Use and management of music in high end

Earlier research has shown that atmospheric music influences the perception and havior of guests and staff in a variety of ways, many of which have direct implications for revenues, gros

Overview of the topic

Music has been deeply interconnected with society throughout human history, as every culture has developed its own musical traditions, reflecting its fundamental role in human life Throughout modern history, the influence of music on society is evident, from inspiring Thomas Jefferson in writing the Declaration of Independence to aiding Einstein in solving complex equations while playing the violin Music possesses the power to affect our bodies both positively and negatively, with immediate and long-lasting effects Its primary influence is emotional, impacting us either directly through our senses or indirectly through feelings that influence the mind.

When it comes to music in social settings, its research started in 1954 when Paul

Farnsworth published the first book on the social psychology of music, establishing a foundational work in the field The second edition of this influential book was released in 1969, reflecting ongoing developments in music psychology After a period of silence in the field, North and Hargreaves edited a new edition in 1997, marking the first major update since the original publication and reigniting interest in the social psychology of music.

First studies of emotion in music emerged in the late nineteenth century (Downey 1897; Gilman 1891; Weld 1912 in O’Donnell 1999) but all in respect to psychology

Research focusing exclusively on the relationship between music and emotion emerged in the 1930s and 1940s, with foundational studies by Hevnen (1935), Rigg (1940), and Seashore (1938) However, these early investigations were primarily experimental and descriptive, emphasizing how listeners perceive emotion in music rather than how music induces emotional responses.

Research in music psychology has seen significant advancements, particularly in the cognitive and developmental branches during the 1960s and 1980s, through lab-based experimental methods that explore core aspects of musical behavior, such as perceptual and aesthetic reactions to music These foundational studies have deepened our understanding of how people perceive and respond to music on a psychological level Additionally, recent research has expanded into the influence of music in commercial environments, focusing on how music affects consumer behavior and mood in retail settings.

Since 1966, research has shown that music influences customer behavior in retail and dining environments Smith and Curnow's study demonstrated that loud music in supermarkets encourages shoppers to move faster between points, enhancing shopping efficiency Similarly, Milliman (1986) found that slow music in restaurants causes diners to eat more slowly, while fast music accelerates their eating pace These findings highlight how music tempo impacts customer pace and overall experience in commercial settings.

(1992 in Juslin & Sloboda 2011) reported that lab participants drank soda faster when background music was playing

Another area that was researched a lot is the preference of music, started by Berlyne in

Since 1971, researchers have conducted over 30 years of studies exploring how musical elements such as familiarity, complexity, tempo, and volume influence arousal in the nervous system Findings by Juslin and Sloboda (2011) highlight the significant role these aspects play in shaping emotional and physiological responses to music, emphasizing their importance in understanding music's impact on human arousal.

Recent research has primarily focused on the impact of music within retail environments, highlighting how it influences customer behavior Most studies rely on the Mehrabian and Russell (1974) environmental psychology model to understand these effects Findings consistently indicate that playing preferred music increases the amount of time customers spend in stores, enhancing overall shopping experiences and potentially boosting sales.

(North & Hargreaves 1996; Caldwel & Hibber 2002; Herrington & Capella 1996)

Extensive research on this topic is summarized in key books such as *The Social Psychology of Music* (North & Hargreaves, 1999) and *Music and Emotion* (Juslin & Sloboda, 2011), highlighting its multidisciplinary nature These studies span various fields but are unified by their focus on music’s role in social and emotional contexts The range of musical genres and methods explored in research has significantly expanded over the years, reflecting the growing complexity and diversity of musical expressions and their psychological impacts.

In recent years, the field has diversified into various sub-disciplines, including measurement, performance, neuroscience, music experience, development, music in everyday life, music preference, and applications According to Juslin and Sloboda (2011), these subdivisions reflect the field's broad scope but also highlight that it remains largely descriptive rather than hypothesis-driven, indicating that it has yet to reach full scientific maturity.

The future of music remains uncertain, but one thing is clear: our emotional experiences and reactions to music in various settings are undeniable These emotional responses highlight the profound impact music has on our lives, emphasizing its enduring significance across different contexts.

This is calling for more research in the field of tourism, hospitality and most importantly experience creation design

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Research indicates that music significantly influences consumer behavior and service evaluation Pleasant music acts as a positive cue, stimulating emotions and encouraging longer consumption times (Caldwell & Hibbert, 2002) It also reduces negative emotional reactions during waiting periods (Hui, Dube & Chebat, 1997) and fosters more positive attitudes toward service providers (Dube, Chebat & Morin, 1995) Implementing enjoyable music in service environments can enhance customer experience and increase purchase intentions.

Previous studies have demonstrated that atmospheric music significantly influences guests' and staff's perceptions and behaviors, directly impacting revenues, gross margins, and profitability.

& Hargreaves 1998; North, Hargreaves & McKendrick1997, 1999; Yalch & Spangen- berg 1990, 1993, 2000) yet, despite the abundance of research demonstrating that atmospheric music affects perception, behavior, and overall financial performance (Areni

2006), researchers have at large dedicated less attention to the management issues of atmospheric music

Research problem

This study explores how managers in Finnish hospitality businesses utilize and manage music within their venues Previous research indicates that ambient music significantly influences guest and staff perceptions and behaviors, which can directly impact revenue, profit margins, and overall business performance Understanding effective music management strategies is essential for optimizing the ambiance and financial success of hospitality establishments.

Research from as early as 1982 and 1986, along with studies by North & Hargreaves (1998), North et al (1997, 1999), Roballey et al (1985), and Yalch & Spangenberg (1990, 1993, 2000), highlights the significant impact of atmospheric music on perception, behavior, and financial performance Despite extensive evidence demonstrating these effects (Areni, 2006), there remains a notable gap in research focusing on the management and strategic implementation of atmospheric music in commercial settings.

The purpose of this research will be to answer the following question:

How managers of Finnish hospitality businesses use and manage music in their premises?

Study is designed to answer the following questions too:

- how much attention is paid to music when creating atmosphere on the premises

- importance of music in the overall business

- manager’s awareness of music as a dimension of experience creation

Justification for the study

In today's highly competitive hospitality industry, restaurant companies are shifting their focus from merely serving food to creating memorable guest experiences This strategic move aims to differentiate their brand, gain a competitive advantage, and establish industry leadership By prioritizing unique experiences, these establishments can attract and retain customers in a crowded market.

Since the launch of the OSKE - Tourism and Experience Management Cluster Programme in Finland, there has been a strong emphasis on creating memorable experiences to enhance the tourism industry In 2011, over 1,000 companies participated in initiatives aimed at improving their service offerings, with a key focus on experience management and service design Many restaurants now strategically incorporate music to differentiate themselves and outperform competitors, although some do so based on intuition and past experiences rather than deliberate planning.

This pioneering research provides valuable insights into the use and management of music in Finnish hospitality businesses, a previously unexamined area By focusing on restaurant managers, it advances knowledge in the field and fills a significant gap in academic literature As the first study of its kind in Finland, this research enhances understanding of how music impacts customer experience and operational management in local restaurants.

This article aims to support both practitioners and academics by offering valuable insights Practitioners can benefit from a comprehensive analysis of how music is strategically integrated into high-end restaurants in downtown Helsinki, enhancing their understanding of effective ambiance creation Meanwhile, academics will find this research particularly valuable, as there has been no prior study conducted on this subject, filling an important gap in the existing literature.

Methodology in brief

This study employs a qualitative case-based research methodology, utilizing face-to-face semi-structured in-depth interviews to gather primary data The interviews focus on managers of hospitality businesses in downtown Helsinki who oversee daily music operations, providing valuable insights into industry practices.

This study aims to explore how managers utilize music to create immersive experiences across various dimensions The interview protocol was developed based on an extensive literature review and a solid theoretical framework to ensure comprehensive insights In-depth interviews were conducted during spring and summer 2011, as well as autumn 2012, involving five high-end restaurants and one newly opened experience provider, all located in a specific regional context.

Helsinki's downtown area is home to renowned high-end experience organizations that meticulously incorporate music into their offerings Based on extensive research, word-of-mouth insights, and the author's personal experiences, it is evident that these organizations prioritize music as a key element of their guest experience The collected data highlights how Helsinki’s premium venues manage and elevate musical entertainment to create memorable, sophisticated events, demonstrating the city's commitment to exceptional quality and attention to detail in the realm of music management.

This study builds on a comprehensive literature review to establish a solid theoretical framework, clearly identifying key dimensions related to music management in hospitality settings The primary objective is to explore how hospitality managers utilize and oversee music to enhance guest experiences across these identified dimensions Understanding these practices can provide valuable insights into effective music management strategies that contribute to positive customer experiences in the hospitality industry.

Definitions

This study begins by defining essential terms to ensure clarity and avoid misunderstandings As the research focuses on the premises and involves music usage and management, it is important to clarify these concepts, including their roles in shaping experience and creating atmosphere Clear definitions of these key terms will enhance understanding of how music influences environment and user engagement within the study's context.

A restaurant is a public establishment where food is prepared, served, and sold for on-site consumption, encompassing various formats such as buffets, lunch counters, cafeterias, grill rooms, and hotel dining rooms (Sherry, 1993).

High-end restaurants are establishments that are slightly more upscale than traditional dining venues, often distinguished by earning one or more Michelin stars These acclaimed restaurants are listed in the prestigious Michelin Guide, a renowned publication that has highlighted exceptional dining experiences for over a century Most high-end restaurants tend to be small to medium-sized businesses, emphasizing quality and exclusivity.

Music is defined by Merriam-Webster as the art or science of combining vocal and instrumental sounds to create beauty, harmony, and emotional expression Background music, as described by the Financial Dictionary, refers to music played in the background to enhance ambiance and support various environments Incorporating this understanding, background music can significantly influence mood and atmosphere, making it a vital element in entertainment, retail, and hospitality settings Optimizing the use of background music can improve customer experience and engagement, highlighting its importance in various industries.

