xii!!Introduction
Music can evoke any mood imaginable. The composer’s choice of
instruments, harmonic structure, compositional structure, recording tech-
niques, and synthesizer effects all evoke a response from the audience.
The subtlest compositional device can affect an audience’s visceral
response to a commercial. For instance, if the composer uses a ‘‘negative-
sounding’’ musical sound effect within a scene that is intended to provoke
apositiveresponse,theaudiencemighthaveanegativereactiontothe
entire commercial. This is a frequent compositional problem; therefore, the
composer must have a clear understanding of the musical mood expected
by the creatives. An additional problem is that musical effects and moods
are subjective. The music might sound interesting and or positive to the
composer but generate a negative response from the audience.
In contemporary society, virtually all forms of entertainment and
informative presentations use music: commercials, motion pictures, televi-
sion programs, industrial films, corporate events, electronic games,
recordings, and more. The emotional mood that music creates is of the
utmost importance. For instance, a specific style of music is often heard
when a telephone caller is put on hold. Airlines usually play ‘‘middle-of-
the-road’’ music (sometimes with voice-over announcements) since the
music has to appeal to a sizable demographic. A record label will often
use the label’s most recent releases as the ‘‘on-hold message.’’
Choosing the most appropriate musical style can make the difference
between success or failure for a commercial. It is advisable to conduct in-
depth discussions with the creative team at the advertising agency so that
everyone has a clear understanding of the assignment and the function of
the music. Even though most creatives have a specific vision of their cre-
ative goal(s), it is advisable for composers to contribute additional sugges-
tions. Composers are the musical experts, and experienced creatives will
generally value a composer’s input.