JOURNAL AND REVIEW JOURNAL 2
TEMA : JOURNAL BEHAVIOUR CONSUMEN
International Bulletin of Business Administration
ISSN: 1451-243X Issue 9 (2010)
© EuroJournals, Inc. 2010
http://www.eurojournals.com
56
Music Congruency and Consumer Behaviour: An Experimental
Field Study
Nicolas Guéguen
Business Department, University of Bretagne-Sud, IUT De
Vannes
8 Rue Montaigne 5600 Vannes-France
Tel: +33297012663; Fax: +33297676537
E-mail: nicolas.gueguen@univ-ubs.fr
Abstract
Numerous experimental studies have showed that background
music affects
consumer behaviour in a retail environment. Some of these
have tested the degree of
congruence between the music played in the store and the
type of goods sold. An
experiment was carried out in a flower shop where love songs
and romantic music
(congruence condition), pop music (music usually played in
the flower-shop) and no music
(control condition) were played. The results show that the
mean amount of money spent
was significantly higher in the love songs and romantic
music condition compared with the
two others, whereas the pop music condition did not lead to
an increase in the amount of
money spent compared to the control, no music, condition.
Keywords:
Atmospherics, Background music, consumer behaviour, music congruency,
sales
1. Introduction
Background music is known to affect human behaviour and
particularly consumer behaviour.
Numerous experimental studies conducted in natural settings have shown that the structural
components of various types of background music such as
sound level and tempo affect consumer
behaviour. The first experiment that tested the effect of
one such structural component on consumer
behaviour was conducted by Smith and Curnow (1966), who
played loud and soft music in two
supermarkets. They found that customers spent significantly
less time in the stores during the loud
session than during the soft session, but there was no
significant difference between the sales made in
the two sessions. Those authors explained their results by
“arousal”, arguing that the high sound level
created a high level of arousal in the customers which led
them to enhance their behavioural response
toward the stimulus, such that they moved faster round the
store but did not spend any more money.
Fast music was assumed to have the same property to enhance
arousal that, in return, enhances the 57
behavioural response of the perceiver. McElrea and Standing
(1992) found that when fast music was
played drinkers spent less time drinking. Similarly,
Roballey, McGreevy, Rongo, Schwantes, Steger,
Winiger and Gardner (1985) found that when patrons in a
cafeteria were exposed to fast music, they
were observed to take significantly more bites per minute
than those exposed to slow tempo or no
music conditions. Again, these results were explained by
high arousal levels induced by fast music. A
recent experiment conducted by Guéguen, Le Guellec and Jacob
(2004) was carried out in two bars to
test the effect of loud music on drinking. According to a
random assignment, patrons were exposed to a
sound level that was higher than the sound level usually
used in the bars where the experiment took
place. Patrons consumed more drinks when exposed to louder
music. The arousal hypothesis was used
by the authors to explain the findings: the high sound level
led to higher arousal, which led patrons to
drink faster and to order more drinks.
Fast tempo is not always associated with an increase in
consumption. Milliman (1982) tested
the effect of the tempo of background music in a supermarket
and found that playing slow music (60-
73 beats per minute) decreased the in-store traffic flow in
comparison with that observed when faster
background music (93-110 beats per minute) was played, but
increased sales. Milliman (1986) found,
in another evaluation of the effect of tempo on the
behaviour of restaurant patrons, that slower music
was associated with an increase in the average length of
stay and amount of money spent.. These
results were supported more recently by Caldwell and Hibbert
(1999) who found that customers spent
more money on both food and drink at a restaurant when slow
music was played. Other research has
shown that the tempo of music can affect the perception of
time. Guéguen and Jacob (2001) conducted
an experiment in which participants were kept waiting on the
telephone. They heard an on-hold
message accompanied either by slow, medium-tempo or fast
music. A control group heard the on-hold
message without music. The participants in the music
conditions perceived the waiting time as shorter
than those who heard no music. Furthermore, the faster the
music, the shorter was the waiting time
estimated by participants.
Structural components of music are not the only factors that
affect customer behaviour. Several
studies have shown that the style of background music played
has an effect. Areni and Kim (1993)
compared the effect of classical versus Top Forty background
music in a wine store, and found that
sales increased, and customers selected more expensive
wines, when classical music was played. This
behavioural effect is consistent with the suggestion of
Yalch and Spangenberg (1993) that classical
music evokes a perception of higher priced merchandise and
supports the notion that music must be
appropriate for the context in which it is employed in order
to enhance persuasion. Of course, classical
music is not always appropriate (if “appropriate” is used to
mean “encouraging people to drink”). In a
more recent experiment, Wilson (2003) found that in a
popular restaurant significantly fewer patrons
consumed three or more alcoholic beverages when classical
music was playing than when jazz, easy
listening music or popular music was played.