Background music refers to music used in situations where it is not the primary focus, serving as an ambient element rather than the main attraction According to Have (2008), this type of music surrounds us in daily life and is typically ignored consciously, playing a supportive role in enhancing our environment without demanding our full attention.

Experiences are inherently personal and exist only in the mind of an individual engaged on emotional, physical, intellectual, or spiritual levels (Pine & Gilmore, 1999) It is important to distinguish between personal experience and product experience; the latter involves understanding how interactions with products stimulate senses, evoke emotions, and create subjective meaning and value (Schifferstein & Hekkert, 2008) According to Pine and Gilmore (1998), companies intentionally use services to engage consumers in meaningful ways, creating memorable events that foster a lasting impact.

Tempo, measured in beats per minute (BPM), is a crucial aspect of music that significantly influences listener perception and behavior It is a quantifiable variable, determined using a metronome, which counts the number of beats per minute to specify the tempo In music notation, the note value—whether whole, half, quarter, or crochet—is set as the beat, indicating how many of these beats should occur within one minute In the context of restaurants and bars, research by Milliman (1986) cited in North & Hargreaves (2008) demonstrates that slower music tempo encourages customers to stay longer and spend more, highlighting the importance of tempo in influencing consumer behavior.

Research by North and Hargreaves (2008) indicates that fast music significantly decreases drinking duration, while Roballey et al (1985) found that patrons exposed to fast tempo music in a cafeteria exhibited a notable increase in bites per minute compared to slow tempo or no music conditions Additionally, listeners generally prefer music tempos ranging from 68 to 178 BPM, highlighting the influence of tempo on behavior and preferences.

Structure of thesis

This thesis begins with an extensive literature review, focusing on Bitner’s (1982) framework for understanding the environment-user relationship in service organizations It then emphasizes the role of ambient conditions, specifically music, within this context The review also examines Oakes’ (2000) musicscape framework as a distinct phenomenon, highlighting its significance in experience creation and its connection to atmospheric music Additionally, an extended theoretical model integrating aspects of both Bitner’s and Oakes’ frameworks will be introduced to provide a comprehensive understanding of the influence of ambient music on customer experience in service environments.

This article outlines the research methodology and clarifies the research position to ensure transparency and rigor It details the data collection process, including ethical considerations, and provides a thorough analysis of the collected data The study’s findings are presented in depth, with a focus on each musical dimension explored A comparison between theoretical frameworks and empirical results is discussed to highlight key insights Finally, the article concludes with a summary of the main findings and presents implications for future research in the field of music studies.

Key concepts

In the following part, main key concepts used in thesis will be looked at and defined in order to keep the clarity and understanding of the topic

Small to medium-sized enterprises (SMEs) encompass a diverse range of firms, typically employing no more than 250 people (Hertz, 1982; Fisk, Grove & John, 2008) These organizations are independently owned and operated, without dominance in their respective markets (Preston et al., 1986; Fisk et al., 2008) According to Scott and Bruce (1987), SMEs are characterized by independent management—often the owners themselves—local operations, and ownership held by individuals or small groups, with capital primarily sourced from within the organization.

According to the Bolton Committee's 1971 report, a small firm is characterized by having a limited market share, being managed personally by its owners, and lacking sufficient size to access capital markets for public securities issuance The OECD's 2005 report on SMEs and Entrepreneurship Outlook further highlights that in 2002, Finland had approximately 226,600 enterprises employing around 1,315,000 people, with a total turnover of 274 billion Euros, emphasizing the significant contribution of SMEs to the economy.

Over the past decade, SMEs in Finland, particularly those with fewer than 250 employees, have shown significant growth, accounting for 99.7% of all enterprises Micro firms, employing fewer than 10 people, make up 95% of all businesses and are predominant in the restaurant sector, especially within the hospitality industry In this context, SMEs include high-end restaurants and experience providers with no more than 50 employees, highlighting their vital role in Finland's economic landscape.

The term ‘scape’ originates from the Old English word ‘skipe’ and is etymologically related to the word ‘shape,’ which pertains to the physical act of shaping This connection highlights how ‘scape’ has evolved to convey concepts related to form and structure Understanding the roots of ‘scape’ provides insight into its usage in describing visual and conceptual frameworks.

According to Spirn (2008), landscape encompasses not only the physical shaping of environments but also broader panoramic views, influencing perception Daniels (2008) emphasizes that landscape can also be viewed as a cultural image or symbolic representation of surroundings, which links to the creation of service experiences The concept of "servicescape," derived from landscape, refers to the total physical environment and ambiance where services occur, including design elements, ambient conditions, and social interactions (Bitner, 1992; Baker, 1987; Sherry, 1998) Building on this, Oakes (2000) introduced the term "musicscape," focusing solely on the role of music as an ambient variable that shapes in-store experiences and influences customer emotions (Morrison & Beverland, 2003).

Atmosphere refers to the quality of the surroundings, encompassing the air and environment that evoke specific feelings, whether pleasant or unpleasant (Cornellus, 2009) In the context of restaurants, atmosphere describes the attributes that influence patrons’ emotions and perceptions of the space It is created through the interaction between individuals and their environment, shaping the overall mood and setting (Heide & Gronhaug, 2006) In this thesis, atmosphere is defined as a mood or ambiance achieved by managing environmental dimensions, as outlined in Bitner’s framework.

Services marketing

Servicescape is grounded in service marketing literature, highlighting its importance as a distinct field within marketing The evolution of service marketing has shaped the development of the Servicescape model, which emphasizes the significance of physical environment in shaping customer experiences Key facts about service marketing’s progression underscore the relevance of the Servicescape concept in enhancing service delivery The article will also analyze the Servicescape model in detail, illustrating its role in improving customer satisfaction and business performance.

Service marketing emerged as a subfield of marketing in the late 1970’s (Brown, Fisk,

Service Marketing offers an in-depth understanding of how to effectively manage and develop services, emphasizing a multidimensional approach that addresses managerial issues such as service organization and delivering customer value (Berry & Parasuraman, 1993) According to Gilmore (2003), service encompasses acts, processes, and performances, categorized into service activities and the concept of service itself To fully comprehend services, it is essential to recognize their core characteristics: intangibility, inseparability, perishability, and heterogeneity, which significantly influence how services are marketed and delivered.

Services are characterized by their intangibility, meaning they cannot be seen or tasted as they do not have a physical form This key feature distinguishes services from tangible products, making it a fundamental aspect of service marketing According to Zeithaml (1981 in Grönroos), intangibility is one of the most important characteristics of services, emphasizing that services lack physical presence, which impacts how they are marketed and perceived by consumers.

The degree of tangibility significantly affects how easily consumers can evaluate services and products, making it challenging to measure service value and quality To address this, consumers often seek evidence of quality through tangible cues such as decoration However, Onkvisit and Shaw (1991, as cited in Grönroos, 2001) argue that the importance of intangibility is often overstated, suggesting that the core of a service is the provider’s "productive capacity" rather than its tangible or intangible nature.

Inseparability, or simultaneity of production and consumption, refers to the concept that services are produced and consumed at the same time According to various scholars, this characteristic enables consumers to influence the performance and quality of the service, as they participate actively in the delivery process (Regan, 1963; Wyckham et al., 1975; Donnelly, 1976; Grönroos, 1978; Zeithaml, 1981; Carman and Langeard, 1980; Zeithaml et al., 1985; Bowen, 1990; Onkvisit and Shaw, 1991 in Grönroos, 2000) Essentially, it means that the service provider becomes an integral part of the service, allowing consumers to participate and potentially impact the final outcome For service marketers, this characteristic is advantageous, as it offers opportunities for enhanced customer engagement and personalized service experiences.

Heterogeneity in service delivery indicates high variability due to the simultaneous production and consumption of services and the involvement of people, making each service unique and often non-replicable This variability can raise concerns about maintaining consistent service quality and uniformity, emphasizing the importance of rigorous personnel training and customer satisfaction monitoring Conversely, heterogeneity also offers opportunities for flexibility and customization, allowing service providers to differentiate themselves and add value through tailored experiences.

Services are inherently perishable, meaning they cannot be stored or resold, leading to lost opportunities such as empty hotel rooms, unoccupied airplane seats, or vacant restaurant tables (Grönroos, 2000) This perishability presents challenges mainly when demand fluctuates—either too high or too low—since services cannot be saved once consumed Onkvisit and Shaw (1991) describe services as “time dependent” and “time important,” emphasizing their high perishability Hartman and Lindgren (1993) highlight that the main concern regarding perishability is the imbalance felt by service providers and customers, especially when supply is insufficient, causing customers to wait or miss out on service opportunities.

Understanding the difference between services and physical goods is crucial in services marketing, as their interconnection often poses unique challenges Ensuring both aspects strive for excellence is essential; neglecting either can hinder overall success (Gilmore, 2003) Sometimes, managers focus heavily on delivering exceptional intangible aspects of service, which may lead to overlooking the significance of tangible elements that also contribute to overall service quality.

Literature presents contrasting perspectives on the importance of the physical environment in services Some researchers, such as Andaleeb & Conway (2006), argue that the physical environment has little influence on customers' perceptions or behaviors Conversely, other studies emphasize that the physical setting plays a crucial role in shaping customer experiences and satisfaction, highlighting the need to design inviting and functional spaces Incorporating these insights can enhance service quality and positively impact customer perceptions.

The environmental setting plays a vital role across all service contexts, as consumers typically experience the entire service environment, which significantly influences their perceptions and behaviors This emphasizes that every element of the service environment contributes to customer satisfaction and overall experience, making it a crucial factor for service success (Bitner, 1992; Cronin, 2003; Hoffman & Turley, 2002; Kotler).

Recent research by Wall and Berry (2007) highlights that both tangible factors, like the servicescape, and intangible factors, such as responsiveness, reliability, and empathy, work together to influence customers' overall service quality evaluations Kim and Moon (2009) emphasize that services are increasingly integrated with their physical settings, which significantly impact customer behavior and perceptions.

