spot is given to the lowest note of intensity that are repeated, and let you imagine that the race is not over yet.
In this case, is the iconic reference to be decisive. The female voice yelling at the man's voice alternates with that answer. In this case the influence of the code underlying the genre "rock" and directs that the mean interpretation.
Following this line of interpretation the two characters express the tragic confrontation of two personalities. A man and a woman in a challenge to the last jump, struggling to emerge, in the mad rush to reach the first opponent, the goal, the goal.
Evanescence The piece is very rhythmic and has sung in two voices: one male and one female alternate in music as in the spot. The woman's voice is higher, screamed, the man's voice is strong and more serious. The clash of voices is the same image and topic. The final spot is given to the lowest note of intensity that are repeated, and let you imagine that the race is not over yet.
In this case, is the iconic reference to be decisive. The female voice yelling at the man's voice alternates with that answer. In this case the influence of the code underlying the genre "rock" and directs that the mean interpretation.
Following this line of interpretation the two characters express the tragic confrontation of two personalities. A man and a woman in a challenge to the last jump, struggling to emerge, in the mad rush to reach the first opponent, the goal, the goal.
The fact that a boy and a girl might suggest to the challenge of two worlds (the male and female): women do not want to feel inferior to men, and men are there to "give way" women. She is driven by anger and shouting, and he presses certain pride: I want revenge on the one hand and pride Men on the other, pushing the two to run and try to beat your opponent. There is a real winner, the commercial ends when the two guys are neck and neck and still in the race.
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Interpretation rug Sound
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Spot Entertainment - Chillout - Amnesty International Cd1 track No. 2
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rhythmic and synchronous with the demolition of the walls, but in any case, the melody expresses confidence. It is music that does not distract attention from the pictures, but that goes with creating a climate of détente from the beginning to the end. The maintenance of melody and rhythm create a feeling of serenity.
The topic of the carpet of sound that often makes us think, who runs, he does it to distract, to escape from reality every day, to "switch off" with the newspaper and feel a bit 'with himself (perhaps to reflect and think), who runs it is often to be free.
rhythmic and synchronous with the demolition of the walls, but in any case, the melody expresses confidence. It is music that does not distract attention from the pictures, but that goes with creating a climate of détente from the beginning to the end. The maintenance of melody and rhythm create a feeling of serenity.
The topic of the carpet of sound that often makes us think, who runs, he does it to distract, to escape from reality every day, to "switch off" with the newspaper and feel a bit 'with himself (perhaps to reflect and think), who runs it is often to be free.
The two boys become, then any two people, two "normal" people that run and feel good, get tired and screaming, but continue to run and feel free (the jump in the universe could be, in this case, the attainment of serenity sought).
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Interpretation Rebellion
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Spot Rebellion - When I'm Gone 3 Doors Down
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The music choice is a rock, which marks the course of the two, which slows down when you look at the two boys and continues with vigor and pace in breaking the wall of the building exterior. Until the end of the spot, even when the notes are relaxed slightly, the music and rhythm continue to accompany the movement of the two protagonists. The code
general media interpretation is the rock genre, which connects the rhythm and melody (characterized by loud electric guitars and drums and shouted and repeated notes), the topic of youth rebellion and protest.
The music choice is a rock, which marks the course of the two, which slows down when you look at the two boys and continues with vigor and pace in breaking the wall of the building exterior. Until the end of the spot, even when the notes are relaxed slightly, the music and rhythm continue to accompany the movement of the two protagonists. The code
general media interpretation is the rock genre, which connects the rhythm and melody (characterized by loud electric guitars and drums and shouted and repeated notes), the topic of youth rebellion and protest.
According to this line of argument the feeling that emerges is one of anger and the topic of the Rebellion. The race thus symbolizes the rejection of society, the attempt to break free from the constraints of time. The two protagonists are two young twenty-first century, who want revenge, wishing to overcome the impositions of the system (the walls and gravity) and want to feel free (the theme of the spot is a hymn to freedom and "free movement constraints "). Their faces are angry, and even if they do not express hatred or negative factors, convey resentment and dissatisfaction.
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Interpretation Breaking the Amorosa
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Breaking loving Spot - "A brutal music" by Gotan Project
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The song is a tango, synchronous with the initial shot and the walls crack. The sensuality of the tango's reveals that underlying the spot: a singing voice notes, not words, accompanies the race of the children and gives their looks (hard and cold), a pinch of passion and complicity. The spot ends with repeated notes reminiscent of the beating of a loving heart.
The interpretation in this case, is directed towards this topic thanks to the use of the tango genre (recognizable as a melody of love and passion).
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The song is a tango, synchronous with the initial shot and the walls crack. The sensuality of the tango's reveals that underlying the spot: a singing voice notes, not words, accompanies the race of the children and gives their looks (hard and cold), a pinch of passion and complicity. The spot ends with repeated notes reminiscent of the beating of a loving heart.
The interpretation in this case, is directed towards this topic thanks to the use of the tango genre (recognizable as a melody of love and passion).
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THE POWER OF BANDA SONORA
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How can you tell what is the right line of interpretation among the many described? How can we determine if the two guys are racing towards love or fleeing, if you are having fun or are in competition with each other, if you are taking a moment of relaxation or whether they are angry? The spot does not offer a specific context in which to frame the two young men, but the band sound can help us to resolve the ambiguity of the visual .
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Because music has this power?
Because music has this power?
scholars of musical aesthetics, neuroscientists, psychologists and sociologists, and therapists and doctors agree that certain sounds, certain agreements, certain rhythms and melodies affect our perception and stimulate emotions.
. The scientific explanation
lies in the functioning of our brain and in the process of decoding the sounds: when our central system receives, for example, vibrations of violin strings and a low intensity, slow and melodious sounds, "order" to our muscles to relax resulting in us a feeling of tranquility and relaxation, and when our brain decodes very low vibrations, very rhythmic melodies (batteries and percussion) and very high volumes "Order" to the heart to beat faster and the hands, fingers and feet to move "on time".
lies in the functioning of our brain and in the process of decoding the sounds: when our central system receives, for example, vibrations of violin strings and a low intensity, slow and melodious sounds, "order" to our muscles to relax resulting in us a feeling of tranquility and relaxation, and when our brain decodes very low vibrations, very rhythmic melodies (batteries and percussion) and very high volumes "Order" to the heart to beat faster and the hands, fingers and feet to move "on time".
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the power of music to stimulate emotions, stems from the mechanisms of order psychological, social and contextual (for which the music reminds people, brings to mind moments of life lived and reactivates feelings) that they feel joy or sadness, anxiety or serenity, vitality or peace.
the power of music to stimulate emotions, stems from the mechanisms of order psychological, social and contextual (for which the music reminds people, brings to mind moments of life lived and reactivates feelings) that they feel joy or sadness, anxiety or serenity, vitality or peace.
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also for the concept of musical competence widespread (although not that you have musicians or industry experts), all are easily able to "hear" a symphony of classical music as something ancient and cultured to associate the sound of rock music to the youth rebellion, to link a saxophone and a melody jazz to the image of blacks in America, imagining, feeling cheerful and rhythmic music, the group dances of the summer at the beach.
also for the concept of musical competence widespread (although not that you have musicians or industry experts), all are easily able to "hear" a symphony of classical music as something ancient and cultured to associate the sound of rock music to the youth rebellion, to link a saxophone and a melody jazz to the image of blacks in America, imagining, feeling cheerful and rhythmic music, the group dances of the summer at the beach.
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