The notion that music and context are associated was supported
by an empirical evaluation
conducted by North, Hargreaves and McKendrick (1999). These
authors used the term of congruency
to test the effect of background music on customer’s
behaviour. A background music is considered as
congruent with a product if a rationale or a symbolic
information is connected with the product to sell.
For example sailor’s songs would be appropriated to sell sea
products or classical music would be
appropriated to sell prestigious wines. In North and al’s
(1999) study the authors used the geographical
and cultural characteristics of the background music with
products that had a clearly geographical and
cultural provenance. They found that customers' selection of
French and German wines was strongly
affected by stereotypic French and German background music
played in the wine section of a
supermarket. Significantly more French wines were sold than
German wines when French music was
played, whereas significantly more German wines were sold
than French wines when German music
was played. These results are consistent with the notion
that music can prime related knowledge and
the selection of certain products if they fit with that
knowledge and indeed North et al.’s participants
reported that the German music made them think of Germany
rather than France and vice versa. In 58
summary, North et al. argue that the customers were in a
situation where they wanted to buy some
wine but had not already made a specific choice of product.
So the music played could have oriented
this choice by priming knowledge about a country that
produced wine.
A similar argument could be made for the patrons of flower
shops. When people go into flower
shops, they are often uncertain as to their specific choice;
they just want to buy a bunch of flowers. The
purpose of the present experiment was to explore the concept
of congruence between the music played
in a commercial environment and the type of goods sold.
There were three conditions: romantic songs,
pop music and – extending North et al.’s method – a no music
condition. We hypothesized that
because flowers are usually associated with love and
affection that love songs and romantic music
would prime or increase the level of these feelings and therefore
that customers would spend more
money on flowers when love songs and romantic music were
playing than when pop music or no
music was playing.
2. Method
Participants
The participants were 120 customers (48 males and 72
females) of a flower shop on the outskirts of a
medium-size city in the west of France. They did not know
that they were being observed. The
experiment was conducted during the course of eight sunny
days in June 2006.
Design
The experiment employed a between-participants method. One
group of customers was exposed to
love songs and romantic music, another group to pop music
and a third group to no music at all. The
two dependent variables were the amount of time and the
amount of money the customer spent in the
flower shop.
Materials
In the flower shop where the experiment was conducted, the
florist usually played CDs of pop music.
These were mostly at fast tempos (90-100 beats per minute) and did not qualify as love songs or
romantic music.
In order to determine the music that could be considered
congruent with flowers, an interview
survey was conducted in a street of the same town near the
flower shop. It was assumed that
respondents would have similar socio-demographic
characteristics to those of the participants in our
experiment; furthermore the interviewer was asked to
approach only people who looked as though they
were between the ages of 25 and 60, like most customers of
the flower shop. One hundred and twentyone passers-by (58 men and 63 women)
answered a single question: “For you, what is the most
appropriate music that could be played in a flower shop to
create harmony between the music and the
goods”. The frequencies of the various responses given were
used to select the most appropriate music
and are reported in Table 1.
Table 1: Type of
music considered to be the most appropriate music in a flower shop reported by
the
participants
Type of music Frequency
Love songs 46
Romantic music 38
Pop music 14
Classical music 8
Jazz 4
Samba/Bossa/Latina 4
Celtic music 2
Heavy metal
Folk song 1 for all
African
Rock
Medieval
Eighty-four of the 121 respondents nominated love songs and
romantic music as the most
appropriate music for a flower shop and we therefore
selected these styles of music for the congruent
music condition. After responding, to the first question,
the respondents were solicited to give one or
two examples of music or songs they know that are
“representative of the style of music that they
previously judged as appropriated in a flower shop”. In most
of the case, the respondents gave more
than two examples of music (M = 4.28 and SD = 2.37 with
seven respondents giving more than 8
examples). Amazingly, most of the examples for Romantic
music and songs and Pop songs were
French songs whereas no instruction to select such songs and
music was addressed. Most of them were
‘hits’ mainly performed by French singers/instrumentalists
over the last 20 years, many of which are
still popular today. The interviewer noted these examples
and these songs where selected according to
their citation frequency (see Appendix 2 for the list of CD
tracks used in the experiment).