Understanding the different typologies of services is essential to grasp their complexity, particularly when examining the servicecape model The significance of the physical setting varies depending on the nature of the job and the consumption experience (Bitner, 1992) Not all service firms and industries are the same, highlighting the need for distinct management approaches (Lovelock, 1983; Schmenner, 1986) A comprehensive typology, as shown in Table 1, categorizes service organizations based on two key dimensions that influence how the servicescape is managed, emphasizing the diversity across service industries.

Table 1 Typology of Service Organization Based on Variations in Form and Usage of the Servicescape (Bitner 1992)

The vertical dimension of the servicescape illustrates who is performing actions—whether it’s the customer, the employee, or both At one extreme, high customer activity indicates self-service scenarios, where customers independently engage with the service environment In contrast, interpersonal services, such as in hotels, restaurants, and banks, involve both customers and employees actively participating, reflecting high activity levels from both parties On the other end, employee-only or remote services feature minimal customer involvement, with activities primarily conducted by staff behind the scenes, emphasizing the different roles within the servicescape.

Bitner (1992) emphasizes that in self-service environments, strategic physical design can reinforce positioning and segmentation efforts while boosting marketing goals like customer satisfaction and attraction For interpersonal services, careful servicescape design is crucial to aligning organizational and marketing objectives effectively Additionally, for remote services, thoughtful physical environment considerations can play a vital role in enhancing the overall customer experience and achieving business success.

According to 1992, organizational objectives like employee satisfaction, motivation, and operational efficiency should be the primary focus in designing physical settings, as most customers rarely see or experience these environments Prioritizing internal goals can enhance overall productivity and workplace morale, ultimately benefiting the company's success Efficient physical setting design supports employee well-being and operational effectiveness, even if it is not directly visible to clients or customers.

Servicescape

Environment-User Relationships in Service Organizations

Bitner’s (1992) framework highlights how objective environmental factors are perceived by both customers and employees, eliciting cognitive, emotional, and physiological responses Unlike other models such as Mehrabian and Russell (1974), Bitner’s framework uniquely synthesizes these perceptions, emphasizing the interaction between customers and employees within commercial settings This comprehensive approach underscores the importance of environment in shaping behaviors and experiences in service environments.

Figure 1 Framework for Understanding Environment-User Relationships in Service Organizations (Bitner 1992)

It is acknowledged that the service environment is made up of both tangible (buildings and furniture) and intangible (temperature, color, scent and music) elements which

The service experience is composed of various elements, with Hoffman and Turley (2002) emphasizing the importance of understanding how the servicescape influences customer behavior and internal responses The framework initially focuses on observable behaviors affected by the servicescape, followed by internal psychological reactions, and finally examines the controllable dimensions that create the overall service environment However, it is essential to address the role of perception, a factor that Bitner (1992) did not explicitly include in her model but is crucial in shaping how customers interpret and respond to the service environment.

When consumers enter a servicescape, there is an ongoing debate about whether they first think or feel Some researchers argue that cognitive states, such as thoughts and perceptions, come before emotional responses during the evaluation process (Lazarus, 1999; Oliver, 1980, 1981) Conversely, others believe that emotional states occur first and influence subsequent cognitive appraisal, shaping the overall consumer experience (Pham et al., 2001; Swinyard, 1993) Understanding this dynamic is crucial for creating effective service environments that positively impact customer satisfaction and engagement.

Perception, as defined by Schiffman (2001), is a function of multiple sources of input from the environment, combined with an individual's predispositions, expectations, motives, and accumulated knowledge from past experiences These elements work together to shape each person's unique view of the world, as highlighted by Schiffman and Kanuk (1978) Understanding these factors is essential for businesses aiming to better connect with consumers and tailor their marketing strategies effectively.

Individuals perceive and organize stimuli from a servicescape into coherent images by grouping related elements, influenced by Gestalt psychology principles Gestalt psychology, derived from the German word meaning form or whole configuration, explains that people automatically and spontaneously group visual stimuli based on clear patterns and perceptual cues This organization process involves perceiving the environment as distinct figures against backgrounds, allowing individuals to form immediate and meaningful perceptual impressions of physical spaces.

Figures are typically perceived immediately due to their clarity and position at the forefront of our visual field, making them prominent and easily noticeable In contrast, grounds tend to be perceived as vague and hazy, often lacking the visual prominence of figures According to Gestalt psychology, six principles govern how individuals group and perceive forms, influencing the way we interpret visual stimuli These principles explain how we organize visual information into coherent perceptions, emphasizing the importance of figure-ground relationships in visual cognition.

- Proximity/nearness - which are the individual elements grouped together according to similar perceived distance, which can be far or close

- Similarity – elements that are similar physically

Continuity is a key principle in visual perception, where elements that align and point in the same direction are perceived as belonging to a single group This effect is especially evident in the continuation of a curve or straight line, allowing viewers to effortlessly follow the flow of the design or image Leveraging continuity enhances visual coherence, guiding the viewer's eye smoothly through the composition for a more engaging and organized appearance Incorporating continuous lines and aligned elements can effectively create a sense of unity and harmony within your content, improving overall visual storytelling and user experience.

- Common fate – elements that move in the same direction are perceptu- ally grouped together This has a cohesion with the principle of similarity, but is applied to moving elements

- Symmetry – priority in grouping is given to naturally balanced, symmet- rical figures over asymmetrical ones

- Closure – grouping occurs in a way that favors perception of a more en- closed or complete figure (Lin, 2004)

Understanding the human sensory system is essential to comprehend how perception is formed According to Hall (1969), the sensory system comprises two main components: distance receptors and immediate receptors Distance receptors, such as those in the eyes, ears, and nose, collect visual, auditory, and olfactory information from a distance, enabling us to perceive our environment without direct contact In contrast, immediate receptors located in the skin, membranes, and muscles facilitate tactile experiences like temperature, texture, hardness, and shape Recognizing these sensory functions allows us to better understand human perception and serves as a foundation for explaining behaviors, such as those described in Bitner’s model and its focus on individual behavior dimensions.

Behavior

Research in environmental psychology predominantly focuses on retail environments such as supermarkets, exploring how store design influences consumer behavior (Hirsch, 1992; Donovan & Rossiter, 1982; Bellizzi & Hite, 1992; Bellizzi et al., 1983; Spangenberg et al., 1996; Areni & Kim, 1993; Yalch & Spangenberg, 1990) These studies examine how factors like store layout, lighting, and ambiance impact shoppers' perceptions and purchasing decisions, highlighting the importance of environmental cues in retail success.

Environmental psychologists identify two fundamental behavioral responses to places: approach and avoidance Approach behaviors encompass positive actions like the desire to stay, explore, work, and affiliate with a location, indicating a favorable emotional response Conversely, avoidance behaviors reflect a reluctance to stay or engage, representing an unfavorable emotional reaction Understanding these behaviors helps explain how people interact with various environments and informs space design that fosters positive experiences.

According to Mehrabian and Russell (1974), a person’s emotional state can be understood through three core dimensions: pleasure, arousal, and dominance Pleasure reflects a feeling of liking and correlates with arousal, which ranges from sleepiness to frantic excitement Dominance pertains to the level of control an individual perceives they have over their actions within a servicescape Furthermore, Lazarus (1999) emphasizes that individuals tend to prioritize sensory reactions before emotional responses when experiencing a setting Incorporating these dimensions into the understanding of human emotions is crucial for optimizing customer experiences and designing engaging servicescapes.

Individuals unconsciously form mental images of a servicescape based on sensory cues before experiencing any emotions or making judgments, which influences their subsequent behavior (Lin, 2004) The servicescape can significantly impact how successfully consumers execute their plans once inside the premises (Darley & Gilbert, 1985; Russell & Snodgrass, 1987, in Lin, 2004) Although visitors arrive with specific goals, the environment plays a crucial role in shaping their actions and overall experience Therefore, businesses should design their servicescapes to promote approach behaviors for both customers and employees, emphasizing the importance of understanding their evaluation processes to create a positive and memorable environment (Lin, 2004).

Servicescape significantly influences the quality of customer and employee interactions, especially in interpersonal services, by shaping social dynamics (Bitner, 1992) The physical environment acts as a container that affects all social interactions that occur within it (Bennett & Bennett, 1980), highlighting its role in facilitating effective communication Additionally, physical environments serve as a subset of social rules and conventions, impacting behavior and interaction patterns (Forgas, 1979) Optimizing servicescape design can enhance service experiences by fostering positive social interactions between customers and employees.

20 tions in force in a given behavior setting, serving to define the nature of social interaction

Studies in the servicescape literature primarily focus on how social exchanges within the environment influence the quality of consumer and producer interactions, with physical elements like seating and spatial cues either aiding or hindering these interactions (Bitner, 1992) However, Tombs and McColl-Kennedy (2003) emphasize that, for some service providers, the significance of social interactions outweighs the impact of the physical setting They argue that, in many service contexts, the influence of other individuals—such as customers and service providers—can have a more substantial effect on the customer’s experience than the servicescape itself.

Research shows that consumers perceive their social relationships with focal employees as a key relational benefit, influencing their overall perception of the company's quality These strong relationships also directly impact future behavioral intentions, including repeat patronage and positive word-of-mouth recommendations The framework emphasizes internal responses—cognitive and emotional reactions—that shape consumer behavior, highlighting the importance of fostering meaningful employee-customer interactions to enhance customer loyalty and advocacy.

Internal responses

Physical environments can influence customer and employee behavior by triggering their thoughts, attitudes, and beliefs about the servicescape (Bitner, 1992) Both customers and employees respond to various dimensions of the physical setting, which in turn shapes their actions Importantly, the perceived servicescape does not directly cause behavior but exerts an influence on it (Bitner, 1992) These responses occur on cognitive, emotional, and psychological levels, and it is these mental states that ultimately impact behavior (Verma, 2008) The initial response is cognitive, which can be further categorized into three key areas.

