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This chapter returns to the history of the jingle, particularly the standardization of jingle production in the 1950s. It discusses the entry of Broadway composers into advertising music and the rise of jingle singers. It also discusses the rise of a unique style of music in the postwar era, which was commonly referred to as jingles that employed the Madison Avenue Choir. The chapter also chronicles the decline of the jingle in the 1990s.

This chapter examines the increased dimensions of a New Asian regional identity since the 1980s by considering how Hong Kong cinema in the early twenty-first century has reworked itself in terms of this fractured New Asia. That is to say, Hong Kong and Hong Kong culture participate in the larger movements of modernity in the region. The chapter examines two films indicative of the particular cultural productiveness at stake: Jingle Ma's Tokyo—a Hong Kong film set almost entirely in a glossy Tokyo consonant with what might be said to be the libidinization of market modernity in the region—and Johnnie To's Fulltime Killer. Ma's film was one of the most popular in Hong Kong in 2000, and is distinct both in being a Hong Kong film set mainly in Japan and in having extensive Japanese dialogue. To's even more multilingual film unavoidably becomes an allegory of the East Asian core states competing.

This chapter discusses the onset of the Great Depression and the rise of the singing commercial or radio jingle. It begins by discussing the precursors of the radio jingle: street cries, sales pitches in verse, and sheet music advertising. It then explores the emergence of the radio jingle before World War II. The chapter also describes some popular jingles that were recorded during this period.

This chapter examines the work of Mitch Leigh. It begins with an extended commentary of his career, followed by details on productions, with data and song information. Leigh prepared for his musical career at Yale, studying composition with Paul Hindemith. Upon receiving his masters, he entered the world of advertising and became an expert at lucrative television jingles. By the early 1960s, the successful ad man was ready to put his musical training to a more “legit” use.

The concluding chapter reasserts the critical importance of claiming and expressing power to the history of powwow--through sensory experiences of space and time, through transcultural exchanges, and through performances of race. Axtmann analyzes three dance styles that best exemplify these complex power dynamics: the women’s jingle dress dance and the women’s and men’s fancy dances. She explores dance competitions as modern-day warfare, where agency is asserted through dynamic dance practices, ancient and modern, traditional and ever-changing. Concentrating on principal dance styles performed at powwows in the Northeast, Axtmann also considers other regional dances, discussing how moving bodies affirm and re-affirm individual and cultural specificity. She closes with remarks about the dangers of commercialization to powwow.

This chapter presents an overview of theories and research on the role of music in television advertising and other persuasive media. Using Petty and Cacioppo’s Elaboration Likelihood Model as a theoretical framework for attitudinal change, the chapter examines the multiple roles music may play in advertising, either as a background element or as an integrated element in an audiovisual medium. Music may increase or decrease motivation and ability to elaborate on a persuasive message, thereby guiding a person to use a central or peripheral route to processing the content of the advertisement. Music may also provide information (e.g., affect-as-information) in the persuasive message that is processed within either route. To delineate these effects, music as a means to attract attention, facilitate recall, and construct meanings is also examined. Findings of these strands of research are applied to audio branding, understanding musical fit, enhancing implicit learning, and the creation of virtual atmospheres on the Internet.

Barry Manilow's long career as a MOR pop artist has been frequently marked by extreme critical hostility. This chapter suggests reasons for the length of Manilow's career, as well as for the extraordinary venom of his critics. Manilow's exquisite skill at writing musical hooks was honed by his apprenticeship as a jingle-writer, and his wide-ranging (if old-fashioned) approach to performance was developed during his time as Bette Midler's accompanist. But these skills are placed in the service of an appeal to women (most frequently middle-aged white women), and his commitment to romance and melodrama rebounds to his (male) critical discredit. An examination of the virtues of Manilow's songs requires an actual respect for the desires and values of his exemplary audiences.

Researchers have to consider a host of factors when planning their research and analyzing their data. This chapter discusses a number of important research considerations. For instance, when planning research it is important to have a large enough sample to prevent conducting an underpowered study that would be unable to detect true differences when they existed. When selecting measures, researchers should understand exactly what they are assessing and determine if the scales used have a history of producing valid and reliable scores with similar samples. When developing measures, researchers should avoid the jingle jangle fallacy and avoid creating scales that are redundant with already developed scales or use names that obfuscate the reader. When analyzing their data scientists should avoid dichotomizing continuous constructs and should shun stepwise regression techniques. When compiling findings, researchers need to consider if their results are meaningful, so effect sizes should be reported and interpreted in light of absolute standards and relative to prior research.

Chapter 8 begins with “stuck tunes” or “earworms,” a malady that strikes most people at times: A tune or other musical fragment bores deep into our heads and replays itself over and over, sometimes for hours, days, or even weeks. It is argued that the present epidemic of earworms is partly due to background music being heard everywhere, and to people listening to music fairly continuously over their radios, televisions, iPods, and other devices. This constant exposure to music could sensitize our music processing systems so strongly that they tend to fire spontaneously. Several famous musicians have publically decried the ubiquity of background music, arguing that it debases our musical experience. In the past, all music was sung or played live, and in certain venues such as churches, concert and dance halls, or at special events such as birthday and wedding celebrations. Another source of earworms may be the frequent repetition of phrases within a song, a device that is now extremely common in popular music. The popularity of a song based on sales, radio play, and online streaming increases with the amount of repetition within the song. The tendency for music to get stuck in our heads makes it ideal for radio and TV advertisements—a catchy tune can turn into an earworm, and carry the name of the product along with it.