Procedure
The owner of the flower shop gave permission for the
experiment to be carried out over the course of a
two-week period on eight weekday afternoons from 1.30 to
3.30 p.m. The background music that
played in each experimental session was determined before
the first participant entered the shop. Each
two-hour session was divided into six 20-minute periods. In
each period only one style of music (or no
music in the control condition) was played; in each period
the style of music (or no music) was
different and the order in which each style of music (or no
music) was played was random. A decibel
meter placed in the middle of the flower shop was used to
ensure that all the music was played at the
same volume (66 dB). The 20-minute length of period was
chosen because the owner of the shop had
observed that the mean length of time customers spent in the
shop between 1.30 and 3.30 p.m. was
around five minutes. It was therefore unlikely that any one
customer would be exposed to more than
one style of music.
An observer stood near the flower shop and selected the
first customer who entered the shop
after the start of each 20-minute period as a participant.
He or she started a chronometer (an Oregon
Scientific chronometer, model C510) and waited until the
customer had left the flower shop before
stopping the chronometer, entering the flower shop and
asking the salesperson to state the amount of
money spent by the customer. Then the observer completed a
form (see appendix 1) reporting the time
and amount of money spent in the shop by the customer before
returning to his/her post near the flower
shop. The next customer to enter the shop would be the next
participant selected, so even if there were
two customers in the shop at the same time, only one was
observed. In two cases customers did not
leave the shop within the same 20-minute period and would
therefore have been exposed to two styles
of music. These cases were dropped from the analysis of
data.
3. Results
The dependent variables used in this experiment were the
amount of money spent by the customer in
the three experimental conditions and the time her or she
spent in the flower shop. The results obtained
in the different conditions are presented in Figure 1
(amount of money spent) and Figure 2 (time spent)
below. 60
Figure 1: Means of
amount of money spent according to the experimental conditions and gender of
the
Customers
Males Females
A 3 (background music: romantic/pop/no music) × 2 (sex of
the customer: male/female).
ANOVA was used to analyze the data for each of the two
dependent variables. There was a main effect 61
of background music on the amount of money spent by
customers, was observed (F(2, 119) = 11.47), p
<.001, partial-eta²=.168
1
). More money was spent in the romantic music condition (M =
32.55€) than
in the pop music (M = 27.21 €) and no music control
conditions (M = 25.31 €). Pair comparisons
showed that there were significant differences between
romantic music, pop music (t(79) = 2.93, p
<.005, d
2
= 0.66) and no music
control conditions (t(75) = 4.00, p <.001, d = 0.92), but no significant
difference between the pop music and no music control
conditions (t(80) = 1.42, p =.14, d = 0.32). A
main effect of sex was found (F(1, 119) = 12.96), p
<.001, partial-eta²=.102): male customers spent
more (M = 31.08 €) than female customers (M = 26.42 €).
There was no interaction between the two
factors of the analysis (F(2, 119) = 0.49), ns,
partial-eta²=.008).
A main effect of background music was observed for time
spent in the flower shop (F(2, 119) =
41.52), p <.001, partial-eta²=.421). Customers spent more
time in the flower shop when romantic
music was played (M = 291.6 seconds) than when pop music (M
= 153.7 seconds) and no music was
played (M = 232.0 seconds). Pair comparisons showed
significant differences between the romantic
music and pop music conditions (t(79) = 7.92, p <.001, d
= 1.60), romantic music and no music control
conditions (t(75) = 2.82, p <.01, d = 0.62) and the pop
music and no music control condition(t(80) =
5.09, p <.001, d = 1.14). A main effect of sex was found (F(1, 119) = 71.06, p <.001, partialeta²=.284):
female customers spent more time in the flower shop (M = 261.8 seconds) than
male
customers (M = 164.3). There was an interaction between the
two factors of the analysis (F (2, 119) =
3.70), p<.03, partial-eta²=.061). Contrast analysis
showed that this interaction effect was explained by
the difference between male and female customers in the pop
music condition.