Cognitive responses can be categorized into three key types: beliefs, categorization, and symbolic meaning Beliefs involve forming subjective judgments based on factors such as cleanliness, layout, furniture, and equipment, influencing perceptions and opinions Categorization refers to the way individuals organize information by grouping physical evidence like building size, design, exterior features, and parking into specific categories for easier understanding Additionally, physical surroundings often convey symbolic meaning, where environmental elements carry symbolic significance that users or employees interpret in particular ways, shaping their overall experience and perception of the space.

Servicescape not only influences customer cognitions but also elicits emotional responses that impact behavior Research by Mehrabian and Russell (1974) and others identified two key dimensions of emotion-eliciting qualities in environments: pleasure-displeasure and arousal level Higher pleasure intensity positively affects consumer attitudes toward the servicescape, leading to improved store evaluations both directly and through attitudes toward sales personnel (Dube & Morin, 2001) When customers experience positive emotions in a servicescape, they are more likely to stay longer, spend more money, and exhibit approach behaviors Similarly, heightened arousal or excitement in the environment increases approach behaviors, fostering a favorable customer experience and loyalty.

Experiencing unpleasant factors can lead to a decrease in customer approach behaviors, even if positive elements are present (Bitner, 1992) Customer perceptions of the service environment are closely linked to their overall feelings about the organization or individuals delivering the experience (Hall, 2009) Understanding these emotional responses is crucial for improving customer satisfaction and fostering positive relationships with the brand.

A 2009 study highlighted that dissatisfaction with physical surroundings in leisure settings leads to early departure and lower spending According to Bitner (1992), increased complexity in servicescape can heighten emotional arousal, while incorporating natural elements and ensuring compatibility enhances guest satisfaction by creating a more pleasurable environment free from environmental nuisances.

She concludes that perceptions of the servicescape and associated positive (negative) emotions can lead to positive (negative) feelings associated with the organization, its people and its products

Perceived servicescape significantly impacts individuals physiologically, as factors like loud noise, inappropriate room temperature, poor air quality, and harsh lighting can cause discomfort and influence behavior (Bitner, 1992) These environmental conditions determine whether people choose to stay or leave a space, as physical discomfort affects their overall experience Furthermore, physiological responses can shape perceptions and feelings about the environment and its occupants, highlighting the interconnectedness of physical comfort and emotional reactions (Bitner, 1992) Research indicates that when individuals are physically uncomfortable due to ambient temperature, their positive feelings towards strangers decrease, leading to less favorable social interactions (Griffitt, 1970, as cited in Bitner, 1992).

Next part of the framework is presented in the following paragraph and it deals with moderators, which in this case are seen through individual responses towards an environment.

Moderators

The strength and direction of relationships between variables in behavioral contexts are influenced by personal and situational factors, known as response moderators (Bitner, 1992) These moderators play a crucial role in shaping how variables interact within the framework, emphasizing the importance of considering individual differences and contextual circumstances in understanding behavioral relationships.

Personality traits, such as arousal-seeking tendencies and the ability to screen environmental stimuli, moderate the relationship between perceived servicescape and internal responses Research indicates that individual differences in personality can influence how people react to their physical surroundings (Mehrabian & Russell, 1974; Russell & Snodgrass, 1987 in Bitner, 1992) Specifically, arousal-seeking individuals seek high levels of stimulation, whereas arousal-avoiders prefer calmer environments with lower stimulation levels.

Individual responses to an environment are influenced by situational factors such as their purpose and plans for being there, along with their mood states like happiness, sadness, or excitement, which affect and are affected by physical surroundings (Russell & Snodgrass, 1987; Gardner, 1985) These factors—expectations, mood, and intentions—moderate the relationship between the perceived servicescape and internal emotional responses (Bitner, 1992) The environmental dimensions, particularly controllable physical factors, play a crucial role in shaping customer experiences within the servicescape.

Environmental dimensions

The servicescape encompasses physical factors within a company's control that influence customer and employee behaviors Key dimensions include ambient conditions, which create the overall atmosphere; spatial layout and functionality, ensuring efficient flow and usability of the service environment; and signs, symbols, and artifacts, which communicate brand identity and enhance the overall experience (Bitner).

Previous research that has been conducted on the ambient conditions within servicescape suggests that they have an effect on satisfaction when they are at extremes (Bitner

Ambient conditions, including temperature, lighting, noise, music, and scent, significantly influence the customer experience by affecting all five senses (Bitner, 1992) These environmental factors can impact customer satisfaction when they are too cold, hot, bright, dull, loud, or quiet, especially if experienced over a prolonged period or if they do not meet customer expectations (Hall, 2009) For example, Oh et al (2007) highlight that ambient conditions such as tranquility can draw tourists to specific destinations, demonstrating their powerful role in shaping visitor experiences Both customers and employees are influenced by these environmental elements, emphasizing their importance in service setting design and management.

The "rhythm of the Atlantic Ocean" exemplifies how a specific element of the servicescape can significantly influence customer perceptions This unique aspect often serves as the primary factor that motivates customers to choose and engage with the experience Understanding the importance of such environmental cues highlights the powerful role of ambiance in shaping customer decision-making and satisfaction.

Spatial layout is crucial in servicescape design, encompassing the arrangement, size, and shape of machinery, equipment, and furnishings, as well as their spatial relationships (Bitner, 1992) Effective utilization of space enhances customer experience and operational efficiency, making it a key factor in creating an inviting and functional environment.

When designing a space, it is crucial to ensure it is not overly crowded with furniture and people, as excessive crowding can feel uncomfortable, while too much open space may seem uninviting and intimidating (Newman, 2007) Both space and function are considered part of a designscape—a cohesive network of physical and abstract elements that convey meaning (Julier, 2005) Consumers interpret this designscape to grasp the place’s identity, helping them answer questions like “What is this place?” and “Will I be able to achieve my goals here?” (Hall, 2009).

In the physical environment, items such as signs, symbols, and artifacts serve as explicit or implicit signals that communicate the essence of a place to its users, guiding and enhancing their experience (Becker 1977, 1981; Davis 1984; Wener 1985; Wineman 1982 in Zeithaml 2009) Managers should strategically establish these physical signals—such as directional signs, restrooms, caution notices, and behavior rules—to facilitate easier navigation and increase customer comfort within the servicescape Additionally, symbols like national or local flags and artifacts like artwork and decorative items contribute to creating aesthetic impressions and aid consumers in understanding the emotional and cultural meaning of the space (Zeithaml 2009).

Servicescape plays a vital role in shaping customers' first impressions and influences their beliefs, attitudes, and expectations toward a service provider (Lin, 2004) This chapter primarily explains Bitner’s (1992) Framework for Understanding Environment-User Relationships in Service Organizations, serving as a foundation for exploring ambient conditions such as music and musicscape The upcoming sections will delve deeper into the Musicscape framework developed by Oakes (2000), providing a detailed explanation of its key elements.

Musicscape

Independent variables

Independent variables, including compositional and genre factors (excluding harmony), are easily modifiable to achieve desired outcomes While compositional variables are less quantifiable compared to measurable factors like tempo, understanding these variables individually helps build a foundational theoretical framework Prior research has primarily focused on quantifiable variables such as tempo due to their straightforward measurement, enabling a clearer analysis of their impact Analyzing each variable separately allows for a better understanding of their distinct effects, informing the development of this study’s conceptual approach.

Tempo, derived from the Latin word "tempus," refers to the speed at which music progresses, serving as a measurable and quantifiable aspect of musical performance (Harnum, 2004) It is commonly assessed using a metronome, which counts beats per minute (BPM), making tempo a highly researched musical variable In the context of restaurants, studies have demonstrated that slower music encourages customers to linger longer and spend more, while faster music reduces drinking durations (Milliman, 1986; McElrea & Standing, 1992; Roballey et al., 1985).

Hargreaves (2008) discovered that fast tempo music significantly increases the number of bites per minute among cafeteria patrons, compared to slow tempo music or no music at all This suggests that music tempo can influence eating behavior, with faster rhythms encouraging more rapid food intake Incorporating fast-paced music in dining environments may thus impact the pacing of meals and overall consumption.

Winiger and Gardner (1985 in North & Hargreaves 2008) found that, when patrons in a cafeteria were exposed to fast tempo music, a significant increase in the number of

Research has shown that a tempo of 27 bites per minute was observed, which is significantly faster than slow or no-music conditions Listeners generally prefer musical tempos ranging from 68 to 178 BPM, highlighting the importance of tempo in shaping listener preferences (Kellaris & Altsech, 1992, in North & Hargreaves, 2008) Additionally, Milliman (1982, in North & Hargreaves) emphasizes the influence of tempo on listener engagement and mood.

2008) also used fast and slow tempo background music in a supermarket using a decibel meter to maintain constant volume

Study showed that purchase levels increased when slow tempo music was playing op- posite to when fast tempo music was playing Herrington and Capella (1996 in North

Hargreaves (2008) conducted a study using digitized musical sequencers at tempo levels similar to Milliman’s (1982 in North & Hargreaves, 2008) research, aiming to isolate the impact of musical tempo by controlling for other characteristics such as harmony and mode The findings indicated that shopping expenditure was not significantly affected by the tempo or volume of background music, suggesting that these elements may have limited influence on consumer spending behavior.

Chebat et al (1993) examined the impact of musical tempo by contrasting slow ("Andante Cantabile") and fast ("Molto Allegro") movements from Mozart's Symphony No 41 Their research found that tempo alone did not influence subjective time perception, supporting previous studies such as Bickel (1984).

Research by Zakay et al (1983, in North & Hargreaves, 2008) suggests that musical tempo may influence time estimation, but Hui et al (1997) found no significant effect on consumer emotional response or perceived wait times Similarly, North et al (1998) concluded that musical tempo does not significantly impact estimates of time duration, indicating mixed findings in this area.

Research indicates that slow-paced music fosters a relaxing environment, encouraging individuals to spend more time in a venue and engage in approach behaviors This ambiance can lead consumers to order additional drinks, ultimately increasing sales for businesses (Milliman, 1982; Milliman, 1986; North & Hargreaves, 2008; Oakes)

Research by 2003 revealed that music tempo influences perceived waiting times in registration lines, with slow-tempo music enhancing positive emotional responses Additionally, Kellaris and Altsech (1992, as cited in North & Hargreaves, 2008) found that listeners generally prefer music tempos ranging from 68 to 178 BPM, highlighting the importance of selecting appropriate tracks to improve customer experience.

