Mcdonald 39;s Jingle Audio Download

5. Hot Pockets. Famous for the memorable microwave ding, the sung Hot Pockets audio mark scored well for unaided recall. It was also a top performer in the happy and excited categories.

3. Intel. Probably the most famous audio logo of the bunch, the Intel chimes are internationally recognized, earning them an unaided recall score of 88. Intel ties first for evoking a feeling of innovation among listeners. It was also near the top of the pile on excited and in the overall engagement metrics.

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This study conducts a statistical analysis that reveals the presence of clearly defined characteristics among audio logos and assesses the inherent musical meanings of those audio logos. Inspired by the seminal work of Theo Van Leeuwen (1999), this work focuses on an in-depth analysis of a large sample of audio logos (n=196) that has been transcribed and analyzed in terms of sonic modality cues from a compositional perspective. For readers who do not have a formal musical background, the results are illustrated with many visual and numerical outputs, as well as audio samples. This work is intended for those interested in audio branding and audio logos, and is a framework for academics and professionals interested in the musicological analysis of a song or a tune using sonic semiotics, for those who conduct market research on how consumers judge sounds and relate to musical pieces, and the associations that are elicited by such pieces.

Audio logos are also an exceptional and unique musical form, playing an idiomatic role in society. They are recognizable by millions of people around the world, thus, making them currently one of the most popular music genre. Audio logos can be heard in countless commercials as an integral part of the eco-system that is popular culture and are embedded in our subconscious. And yet, audio logos are not being consumed as an art form or streamed on platforms such as Spotify or Pandora. Instead, they are heard in the advertisements that support such services.

Another stream of research generating a great deal of attention links the audio logo fit to brand. This is not the intent of this study to do so. Instead, the author wishes to establish a framework that would enhance such studies. In addition, audio logo fit to brand is best treated in a case study format. For those interested in case by case applications, about 50 such case studies are readily available from the Audio Branding Academy3.

The author sourced over 339 audio logos, analyzed 269 out of those 339 and from that sample 196 were successfully transcribed. The other 74 audio logos were very complex scores, sound designs, or sound effects with no recognizable pitches. The Dolby Digital Audio Logo is an example of a notation file submitted to trademark offices in an unintelligible format (See Figure 7 as patented with the United States Patent and Trademark Office (USPTO), and the European Union Intellectual Property Office (EUIPO)4). Besides, a sonic modality cue analysis of sound effects and sound designs is beyond the scope of this study. For a complete list of the transcribed audio logos, see Table 2, and for transcription data, refer to Appendix A. Also, please note that some of the brands listed had several versions, marked as version 1, version 2, and so forth.

Home countries of the corporations associated with the brands (See Table 2) are shown in Figure 8. Germany and the United States are heavily represented in this sample, respectively the fourth and first economies in the world.5 German companies are conscientious about their sonic identity and it is, thus, no surprise that the academic center that is the Audio Branding Academy (ABA) specializing in audio branding is hosted in Hamburg, Germany. Figures 8 and 9 also show that the transcribed sample is well diversified in terms of industry sectors and does represent companies and brands that span the globe, thus reducing result bias. Amongst the top industry sectors seeking a unique sonic branding identity via the creation of an audio logo are the food and drink industry, financial and business services, chemicals, health care, and energy, the automotive industry, film and entertainment, and transport, followed closely by technology, retail and the electronics market. Note that those sectors deal with particularly intense competition, and thus, require a clear audio identity to stand out in the eyes (and ears) of potential consumers.

The analysis presented next is conducted in seven parts to offer a comprehensive understanding of the scope of the 196 audio logos treated in this study. In addition, in each section of this analysis, the meaning of each modality cue will be explained to increase the understanding of the musical processes, thus, answering why audio logos have those characteristics.

On the extreme opposite end, the maximum set of events presented within the sample transcribed is 23 (See Figure 12 and Audio File 9), with one occurrence of an audio logo with 32 pitches (See Figure 13 and Audio File 10) and another with a pitch range of 23 or over 3 octaves (See Figure 11 and Audio File 8). Those extreme examples are rarities and outliers of the sample treated.