There was a significant but slight linear correlation
between the two dependent variables
(r(118) =.20, p <.05). Correlations between time and
money spent were not significant in the romantic
music condition (r(36) =.09, ns), the pop music condition
(r(41) =.22, ns) or the no music condition
(r(37) =.10, ns). However there was a significant and high
correlation between time and money spent
by female customers in the romantic music condition (r(21)
=.497 p <.02), male customers (r (15) =.77,
p <.001) and female customers (r(24) =.67, p <.001) in
the pop music condition and male customers in
the control no music condition (r(14) =.53, p <.04). No
significant correlation between time and money
spent was found for male customers in the romantic music condition (r(13) =.19, ns) or female
customers in the no music control condition (r(21) =.10, ns).
4. Discussion
Our hypothesis is supported by the results. First, it was
found that music exerted a positive effect on
the amount of money spent by the customers. Furthermore, it
was also found that the effect of music
cannot be considered only in terms of presence versus
absence of music in the shop where the present
experiment was carried out. In our experiment only one type of music that was played influenced
customer behaviour. When romantic music was played,
customers spent more money than when no
music was played or when pop music was played and, in this
experiment, no difference was found in
the amount of money spent by customers when pop music was
used as background music and when no
music was played. Previous studies have showed that the
style of background music played influenced
customer behaviour. Areni and Kim (1993) found that, in
comparison with Top Forty background
music, classical music played in a wine store increased the
amount of sales and led the customers to
select more expensive merchandise. North, Hargreaves and
McKendrick (1999) found that when
stereotypical French music was played in the wine section of
a supermarket it increased the amount of
1
The partial Eta-squared
is the proportion of total variability attributable to a factor. The partial
Eta² is.168 here, which
means that the background music (the factor examined in the
ANOVA) by itself accounted for 16.8 % of the overall
variance (effect+error). 16.8 % is considered as important.
2
d is a descriptive
measure of the effect size of the difference between two means. d is obtained
by divided the means
difference by standard deviation of either group. For Cohen
(1988), d between.10 to.20,.30 to.50 and.60 and more is
respectively considered as a Small, a Medium or a Large
effet size. 62
sales of French wines and decreased the amount of sales of
German wines. When German music was
used as background music the reverse effect was found: the
sales of German wines increased whereas
the sales of French wines decreased. Such experiments
confirm that the style of music played has an
effect on the customer behaviour. However, while different
styles of music were compared in both
these studies, neither used a control condition in which no background music played. The
positive
effect of classical music in Areni and Kim’s study, for
example, could be explained by a negative
effect of Top Forty music leading to a decrease in the
amount of money spent by customers; we do not
know how much they would have spent in a control no music
condition. In our experiment, however,
the comparison between the three conditions shows clearly
that romantic music had a positive effect on
the amount of money spent by customers. No difference was
found between the amount of money
spent in the pop music and no music control conditions. So
it cannot be that customers spent less
money in the flower shop when they heard pop music than when
they heard romantic music because
pop music had a negative effect on them, since they also
spent less money when no music was playing:
it must be that the romantic music influenced them.,. These
results suggest that background music in
itself does not encourage customers to spend more money:
there has to be congruence between the
music played and the products on offer. This confirms North
et al.’s results. If the background music is
clearly associated with the context or the product to be sold, customers are likely to respond
more
favourably. Future studies could explore this concept of
congruence further. In our experiment we tried
to use the most highly congruent music by asking people in
the street to nominate the style of music
that they thought would be most appropriate in a flower
shop, and using music in the category most
frequently cited. However some elements of the background
music used could be even more effective
than others in reinforcing the power of romantic music and
love songs more generally.
Customers spent more time in the flower shop when romantic
music was playing than when
pop or no music was playing. In the pop music condition
positive correlations were found between
time and money spent by men (r =.77) and women (r =.67).
Perhaps customers spent less time and
therefore less money because of the effect of the fast tempo
of the pop music. Previous research found
that tempi variation were associated with variation in
customer behaviours (Caldwell & Hibbert, 1999;
Milliman, 1982; 1986) or time perception in a waiting
situation (Guéguen & Jacob, 2001). Differences
in the amount of time spent in the flower shop in our
experiment may therefore be attributable to
differences in tempo between the music played in the pop and
romantic music conditions. Post hoc
evaluation by a professional drummer of the music played in
the two experimental conditions confirms
that they were different. In the pop music condition 75% of
the music used a tempo between 96 and
122 beats per minute, whereas 75% of the music and songs
played in the romantic music condition
used a tempo between 78 and 92 beats per minute. On the
other hand, the difference in tempo between
the two music conditions is unlikely to be the only
explanation: although the correlation between the
amount of time and money spent in the flower shop is
significant it is slight (r =.20), explaining only 4
% of the variance. ANOVA controlling for the effect of time
spent in the flower shop reveals that the
effect of condition on amount of money spent still remains
highly significant (F(2, 119) = 8.42), p
<.001, partial-eta²=.130; partial-eta² =.168 when time
spent is not controlled for). Future experiments
will be designed to test the effect of tempo using similar
styles of music in this type of commercial
context.