Harmony is a complex aspect of music that requires a thorough understanding beyond just tempo It involves the agreement of musical notes, which together create a sense of internal cohesion and mutual support, enhancing the overall musical experience (Cheng & Ng).

Musical harmony is a four-dimensional totality characterized by an interconnected support among its notes and components It encompasses the entire set of parts, each related to and contributing to the overall sense of wholeness, with dynamic interactions unfolding over time Both melody and harmony are considered aspects of harmony, distinguished as vertical chord structures and horizontal melodic lines, respectively All melodies, composed of individual notes, can be harmonized with different chords, allowing composers to select specific chord progressions to evoke desired emotional effects.

A chord consists of three or more notes played simultaneously, serving as fundamental units of harmony that shape musical structure Common types include major, minor, diminished, augmented, seventh, and extended chords (Hoffman, 1997) The major chord is typically associated with positive emotions such as joy, hope, calmness, and celebration, while the minor chord conveys darker feelings like sadness, anger, despair, and fear (Brandt, 2012) In contrast, atonality refers to music that does not adhere to a specific key or scale, often sounding chaotic or random to listeners, as it lacks a tonal center (Jarrett & Day).

Research by Kellaris and Kent (1992, as cited in North & Hargreaves 2008) demonstrates how digital technology can manipulate musical harmony while controlling other variables, highlighting the interactive effects of musical elements Their study found a significant link between musical modality and perceived duration, showing that listeners perceive the longest duration in major keys, shorter in minor keys, and the shortest in atonal music (Oakes 2000).

Research by Kellaris and Kent (1991, cited in North & Hargreaves, 2008) found that major musical modes are more appealing than minor or atonal modes, especially when combined with different tempos Their subsequent study (Kellaris & Kent, 1992) demonstrated that the perceived duration of a time interval filled with music varies significantly across different musical modes and chords.

While harmony is a complex aspect of music, volume is often the most easily adjustable variable in a service environment Although decibel meters measure musical volume, many studies have not utilized this precise tool Instead, research typically compares overall loudness between different pieces, with limited focus on musical dynamics—how certain passages are louder or softer within the same piece Understanding the impact of these dynamic variations is crucial for assessing how volume influences listener experience and atmosphere (Oakes, 2000).

Valence moderators

Musical valence is influenced by respondents' demographic backgrounds and their familiarity with the music played, highlighting the importance of personal and contextual factors (Oakes, 2000) Previous research has examined the effects of music through the lens of optimal levels of stimulation (OLS), which are considered individual differences rather than static traits, varying according to the time of day (Bruner, 1990; Herrington & Capella, 1994; North & Hargreaves, 1996; Smith & Curnow, 1996; Minors et al., 1998; Vitaterna, 2001) It is recommended that music be varied by "day-part" to align with different demographic and psychographic shopping patterns, as consumers tend to shop at different times of the day based on their characteristics (Herrington & Capella, 1996).

Research indicates that musical preferences change with age, with sensitivity to popular music peaking around age 24, fostering long-term attachment to specific songs (Yalch & Spangenberg, 1993; Holbrook & Schindler, 1989) Familiarity plays a key role in music liking, suggesting that as individuals age and become exposed to diverse musical genres, they tend to develop a broader and more inclusive musical taste (Karl Schuessler, 1948) Studies reveal that different age groups respond uniquely to various musical styles and tempo levels, highlighting the evolving nature of musical preference across the lifespan (LeBlanc et al., 1988; Sims).

In adolescence and young adulthood, individuals often listen to music favored by their friends, which plays a significant role in shaping their social identity and establishing their adult musical preferences (North & Hargreaves, 2008; Creed & Scully, 2000; North & Hargreaves, 1999; Tekman & Hortacsu, 2002).

Previous research on gender and music has shown that responses to music vary to gender (Peretti & Swenson 1974 in North & Hargreaves 2008) Study done by

Crowther and Durkin (1982 in North & Hargreaves 2008) showed that girls generally have more positive attitude towards music than boys and girls were more likely to par-

Research indicates that participation in musical activities has traditionally been influenced by gender, with boys often showing more positive attitudes towards music technology than girls A study by Comber, Hargreaves, and Colley (1993) suggests this pattern is shifting, as boys display more enthusiasm for music technology, which could lead to improved overall attitudes toward music This evolving dynamic highlights the importance of fostering inclusive musical engagement to enhance attitudes across all genders.

Research indicates that females generally prefer slower, softer music and associate more positive qualities with quieter listening, whereas males tend to favor faster, louder music across various genres Studies by Kellaris and Rice (1993) revealed that women attribute more positive qualities to music played at lower volumes Recent findings also show that males prefer aggressive music genres like rap and heavy rock, reflecting ongoing gender differences in music preferences Additionally, females are more likely to underestimate short durations, while males demonstrate greater accuracy in temporal perception, highlighting gender-based differences in music-related cognitive processing.

Social class significantly influences musical preferences, alongside gender as a valence moderator Studies have shown that individuals from higher social classes tend to favor "high art" music, such as classical and opera, and often possess higher incomes and education levels, along with more conservative lifestyles and beliefs Conversely, folk music audiences primarily consist of middle- and working-class individuals Research by Shepherd (1986) and others indicates clear variations in musical tastes across social classes, highlighting that fans of hip-hop, R&B, dance, and DJ-based music, despite often coming from lower socioeconomic backgrounds, demonstrate distinct preferences that reflect their unique cultural and lifestyle backgrounds.

Understanding political attitudes requires recognizing that the distinction between 'high culture' and 'low culture' is partly subjective, as it depends on the evaluator’s perspective rather than the inherent qualities of the artwork itself (North & Hargreaves, 2008).

Our daily interactions with music can influence our preferences, yet it is crucial to acknowledge the relationship between artistic works, their producers, and the institutions behind them, which often endorse specific types of art while marginalizing others, leading to a two-tiered art world as described by North and Hargreaves (2008) Bourdieu (1984) argued that individual taste is shaped by one's membership in these cultural institutions that legitimize certain forms of art, suggesting that much of the music we listen to is not personally chosen but rather offered to us Additionally, increasing globalization has contributed to the massification of musical tastes, making it essential to investigate how cultural and ethnic identity, social class, and music preferences are interconnected, as highlighted by North and Hargreaves (2008).

Research by Davies (1991, as cited in North & Hargreaves) shows that our emotional responses to music are significantly influenced by familiarity, which often leads us to prefer known melodies over unfamiliar ones This highlights how various factors shape our music preferences, emphasizing the role of emotional connections and recognition in our appreciation of music.

Research indicates that familiarity with a musical piece influences listener preferences, as demonstrated by 2008 studies Additionally, Bradley (1971) found that repeated exposure to a musical piece increases preference for it North et al (1997) observed in a wine shop setting that French music boosted French wine sales, while German music increased German wine sales, highlighting how familiarity with musical style linked to a product's country of origin can shape consumer purchase behavior The next section will explore internal responses and examine various response types in detail.

Internal responses

Musicscape framework indicates the way in which environmental cues can stimulate responses Oakes (2000) states that there are two types of internal responses: cognitive and emotional responses

Cognitive responses to music are typically classified into expectations and perceived duration, highlighting how listeners anticipate and experience musical timing Musicscape emphasizes research that explores the connection between music and consumer expectations, such as the study by Oakes (2000), which examines how music influences consumer behavior Additionally, Baker et al (1994), as cited in North & Hargreaves, further investigate the impact of music on shaping consumer perceptions and expectations, underscoring the significant role of music in marketing and retail environments.

Research by 2008 demonstrated that ambient store elements like classical music and soft lighting positively influence consumers' perceptions, leading them to believe that merchandise and service quality are higher compared to settings with Top 40 music and bright lighting Musical execution can enhance these cognitive responses by symbolizing and reinforcing perceptions of service quality (Oakes, 2000) Additionally, studies have shown that in-store music affects consumers' emotional states, cognitive appraisal of the store and its staff, shopping behavior, and overall satisfaction, highlighting the importance of strategic music choices for retail success (Spangenberg et al., 2005).

Simonson (1997, as cited in Oakes, 2000) advocates for integrating sound and music into a company's brand identity to strengthen brand recognition Incorporating carefully selected music can evoke positive cognitive responses, influencing customer expectations of service quality Musicscape strategy thus plays a crucial role in shaping perceptions and enhancing the overall customer experience.

Perceived duration, a key component of the musicscape framework within consumer cognitive responses, has been extensively studied, revealing that music can significantly influence perceived waiting times Research by Chebat, Gelinas-Chebat, and Filiatrault (1993) found that the combination of visual stimulation and slow music notably affected time perception, while fast music showed no significant impact under varying stimulation levels Additionally, Yalch and Spangenberg (1990) observed that shoppers often reported spending more time than expected in stores playing less preferred music These findings highlight the important role of music tempo and visual cues in shaping consumers' perception of time in retail environments, emphasizing their relevance for enhancing customer experience and managing waiting times.

Research by Greaves (2008) indicates that musical tempo has no direct impact on subjective time estimation Hui et al (1997) found that positively valenced music can increase perceived time duration, but their results showed no significant effect of music tempo when controlled as a covariate Similarly, North et al (1998) concluded that background musical tempo does not influence individuals’ estimates of temporal duration, suggesting that tempo may not play a significant role in time perception.

Emotional responses to music are highly individual and can change over time, highlighting the dynamic nature of mood (North & Hargreaves, 2008) Studies have shown that a person's mood can shift along a spectrum from depression to happiness, influenced by their reaction to music (Shatin, 1970) Recent research indicates that emotions experienced in response to music can both facilitate and inhibit certain behaviors, depending on the emotional state (Sloboda & Juslin, 2001) Additionally, listening to music can trigger memories of past experiences, evoking the original emotional responses and reinforcing the connection between music and emotional recall (Baumgartner, 1992; Yalch & Spangenberg, 1990).