The scatter diagrams plotted below present a visual outlook of data n=196 in terms of events, pitches, and pitch range (See Figure 14, 15 and 16). Note how most audio logos clusters are under the 10 events and pitches line. Some data points are present beyond that threshold but are

statistically outliers. The audio logos containing over 10 pitches and/or events tend to be jingles with two structural units and often contain a vertical cluster of pitches that often takes the form of a chord. The Apple audio logo is an example of a vertical pitch cluster as a chord (See Figure 4 and Audio File 3). Another condensed vertical cluster of pitches can be seen in the Sony audio logo (See Figure 13 and Audio File 10). Pitch range tends to remain within an octave range (

An extreme version of an intervallic change can be seen in the Mller audio logo (See Figure 12 and Audio File 9). Note how 12 upward and downwards successive motions are indicated by the arrows. Again, this is a rarity amongst audio logos as learned from the sample. To reinforce this analysis, the scatter diagram below plots the transcribed sample in terms of intervallic directional changes (See Figure 19). A seen in this diagram, most audio logos treated here take advantage of 3 or less intervallic directional changes.

Within the time constraint imposed on audio logos and singing range necessary for recall, intervallic changes add a level of creativity. Integrating this layer of motion may add to the uniqueness of an audio logo. However, too much complexity diminishes recall. The sample does support that audio logo designers chose, in most instances, to limit the amount of back-and-forth melodic motions.

On the other hand, a durational change is a rhythmic value change if any (See Table 4). In the case of the T-Mobile audio logo, there is no durational change because all events have a similar length, thus 0 (See Figure 18 and Audio File 11). A contrasting example is the Airtel audio logo (See Figure 20 and Audio File 12).

In that example, there are 3 durational changes. The first durational change happens on event 7, then another on event 9, and the final one on event 12, thus 3 durational changes as shown by the circles sketched on the sample. The results from Table 4 show that the most common durational change pattern in the sample is 2. The CVS audio logo is an example displaying such behavior (See Figure 10 and Audio File 7). In contrast, the example with the most extreme range of durational changes, covered by this study, is the ING-DiBa audio logo (See Figure 21 and Audio File 13). There, every event has a different durational length and thus changes constantly for the exception of two events that have the same length (circled in the figure) for a total of 13 changes. Alike intervallic changes, durational changes or the use of rhythmic diversity adds again to the uniqueness of an audio logo and can give that logo a semblance of grove, thus increasing recall.

The data shows that there is typically more variation in durational changes than in intervallic directional changes (See Figure 22). Indeed, most audio logos do not tend to include more than 4 durational changes, and most of the sample is restrained between 0 and 3 changes. Thus, the data supports that here is more variation done with durational changes than with intervallic directional changes, the number of events, pitches and pitch range. However, common attributes in all modality cues addressed thus far are clearly present and all play different roles.

The resolution modality cue distinguishes whether an audio logo is open ended or close ended, whether it concludes or remains non-conclusive. It is an important portion of this analysis from a structural perspective. Over 61% of the audio logos treated here remain open ended in their resolution (See Table 6).

The meter modality cue assesses whether an audio logo is in a binary, ternary or compound meter. In a binary meter, the beat can be divided in 2 and in a ternary meter it can be divided in 3. A compound meter is a combination of the two within a given measure. Most of the audio logos presented thus far have a binary modality cue. The Miracoli audio logo (See Figure 24 and Audio File 14) is one of the rare examples with a ternary meter. There, each beat, as circled in the example, is dividable by 3. Only seven audio logos, or 4% of the sample (n=196), are ternary and only one is in a compound meter (See Table 7). Thus 95% of audio logos transcribed in this study were in a binary meter.

The only audio logo in a compound meter is the St. Lukas audio logo (See Figure 25 and Audio File 16). Please note, how there are seven equal events in the first measure with several possible subdivisions in a compound meter including 7 events: 2+2+3, 2+3+2, or 3+2+2, thus known as compound meter. The St. Lukas audio logo example uses the 2+2+3 subdivision to illustrate this concept (See circled subdivisions in Figure 25). Most of the music available worldwide is in a binary meter (2/4 or 4/4) including genres such as Rock, Pop, Country, and Blues. The dominance of the binary meter in audio logos helps create familiarity to support recall. ff782bc1db