Our study has some potential applications. It could be
financially advantageous for the owners
of flower shops to use love songs and romantic music as
background music in order to increase the
amount of money spent by the customers. Moreover, if the
owner wants to decrease the time spent by
the customer in the shop, for example when it is packed,
without decreasing the amount of money
spent, the manager could use pop music as background music.
This experiment had some limitations. Firstly, it was
conducted in one flower shop and the
results cannot be generalized to all flower shops. Secondly,
the effect of music is perhaps explained not
only by the type of music used but by some internal
characteristics of the music such as tempo, song
lyrics, or instrumentation. It has been found in previous
research that the same music could have 63
different effects when played at different tempi (Caldwell
& Hibbert, 1999; Milliman, 1982; 1986). So
the differences in our two music conditions could be
explained by the differences in tempo.
Our results confirm those of previous studies that have
found that music influences customer
behaviour. However, the mechanisms that explain such effects
still remain in question. It seems that
congruence between the music played in commercial contexts
and the products on offer is an important
factor. Thus future research needs to examine the link
between music and consumer behaviour, further
exploring customers’ cognitive and emotional, as well as
behavioural responses.
References
[1] Areni, C., & Kim, D. 1993. “The influence of
background music on shopping behavior:
classical versus Top Forty music in a wine-store”. Advances
in Consumer Research, 20, pp.
336-346.
[2] Caldwell, C., & Hibbert, S. 1999. “Play that one
again: the effect of music tempo on consumer
behaviour in a restaurant”. European Advances in Consumer
Research, 4, pp. 58-62.
[3] Cohen, J. 1988. “Statistical power analysis for the
behavioral sciences (2nd ed.)”. Hillsdale,
NJ: Lawrence Earlbaum Associates.
[4] Guéguen, N., & Jacob, C. 2001. “L’effet des
caractéristiques d’une musique d’attente
téléphonique sur la perception du délai d’attente des
interlocuteurs”. Revue Européenne de
Psychologie Appliquée, 51, pp. 77-84.
[5] Guéguen, N., Le Guellec, H., & Jacob, C. 2004. «
Sound level of background music and
consumer behavior: An empirical evaluation”. Perceptual and
Motor Skills, 99, pp. 34-38.
REVIEW JURNAL 2
TEMA : JOURNAL BEHAVIOUR CONSUMEN
Music Congruency and
Consumer Behaviour: An Experimental
Field Study
Nicolas Guéguen
Business Department,
University of Bretagne-Sud, IUT De Vannes
8 Rue Montaigne 5600
Vannes-France
Tel: +33297012663; Fax:
+33297676537
E-mail:
nicolas.gueguen@univ-ubs.fr
ABSTRAK
Sejumlah penelitian eksperimental telah menunjukkan bahwa
musik latar belakang mempengaruhi perilaku konsumen dalam lingkungan ritel.
Beberapa telah diuji tingkat kesesuaian antara musik yang dimainkan di toko dan
jenis barang yang dijual. Sebuah Percobaan dilakukan di sebuah toko bunga di
mana cinta lagu dan musik romantis (Kondisi kesesuaian), musik pop (musik
biasanya dimainkan di toko bunga) dan tidak ada musik (Kondisi kontrol) yang
dimainkan. Hasil menunjukkan bahwa jumlah rata-rata uang yang dikeluarkan secara
signifikan lebih tinggi dalam lagu-lagu cinta dan kondisi musik romantis
dibandingkan dengan dua orang lain, sedangkan kondisi musik pop tidak
menyebabkan peningkatan jumlah uang dibelanjakan dibandingkan dengan kontrol,
tidak ada musik, kondisi.