Research indicates that background music in retail environments can influence shoppers’ mood and behavior Hargreaves (2008) found that during specific shopping times, such as mornings and afternoons, background music helps create a more active mood among shoppers Conversely, Chebat et al (1993) reported that music has no significant impact on three key mood dimensions: pleasure, arousal, and dominance However, Hui et al (1997) demonstrated that music, regardless of its volume, enhances emotional evaluation of the service environment, leading to increased approach behavior towards the store (Oakes, 2000) These findings highlight the complex role of music in shaping consumer emotions and actions in retail settings.

The musicscape framework reveals how various environmental dimensions can evoke different behavioral responses These responses influence our actions and decisions, shaping how we behave in musical environments Understanding these connections is essential for predicting and guiding user behavior, which will be explored further in the upcoming chapter on behavioral outcomes.

Behavioural outcomes

Behavioral outcomes are a key focus in this field, beginning with Mehrabian and Russell’s (1974) approach/avoidance model, which explains how individuals respond to organizational environments They proposed that consumers tend to approach pleasant environments and avoid unpleasant ones, highlighting the importance of understanding behavioral responses to environmental stimuli.

Research from 1974 to 1990, including studies by Baron, Valdez & Mehrabian, Griffitt & Veitch, highlights the importance of background music in shaping consumer perception and store atmosphere (Oakes, 2000) Marketing studies by Donovan & Rossiter, Baker et al., Bone & Jantrania, Crowley, Donovan et al., and Spangenberg & Henderson emphasize that selecting appropriate music can influence consumer behavior and store image (Oakes, 2000) Herrington and Capella (1994) underscore the critical need for a ‘fit’ between background music and the store’s desired atmosphere and brand image This ‘fit’ involves ensuring congruency between music and other atmospheric variables, which significantly impacts in-store experience and consumer response (D’Astous, 2000; Baker et al., 2002; Bitner, 1992; Garlin & Owen; Spangenberg et al., 2005; Mattilia & Wirtz, 2001; Turley & Milliman).

Research by Donovan and Rossiter (1982) indicates that attractive music can effectively encourage customer approach behavior by enticing individuals to enter the service environment Additionally, studies highlight the importance of music aligning with the environment or messaging, as consistency between input cues and output messages enhances customer experience (Tom, 1990) The impact of this musical fit becomes more significant with higher involvement in the purchase process, where a good or bad match can considerably influence customer perceptions—especially during more involved purchasing decisions (Park & Young, 1986).

Previous research indicates a significant relationship between music and consumer purchase behaviors, showing that the type of background music can influence shoppers to buy more expensive brands (Alpert & Alpert, 1990; Yalch & Spangenberg, 1990) Studies also reveal that loud music increases the rate of spending per minute compared to soft music (Smith & Curnow, 1966), and demographic differences exist, with shoppers aged 25-29 spending more when foreground music is played, whereas shoppers over 50 prefer background music in retail settings (Yalch & Spangenberg, 1993) Overall, music plays a crucial role in shaping consumer behavior and influencing purchase decisions in retail environments.

Research by Greaves (2008) demonstrates that supermarket shoppers tend to purchase more when slow tempo music is playing compared to fast tempo music Similarly, Milliman (1986) found in a restaurant setting that slower music significantly increased alcohol sales at the bar These findings suggest that slower music tempo can positively influence consumer spending behavior across various retail environments, highlighting the importance of music tempo in shaping purchasing decisions.

Research by 2008 revealed that neither the tempo nor the volume of background music influences shoppers’ spending in supermarkets; instead, music preference plays a key role in affecting purchasing behavior Additionally, a study by Yalch and Spangenberg (1990, cited in North & Hargreaves 2008) found that shoppers listening to background music tend to make more unplanned purchases compared to those hearing foreground music.

Music as an atmospheric variable significantly influences in-store shopping behaviors, including mood enhancement and increased unplanned purchases, as well as prolonging time spent in the store and altering perceived waiting times (Alpert & Alpert, 1990; Yalch & Spangenberg, 1990; Milliman, 1982, 1986; Chebat et al., 1993) In restaurant settings, faster-paced music encourages diners to eat and drink more quickly, impacting customer pace and consumption (Roballey et al., 1985; McElrea & Standing, 1992) Additionally, fast-tempo background music accelerates store traffic flow and boosts daily sales volume, demonstrating the strategic importance of music tempo in retail environments (Milliman, 1982).

Research by Milliman (1982, as cited in North & Hargreaves, 2008) found that supermarket shoppers tend to browse longer and move more slowly when slow tempo music is played, compared to fast tempo music Additionally, a study conducted by Herringon and Capella supports the influence of background music tempo on consumer behavior in retail environments.

A 1996 study (North & Hargreaves, 2008) distinguished itself by measuring the total time shoppers spend in the selling area, contrasting with Millman’s 1982 study, which focused on time between two points The findings revealed that factors like tempo, volume, or background music do not influence shopping duration; instead, shopping time is affected by individual music preferences Musical preferences are influenced by the structural characteristics (Kellaris, 1992) and complexity (Burke & Gridley, 1990 in Kellaris, 1992) of the music, highlighting the importance of personalized musical choices in retail environments.

Musical preference varies based on listeners' age, musical training, cultural background, and familiarity with the music, with studies highlighting these influencing factors (Yalch & Spangenberg, 1993; Vanderark & Ely, 1993; Wright, 1975; Davies, 1992) Preferences are commonly expressed through specific musical genres and artists, indicating personal tastes in music (Herrington & Capella, 1994).

The Musicscape Framework, introduced by Oakes (2000), offers a comprehensive visual overview of music as a key dimension of ambient conditions that can influence customer behavior Building on earlier research by Mehrabian and Russell (1974) and Bitner (1992), this framework highlights various variables that can be adjusted when incorporating background music in service environments to enhance customer experiences.

It presented a synthesis of the empirical researches analysing the effects of manipulating the structural elements of music (tempo, harmony, volume, and genre) on consumer responses (Jain & Bagdare 2010)

Connecting the musicscape and music as key environmental dimensions is essential for creating immersive experiences, as music serves as a vital piece of the puzzle in shaping holistic sensory environments Understanding how music contributes to experience creation allows for a deeper exploration of its role in enhancing engagement and emotional impact This connection between music and experiential design underscores the importance of integrating musical elements to craft memorable, multi-dimensional environments that captivate and resonate with audiences.

Experience creation

The interactive process of using music stimuli to evoke customer responses exemplifies the importance of experiential consumption, which has become a rapidly growing sector of the global economy (Pine & Gilmore, 1999; Jensen, 2001; Boswijk, Thijssen, & Peelen, 2007) In the experience economy, guests seek memorable and unique experiences beyond standard products and services, as consistent high quality alone no longer differentiates offerings (Pine & Gilmore, 1999) This shift challenges hospitality companies to develop innovative value-added experiences that go beyond traditional quality to meet the increasing demand for personalized and engaging customer interactions.

Companies and organizations that recognize the importance of the experience economy will gain a competitive edge, as this trend is currently shaping the business landscape Embracing the development of the experience economy allows businesses to differentiate themselves and reap significant benefits, unlike those that choose to ignore or avoid it According to Pine and Gilmore (1999) and Jensen (1999), adapting to this shift is essential for staying ahead in today's competitive environment.

Experiences are inherently personal, existing solely within an individual's mind during emotional, physical, intellectual, or spiritual engagement (Pine & Gilmore, 1999) They serve as a key differentiator in establishing a competitive advantage for businesses (Berry et al., 2002) Experiences result from encounters or life events that deliver sensory, emotional, cognitive, behavioral, and relational value (Schmitt, 1999), forming through interactive processes involving environmental cues and sensory receptors (Jain & Bagdare, 2010) Additionally, the subjective perception of time plays a significant role in consumer psychology, influencing how experiences are perceived and valued (Bergadaa, 1990; Graham, 1981; Hirchman, 1987; Hornik, 1984; Jackoby, Szybillo, & Berning, 1976).

Kaufman, Lane, & Lindquist 1991 in Jain & Bagdare 2010)

Experiences are diverse and engage all senses, ranging from physical activities like mountain climbing to passive activities such as watching a 3D movie (Sundbo & Darmer, 2008) Some experiences are mentally demanding, like reading a good book, while others are less so, such as relaxing in a boutique hotel Additionally, certain experiences involve technology, such as playing computer games, whereas others do not Pine and Gilmore (1999) categorize experiences into four types, with the most enriching experiences resulting from a combination of all four.

Table 3 Experience Realms (Pine & Gilmore 1999)

The four key realms of customer experiences, known as the 4 E’s—educational, esthetic, escapist, and entertainment—vary depending on the level of active or passive participation and the degree of absorption or immersion involved According to Pine and Gilmore, understanding these realms helps businesses tailor engaging experiences that resonate with customers' preferences and enhance overall satisfaction.

Absorption in 1999 refers to capturing customers' attention by engaging their minds and creating memorable experiences In contrast, immersion involves customers becoming physically or virtually part of the experience itself, deepening their level of engagement Customer involvement can be active or passive, depending on their degree of participation in creating or experiencing the event, which enhances overall satisfaction and connection.

Businesses offering passive participation focus on entertainment and aesthetic experiences, while active participation emphasizes educational and escapist dimensions Passive customers absorb entertainment and educational content without directly impacting the experience, whereas active participants influence both the environment and activities This distinction highlights the different ways customers engage with and shape their experiences in various settings.

‘immerses’ in esthetic and escapist experiences (Pine & Gilmore 1999)

Consumers today have an undeniable desire for memorable experiences, prompting businesses to intentionally design and promote them to create stronger emotional connections The value of an experience surpasses that of traditional services, goods, or commodities because experiences are highly personal and can engage individuals on emotional, physical, intellectual, and spiritual levels According to Pine and Gilmore (1999), designing impactful experiences requires understanding their unique characteristics, which distinguish them from standard goods or services and present specific design challenges They emphasize that creating experiences is an art form that involves knowing exactly which 'buttons' to press and when, making experience design a strategic and creative process.

Effective experience design is guided by five key principles, starting with the importance of establishing a well-defined theme that follows a compelling storyline to captivate customers This theme should be reinforced with meaningful ‘takeaways’—positive cues that leave lasting impressions and shape the overall customer experience According to Pine and Gilmore in their "Experience Economy," these elements work together to create memorable and engaging encounters that resonate with consumers.

To enhance customer experience, it is crucial to eliminate all negative cues, creating a more pleasurable environment Incorporating memorabilia serves as a tangible reminder of the experience, strengthening customer memories Engaging all five senses is a vital dimension, as increased sensory involvement makes the experience more effective and memorable These strategies collectively contribute to delivering memorable and immersive customer experiences, as highlighted by Pine and Gilmore.

1999) These five design principles do not alone guarantee the success It is important to have the experiences well maintained, priced accordingly, refreshed by added new attractions (Pine and Gilmore 1999)

Most restaurants primarily offer passive experiences to their guests, with only a few, like Restaurant Alinea in Chicago, providing active, interactive dining experiences Even traditional establishments that focus on entertainment within the 4 E’s framework aim to deliver more than just food and service by creating a memorable overall experience These restaurants often utilize specific themes or concepts to enhance guest engagement and differentiate themselves in the competitive hospitality industry (Pine & Gilmore, 2002; Mossberg).

2001) According to Pine and Gilmore (2002, 92) theme is defined as “the dominant idea or organizing principle, devotion to which creates a coherent experience for guests”

Mosseberg (2001) emphasizes that customer experiences should actively engage and involve them, rather than merely entertain, highlighting the importance of a well-defined theme that considers every detail—from food and beverages to interior design and staff appearance Similarly, Pine and Gilmore (2007) assert that authentic experiences are essential, as consumers want their purchases to reflect their identity and aspirations, with their perception of authenticity determining whether an experience feels genuine or fake.

Therefore eating is not considered anymore just a matter of satisfying basic physiological need we all have, but rather way of socializing and expressing ones identity (Jacob- sen 2008)

Understanding how experiences are created enhances our ability to see the strong connection between experiences and music Recent studies have recognized that music serves as a crucial element in shaping atmosphere, making it an essential dimension in experience design Building on frameworks like servicescape and musicscape, these studies provide a foundation for developing additional dimensions that extend existing theoretical models Incorporating these insights can help deepen our understanding of how music influences overall experience and atmosphere creation.

Extended musicscape model

Recent studies, such as Garlin and Owen (2006), categorize previous research into five key areas of dependent variables: affective responses, financial returns, attitudinal and perceptual changes, temporal effects, and behavioral responses, providing a comprehensive understanding of how various factors influence outcomes across different dimensions.

Research from 2006 indicates that background music significantly impacts customer value returns, behavior duration, and emotional responses Oakes and North (2008) found that music congruity positively influences desired outcomes and highlights the importance of using music as a key component in servicescape to enhance both cognitive and affective customer responses They also noted that manipulating musical variables such as tempo, genre, volume, and liking can effectively influence customer evaluations of the service environment, perceived wait and stay times, consumption speed, emotional responses, and overall spending.

A recent study by Jain & Bagdare (2010) offers a comprehensive analysis of the same subject by identifying four clear dimensions This research synthesizes previous studies, enhancing clarity and facilitating the grouping of variables Furthermore, it establishes meaningful relationships among these dimensions, providing valuable insights for better understanding and application in the field.

According to Jain and Bagdare (2010) these dimensions are:

1 Independent compositional variables: structural elements (tempo, pitch, volume, mode, rhythm, harmony, genre, texture; and affective elements – liking (valence), familiarity, types (feelings/style)

2 Response – dependent variable which reflects on consumers’ cognitive, emotional, and behavioural responses to music

3 Experience – interactive process through musical stimuli, which brings out customer responses

4 Moderators – customer profile, type of store, ambience factors, and time of purchase.

Independent compositional variables

The core of the musicscape revolves around musical variables classified as structural and affective elements, with structural elements including the quality of composition manifested through factors like tempo, pitch, volume, mode, and harmony According to Bruner (1990), these can be grouped into three main structural factors: time, pitch, and texture Time encompasses variables such as rhythm, which involves strong, regular patterns of movement or sound (Hoffman, 1997), as well as tempo, or the speed at which music progresses (Harnum, 2004), and phrasing, which refers to the shaping of notes in time (Harnum, 2004) Pitch involves melody, defined as a sequence of satisfying single notes (Hoffman, 1997), and elements like mode—chords played simultaneously that form the structural units of harmony—and harmony itself, where combined sounds produce chords and progressions with pleasant effects (Hoffman, 1997) Texture adds aesthetic richness, characterized by timbre or tone distinctiveness (Jain & Bagdare, 2010), orchestration—the arrangement for performance by an orchestra or band (Hoffman, 1997)—and volume or loudness, contributing to the overall musical experience While time and pitch are fundamental features of music, texture particularly enhances its aesthetic appeal.

Affective characteristics, encompassing emotions, feelings, moods, and preferences linked to music, play a crucial role in shaping listener experiences (Herrington & Capella, 1994 in North & Hargreaves, 2008) Key variables include valence—reflecting liking for music—familiarity, and musical style or type The musicscape framework by Oakes (2000) highlights how interdependent compositional elements like tempo, volume, and harmony interact to influence perception (Jain & Bagdare, 2010) Numerous studies have manipulated these music-related variables to assess their impact on shopper behavior, with extensive research demonstrating that appropriate music positively enhances marketing outcomes, including increased sales, improved purchase intentions, and higher customer satisfaction.

44 faction, duration of stay, perceived waiting time, and store image (Milliman 1982, 1986; Bruner 1990; Areni & Kim 1993; Areni 2003; Morrison 2001; Herrington & Capella 1994; 1996; Yalch & Spangenberg 1990, 1993, 2000; Oakes 2000; Garlin & Owen 2006; Morin et al 2007; Oakes & North 2008; Soars 2009)

Compositional variables trigger specific reactions in us, influencing our cognitive, emotional, and behavioral responses These responses are essential to understanding how different factors shape human psychology and behavior In the next section, we will explore these reactions in greater detail, highlighting their significance and impact.

Response

This article explores how consumers’ cognitive, emotional, and behavioral responses are influenced by music, highlighting the importance of understanding these dependent variables in consumer behavior studies It emphasizes that explanations of musical effects often draw on environmental psychology models, which suggest that individuals respond both voluntarily and involuntarily to environmental stimuli such as sights, sounds, and scents These models, established by Mehrabian and Russell (1974), provide a framework for understanding human-environment interactions and their impact on consumer responses.

According to the theory, environmental stimuli such as background music evoke emotional responses characterized by pleasure, arousal, and dominance (PAD), which influence approach-avoidance behaviors These emotional reactions serve as mediators, affecting how individuals respond to their environment and engage with the music (Herrington & Capella, 1994; Jain & Bagdare, 2010).

Research indicates that background music significantly influences the consumer experience, eliciting cognitive, emotional, and behavioral responses Studies have shown that music impacts both cognitive aspects, such as wait time perception, and affective states like mood, which can subsequently alter behavior in service environments For example, Cameron et al (2003) demonstrated that music affects consumers’ cognitive evaluation and emotional mood, while Bruner (1990) highlighted how a musical composition’s emotional tone can influence mood, thereby mediating customer behavior Additionally, music not only affects conscious responses but also triggers cortical and cognitive reactions, further shaping the overall consumer experience.

45 thoughts and elicited imagery, which in turn can positively affect the limbic system (Rider 1997 in Jain & Bagdare 2010)

Chebat et al (2001) found that music influences customer attitudes toward the store, sales personnel, and overall visit experience, with these effects being moderated by cognitive processes such as the number and depth of thoughts processed during the shopping trip According to a related study, understanding how music impacts consumer behavior can help retailers enhance customer satisfaction and engagement Incorporating appropriate background music can positively affect perceptions, encourage longer store visits, and increase sales, highlighting the importance of strategic auditory branding in retail environments.

Soothing music enhances cognitive activity, especially when other forms of stimulation are low, and positively influences customer attitudes toward store evaluation both directly and through favorable perceptions of sales personnel (Dube & Morin, 2001) It shapes customer expectations, differentiates a store from competitors, and strengthens the store’s overall image (Sweeney & Wyber, 2002) As a powerful emotional stimulus, music effectively triggers moods and facilitates nonverbal communication, impacting customer behavior by altering emotional states (Bruner, 1990; North & Hargreaves, 2010; Oakes, 2000) Additionally, music motivates the subconscious and can leave a lasting impression on both existing and potential customers, reinforcing the store’s brand and atmosphere (Morrison, 2001).

Applying Mehrabian and Russell's PAD model in retail settings, Donovan and Rossiter (1982, as cited in Jain & Bagdare, 2010) discovered that the perceived pleasantness of the in-store environment significantly influences customers' willingness to spend more time in the store and their intentions to make additional purchases.

Atmospheric music significantly influences customer approach behavior and impulse purchasing, impacting retail performance Research indicates that customers’ emotional and cognitive responses to music affect their shopping behaviors, leading to increased sales, repeat visits, and higher spending (Garlin & Owen, 2006) Happy and liked music has been shown to notably enhance purchase intentions and customer loyalty in retail environments (Broekminar et al., 2008) Overall, atmospheric music shapes customer and staff perceptions and behaviors in ways that directly contribute to increased revenues, gross margins, and profitability (Areni).

& Kim 1993; Chebat et al 1993, 2000; Kellaris & Kent 1992, 1994; Mattila & Wirtz

2001; Milliman 1982, 1986; North & Hargreaves 1998; North et al 1997, 1999; Yalch

Statistics clearly show a strong connection between experience and atmospheric music This article explores how music enhances guest experiences by creating pleasurable and immersive environments Various methods demonstrate how carefully selected music can complement setting, elevate ambiance, and contribute to memorable guest interactions Effective use of atmospheric music is essential in shaping positive, engaging atmospheres that leave lasting impressions.