LATAR BELAKANG
Musik latar belakang diketahui mempengaruhi perilaku manusia
dan perilaku khususnya konsumen. Sejumlah penelitian eksperimental yang
dilakukan dalam pengaturan alam telah menunjukkan bahwa struktur komponen dari
berbagai jenis musik latar belakang seperti tingkat suara dan tempo
mempengaruhi konsumen perilaku. Percobaan pertama yang menguji efek dari satu
komponen struktural seperti pada konsumen perilaku dilakukan oleh Smith dan
Curnow (1966), yang memainkan musik keras dan lembut dalam dua supermarket. Mereka
menemukan bahwa pelanggan menghabiskan waktu kurang signifikan di toko-toko
selama keras sesi daripada selama sesi lembut, tapi tidak ada perbedaan yang
signifikan antara penjualan yang dilakukan di dua sesi. Mereka penulis
menjelaskan hasil mereka dengan "gairah", dengan alasan bahwa tingkat
suara yang tinggi menciptakan tingkat tinggi gairah pada pelanggan yang membawa
mereka untuk meningkatkan respon perilaku mereka arah stimulus, sehingga mereka
pindah lebih cepat putaran toko tetapi tidak menghabiskan uang lagi.
METODE PENELITIAN
Peserta
Para peserta adalah 120 pelanggan (48 laki-laki dan 72
perempuan) dari sebuah toko bunga di pinggiran menengah kota di barat Perancis.
Mereka tidak tahu bahwa mereka sedang diamati. Itu Penelitian dilakukan selama
delapan hari cerah di bulan Juni 2006.
Disain
Percobaan ini menggunakan metode antara-peserta. Satu
kelompok pelanggan terkena mencintai lagu dan musik romantis, kelompok lain
musik pop dan kelompok ketiga tidak ada musik sama sekali. Itu dua variabel
dependen adalah jumlah waktu dan jumlah uang yang dihabiskan pelanggan di toko
bunga.
Bahan
Di toko bunga di mana percobaan dilakukan, florist biasanya
memainkan CD musik pop. Ini adalah sebagian besar di tempo cepat (90-100 denyut
per menit) dan tidak memenuhi syarat sebagai lagu-lagu cinta atau romantic
music.
Diasumsikan bahwa responden akan sama sosio-demografi
karakteristik untuk orang-orang dari peserta kami eksperimen, selanjutnya
pewawancara diminta untuk mendekati-satunya orang yang tampak seolah-olah
mereka adalah antara usia 25 dan 60, seperti kebanyakan pelanggan dari toko
bunga. Seratus twentyone orang yang lewat (58 laki-laki dan 63 perempuan)
menjawab satu pertanyaan: "Bagi Anda, apa yang paling sesuai musik yang
bisa dimainkan di toko bunga untuk menciptakan keharmonisan antara musik dan barang
". Frekuensi dari berbagai tanggapan yang diberikan digunakan untuk memilih
musik yang paling tepat dan dilaporkan dalam Tabel 1.
Tabel 1: Jenis musik dianggap sebagai musik yang paling
tepat di toko bunga dilaporkan oleh
Peserta
Para peserta adalah 120 pelanggan (48 laki-laki dan 72
perempuan) dari sebuah toko bunga di pinggiran
menengah kota di barat Perancis. Mereka tidak tahu bahwa
mereka sedang diamati. Itu
Penelitian dilakukan selama delapan hari cerah di bulan Juni
2006.
Disain
Percobaan ini menggunakan metode antara-peserta. Satu
kelompok pelanggan terkena
mencintai lagu dan musik romantis, kelompok lain musik pop
dan kelompok ketiga tidak ada musik sama sekali. Itu
dua variabel dependen adalah jumlah waktu dan jumlah uang
yang dihabiskan pelanggan di
toko bunga.
Bahan
Di toko bunga di mana percobaan dilakukan, florist biasanya
memainkan CD musik pop.
Ini adalah sebagian besar di tempo cepat (90-100 denyut per
menit) dan tidak memenuhi syarat sebagai lagu-lagu cinta atau
romantic music.
Dalam rangka untuk menentukan musik yang bisa dianggap
kongruen dengan bunga, wawancara
Survei dilakukan di jalan dari kota yang sama di dekat toko
bunga. Diasumsikan bahwa
responden akan sama sosio-demografi karakteristik untuk
orang-orang dari peserta kami
eksperimen, selanjutnya pewawancara diminta untuk
mendekati-satunya orang yang tampak seolah-olah mereka
adalah antara usia 25 dan 60, seperti kebanyakan pelanggan
dari toko bunga. Seratus twentyone orang yang lewat (58 laki-laki dan 63
perempuan) menjawab satu pertanyaan: "Bagi Anda, apa yang paling
sesuai musik yang bisa dimainkan di toko bunga untuk
menciptakan keharmonisan antara musik dan
barang ". Frekuensi dari berbagai tanggapan yang
diberikan digunakan untuk memilih musik yang paling tepat
dan dilaporkan dalam Tabel 1.