Experience and atmospheric music

Music plays a crucial role in shaping the in-store atmosphere, effectively engaging customers’ emotions and enhancing their shopping experience (Morrison & Beverland, 2003; North & Hargreaves, 2008) It has the power to transform retail environments by creating a memorable ambiance that encourages positive emotional responses (Beverland, Lim, Morrison, & Terziovski, 2006) Additionally, music evokes emotions by connecting to customers’ prior experiences and can influence their perception of time, often making shopping feel shorter and more enjoyable.

1990 in North & Hargreaves 2008), reduce boredom (Kellaris & Mantel 1996 in North

Background music plays a vital role in enhancing the shopping experience, as many malls and urban environments utilize it to create a more pleasant atmosphere for consumers (Hargreaves, 2008; Cinar & Aglargoz, 2011) According to Jain and Bagdare, incorporating background music can positively influence customer mood and engagement, making it an essential tool for retail spaces aiming to improve customer satisfaction and foot traffic.

In 2010, retailers began focusing on creating pleasurable, unique, and memorable shopping experiences by combining various cues Their approach shifted from simply facilitating transactions to building lasting customer relationships through engaging retail experiences.

Music acts as an influential atmospheric variable that shapes in-store shopping attitudes and behaviors It can affect customers' moods, increase unplanned purchase tendencies, and extend the amount of time spent in the store Additionally, background music influences perceptions of waiting time, enhancing overall shopping experience and customer satisfaction These effects are supported by research from Alpert & Alpert (1990), Yalch and Spangenberg (1990), Milliman (1982, 1986), and Chebat, Gelinas-Chebat & Filiatrault (1993) Incorporating appropriate music into retail environments can optimize customer behavior and improve sales performance.

According to Baker (1998, as cited in North & Hargreaves, 2008), atmospherics like background music play a crucial role in shaping consumer perceptions and are considered an important component of marketing strategies These atmospheric factors not only enhance the overall ambiance but also serve as visual and auditory cues that influence consumer evaluations Music, in particular, communicates vital messages that help consumers infer product quality, thereby impacting their purchasing decisions (Baker et al., 1994) Incorporating effective atmospheric elements can therefore strengthen brand perception and improve customer experience.

Background music significantly influences consumer behavior and store choice by shaping the store atmosphere and brand image (Zeithaml, 1988; North & Hargreaves, 2008) Playing appropriate background music helps retailers create a desirable environment, which enhances store perception and encourages customer spending (Zillmann & Bhatia, 1989; Morrison & Beverland, 2003) Congruent music, aligned with the store’s branding and ambiance, increases consumers' willingness to spend, as consumers perceive a harmonious environment (Jacob, 2006) According to Kotler (1973), atmospheric music aims to evoke specific emotional responses that positively impact purchase intentions, making it a vital tool for retail marketing strategies.

Atmospheric music may have the general effect of promoting social interaction (Areni

Atmospheric music enhances customer engagement by encouraging interactions with staff and other patrons, leading to longer store visits (Dube et al., 1995; Milliman, 1986; Yalch & Spangenberg, 1993) However, as Areni (2003) notes, music can also influence customer behavior, potentially inciting anti-social actions or provoking irritation, depending on the genre or format used Proper selection of music genres can either calm customers or activate anti-social tendencies, impacting overall customer experience and store ambiance.

Music plays a crucial role in evoking emotions and influencing customer behavior, leading to desired responses (Jain & Bagdare, 2010) Neuroscience explains that the human brain processes music, which can positively affect neural functions and hormonal activity As a result, music can enhance overall well-being by supporting the body's immune and regenerative processes, contributing to a healthier body (Harvey, 1987; Taylor, 2004).

The neurological pathways for sound sensation transmit music impulses from the environment through the hearing system to the brain, influencing our conscious perception Importantly, these pathways also activate structures within the limbic system, which is primarily responsible for emotional behavior Located in the temporal lobes, the limbic system plays a key role in how music can evoke emotional responses and impact mood (Taylor, 2004).

The brain processes music and sound in the auditory cortex, with the amygdala playing a key role in behavioral responses to stimuli with biological significance (Lemonick, 2003; Englert, 2004) By the time individuals consciously perceive music, it may already activate the limbic system, stimulating the release of biochemical substances that reinforce emotional reactions (Radocy & Boyle, 2003) Music influences the brain by transmitting signals that trigger hormone release, affecting heart rate and blood pressure instantaneously (Jain & Bagdare, 2010) Consequently, soothing and pleasurable music can reduce anxiety and stress levels, positively impacting mood, cognitive functions, and emotional responses (Bennet & Bennet, 2008).

When listening to music, our brain processes sound across multiple regions, each with distinct functions The sensory cortex handles tactile feedback from playing instruments or dancing, while the auditory cortex is responsible for perceiving and analyzing tones Additionally, the amygdala plays a key role in emotional reactions to music Understanding these different brain areas and their roles is essential for comprehensive sound processing research.

Table 4 Music on the Mind (Faille 2008)

Understanding the connection between music and experience creation, along with how music is processed in the brain, reveals that numerous moderators influence the effects music has on individuals These moderators play a crucial role in shaping emotional and cognitive responses to music In the following paragraph, we will explore these moderators in detail to better understand their impact on music's influence on people.

Moderators

The impact of music on consumers is influenced by various moderating factors Jain and Bagdare (2010) identify key moderators such as customer demographics, psychographics, and cultural characteristics, which shape individual responses to music Additionally, store-related factors like product categories, store format, and positioning play a significant role The retail environment’s ambience—encompassing sight, smell, touch, and air quality—further moderates consumer reactions Lastly, the time of shopping, whether morning, afternoon, or evening, also affects how music influences consumer behavior in retail settings.

Age and gender significantly influence how consumers respond to different types of music in retail environments, with young and older shoppers exhibiting distinct behaviors toward foreground or background music (Holbrook & Schindler, 1989; Yalch & Spangenberg, 1993) Additionally, males and females show differing emotional and behavioral reactions to the same musical stimuli, with females generally preferring soft music over males (Mehrabian & Russell, 1974; Shephard, 1986; Kellaris & Rice, 1993) Research by Morrison (2001) highlights that specifically programmed music can encourage customers to stay longer in-store, and personalized music strategies, tailored to customer demographics and psychographics, can strengthen retail brand connections and influence purchasing behavior.

Store profiles play a moderating role in the impact of music variables on the shopping experience Jain and Bagdare (2010) found that music significantly influences consumer perceptions and behaviors in stores selling personal lifestyle products They recommend that retailers tailor their music choices to specific target markets rather than using a one-size-fits-all approach, especially when compared to mass merchandisers Different types of music can enhance the in-store environment and positively affect customer engagement and satisfaction.

Fifty different music formats can be played simultaneously across various store departments or areas, targeting distinct shopper segments (Herringon & Capella, 1994, as cited in North & Hargreaves, 2008) According to Michael (2006, cited in North & Hargreaves, 2008), music serves as an effective tool for communicating a store's brand image, positioning, and design by aligning musical selections with the customer profile, thereby enhancing the overall shopping experience.

Music significantly impacts the physical environment of retail spaces by encouraging guests to spend more time and money, influencing buyer-seller interactions, and improving customer attitudes during wait times It also shapes perceptions of brand personality and decor while boosting employee productivity (Magnini & Parker, 2009) Additionally, music affects both physical store ambiance and online shopping behavior through web atmospherics, with research showing that online shoppers experience increased arousal and pleasantness when listening to fast music compared to slow music (Cheng et al., 2009).

Research indicates that the congruency of music enhances the impact of website atmosphere on visitors' emotional responses, as demonstrated by Jain & Bagdare (2010) Historically, there has been a recognized connection between music and color; Plato linked different chords to various colors, extending Pythagorean harmony to encompass planets, tones, and colors (McClain, 1978) Aristotle suggested a parallel between the harmony of colors and musical intervals, highlighting a longstanding conceptual relationship However, studies by Shephard (1982), Krumhansl (1990), and Lerdahl (2001) have not conclusively proven that musical sounds and colors can directly match; instead, colors may represent melodies, with pitch height correlating to brightness (Marks, 1975) Additionally, Bitner’s (1992) servicescape model emphasizes the interconnectedness of ambient environmental variables, including music and visual elements.

Time of purchase is a crucial moderator in retail environments, as customer visit times vary throughout the day, necessitating different music to enhance shopping experiences (Jain & Bagdare, 2010; North & Hargreaves, 1996; Yalch & Spangenberg, 1990; Hui et al., 2007) Retailers can optimize background music by adjusting it according to the time of day to match the preferences of different demographic segments, thereby influencing customer behavior and satisfaction (Herrington & Capella, 1994 in North & Hargreaves, 2008) Moreover, music should align with the circadian rhythm—a 24-hour biological cycle that regulates physiological processes—ensuring that the auditory environment supports the natural internal biological clock of customers (Rea, Figueiro, Bierman).

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Tiêu đề	Use and Management of Music in High-End Restaurants in Helsinki
Tác giả	Violeta Salonen
Người hướng dẫn	Dr. Mario Passos Ascencao
Trường học	Experience and Wellness Management Degree Programme
Chuyên ngành	Experience and Wellness Management
Thể loại	Bachelor’s Thesis
Năm xuất bản	2012
Thành phố	Helsinki

Định dạng
Số trang	123
Dung lượng	1,42 MB

Use and management of music in high end

Overview of the topic

Research problem

Justification for the study

Methodology in brief

Definitions

Structure of thesis

Key concepts

Services marketing

Servicescape

Environment-User Relationships in Service Organizations

Behavior

Internal responses

Moderators

Environmental dimensions

Musicscape

Independent variables

Valence moderators

Internal responses

Behavioural outcomes

Experience creation

Extended musicscape model

Independent compositional variables

Response

Experience and atmospheric music

Moderators

Limitations and ideas for further studies