Peserta
Para peserta adalah 120 pelanggan (48 laki-laki dan 72
perempuan) dari sebuah toko bunga di pinggiran
menengah kota di barat Perancis. Mereka tidak tahu bahwa
mereka sedang diamati. Itu
Penelitian dilakukan selama delapan hari cerah di bulan Juni
2006.
Disain
Percobaan ini menggunakan metode antara-peserta. Satu
kelompok pelanggan terkena
mencintai lagu dan musik romantis, kelompok lain musik pop
dan kelompok ketiga tidak ada musik sama sekali. Itu
dua variabel dependen adalah jumlah waktu dan jumlah uang
yang dihabiskan pelanggan di
toko bunga.
Bahan
Di toko bunga di mana percobaan dilakukan, florist biasanya
memainkan CD musik pop.
Ini adalah sebagian besar di tempo cepat (90-100 denyut per
menit) dan tidak memenuhi syarat sebagai lagu-lagu cinta atau
romantic music.
Dalam rangka untuk menentukan musik yang bisa dianggap
kongruen dengan bunga, wawancara
Survei dilakukan di jalan dari kota yang sama di dekat toko
bunga. Diasumsikan bahwa
responden akan sama sosio-demografi karakteristik untuk
orang-orang dari peserta kami
eksperimen, selanjutnya pewawancara diminta untuk
mendekati-satunya orang yang tampak seolah-olah mereka
adalah antara usia 25 dan 60, seperti kebanyakan pelanggan
dari toko bunga. Seratus twentyone orang yang lewat (58 laki-laki dan 63
perempuan) menjawab satu pertanyaan: "Bagi Anda, apa yang paling
sesuai musik yang bisa dimainkan di toko bunga untuk
menciptakan keharmonisan antara musik dan
barang ". Frekuensi dari berbagai tanggapan yang
diberikan digunakan untuk memilih musik yang paling tepat.
Delapan puluh empat dari 121 responden dinominasikan
mencintai lagu dan musik romantis sebagai yang paling musik yang sesuai untuk
toko bunga dan oleh karena itu kami memilih gaya ini musik untuk kongruen Kondisi
musik. Setelah menanggapi, untuk pertanyaan pertama, responden diminta untuk
memberikan satu atau dua contoh musik atau lagu mereka tahu yang "mewakili
gaya musik yang mereka sebelumnya dianggap sebagai disesuaikan di toko bunga
". Dalam sebagian besar kasus, responden memberi lebih dari dua contoh
musik (M = 4,28 dan SD = 2,37 dengan tujuh responden memberikan lebih dari 8 contoh).
Hebatnya, sebagian besar contoh untuk musik romantis dan lagu dan lagu Pop
adalah Lagu-lagu Perancis sedangkan tidak ada instruksi untuk memilih lagu dan
musik seperti itu dialamatkan.
Hasil
Variabel dependen yang digunakan dalam penelitian ini adalah
jumlah uang yang dihabiskan oleh pelanggan dalam tiga kondisi eksperimental dan
waktu dia atau dia menghabiskan di toko bunga. Hasil yang diperoleh dalam
kondisi yang berbeda disajikan pada Gambar 1 (jumlah uang yang dikeluarkan).
Laki-laki Perempuan
Sebuah 3 (background music: romantic / pop / tidak ada
musik) × 2 (jenis kelamin pelanggan: pria / wanita). ANOVA digunakan untuk
menganalisis data untuk masing-masing dua variabel dependen. Ada efek utama 61 musik
latar belakang tentang jumlah uang yang dihabiskan oleh pelanggan, diamati (F
(2, 119) = 11,47), p <.001, Parsial-eta ² = .168
1). Lebih banyak uang yang dihabiskan dalam kondisi musik
romantis (M = 32,55 €) dibandingkan dalam musik pop (M = 27,21 €) dan kondisi
musik tidak ada kontrol (M = 25,31 €). Pair perbandingan menunjukkan bahwa ada
perbedaan yang signifikan antara musik romantis, musik pop (t (79) = 2,93, p <.005,
D
2 = 0,66) dan tidak ada kondisi kontrol musik (t (75) =
4.00, p <.001, d = 0,92), tetapi tidak signifikan perbedaan antara musik pop
dan tidak ada kondisi kontrol musik (t (80) = 1.42, p = .14, d = 0,32). A efek
utama dari seks ditemukan (F (1, 119) = 12,96), p <.001, parsial-eta ² =
.102): pelanggan laki-laki menghabiskan lebih (M = 31.08 €) dari pelanggan
perempuan (M = 26.42 €). Tidak ada interaksi antara dua faktor analisis (F (2,
119) = 0,49), ns, parsial-eta ² = .008). Efek utama dari latar belakang musik
diamati untuk waktu yang dihabiskan di toko bunga (F (2, 119) = 41,52), p
<.001, parsial-eta ² = 0,421). Pelanggan menghabiskan lebih banyak waktu di
toko bunga saat romantis musik dimainkan (M = 291,6 detik) daripada ketika
musik pop (M = 153,7 detik) dan musik tidak ada dimainkan (M = 232,0 detik).
Pair perbandingan menunjukkan perbedaan yang signifikan antara romantis musik
dan musik pop kondisi (t (79) = 7.92, p <.001, d = 1,60), musik romantis dan
tidak ada kontrol musik kondisi (t (75) = 2.82, p <.01, d = 0,62) dan musik
pop dan tidak ada kontrol kondisi musik (t (80) = 5,09, p <.001, d = 1.14).
Efek utama dari seks ditemukan (F (1, 119) = 71.06, p <.001, partialeta ² =
0,284): pelanggan wanita menghabiskan lebih banyak waktu di toko bunga (M =
261,8 detik) dibandingkan laki-laki pelanggan (M = 164,3). Ada interaksi antara
dua faktor analisis (F (2, 119) = 3,70), p <.03, parsial-eta ² = 0,061).
Analisis Kontras menunjukkan bahwa efek interaksi dijelaskan oleh perbedaan
antara pelanggan pria dan wanita dalam kondisi musik pop. Ada korelasi linear
yang signifikan namun sedikit antara dua variabel dependen (R (118) = .20, p
<.05). Korelasi antara waktu dan uang yang dihabiskan tidak signifikan dalam
romantis Kondisi musik (r (36) = .09, ns), kondisi musik pop (r (41) = .22, ns)
atau kondisi tidak ada musik (R (37) = .10, ns). Namun ada korelasi yang
signifikan dan tinggi antara waktu dan uang yang dihabiskan oleh pelanggan
perempuan dalam kondisi musik romantis (r (21) = 0,497 p <.02), pelanggan
laki-laki (r (15) = .77, p <.001) dan pelanggan wanita (r (24) = .67, p
<.001) dalam kondisi musik pop dan pelanggan laki-laki di kontrol tidak ada
musik kondisi (r (14) = .53, p <.04). Tidak ada hubungan yang signifikan
antara waktu dan uang menghabiskan ditemukan untuk pelanggan laki-laki dalam
kondisi musik romantis (r (13) = .19, ns) atau perempuan pelanggan dalam
kondisi kontrol tidak ada musik (r (21) = .10, ns).
KESIMPULAN
1.ketika musik pop dimainkan dan, dalam percobaan ini, tidak
ada perbedaan yang ditemukan di jumlah uang yang dikeluarkan oleh pelanggan
ketika musik pop digunakan sebagai musik latar belakang dan bila tidak ada musik
dimainkan.
2. beberapa unsur musik latar belakang yang digunakan bisa
lebih efektif daripada yang lain dalam memperkuat kekuatan musik romantis dan
lagu-lagu cinta yang lebih umum. Pelanggan menghabiskan lebih banyak waktu di
toko bunga ketika sedang bermain musik romantis daripada ketika pop atau musik
tidak sedang bermain. Dalam kondisi musik pop korelasi positif ditemukan antara
waktu dan uang yang dihabiskan oleh laki-laki (r = .77) dan perempuan (r =
.67).
3. Studi kami memiliki beberapa aplikasi potensial. Ini bisa
menguntungkan secara finansial bagi pemilik toko-toko bunga untuk menggunakan
lagu-lagu cinta dan musik romantis sebagai latar belakang musik dalam rangka
meningkatkan Jumlah uang yang dibelanjakan oleh pelanggan. Apalagi, jika
pemilik ingin mengurangi waktu yang dihabiskan oleh pelanggan di toko, misalnya
ketika itu dikemas, tanpa mengurangi jumlah uang dihabiskan, manajer bisa
menggunakan musik pop sebagai musik latar belakang.
