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“Acoustic wallpaper” under control – the case of musique d’ameublement and Muzak

100%
Makomaska S.
Interdisciplinary Studies in Musicology
|
2021
|
issue 21
39-55
EN
Attention is one of the most important cognitive processes. Its functioning and key characteristics play a vital role in the perception of music, especially in everyday situations when music becomes an acoustical background. Thanks to selectiveness, shift and division of attention, the listener can balance between an active and a passive act of listening, however, the results of auditory perception may be difficult to determine. Can the sender, in the process of musical communication, manage the listener’s attention in such a way as to achieve the effect of “acoustic wallpaper” understood as a perception-based effect of background music, where music, in line with the sender’s intentions, is located in the peripheral zone of the listener’s attention, within extensive attention? What function, from the perspective of the sender, is performed by “acoustic wallpaper”? Is it a target result or a mechanism leading to cer- tain reactions in an indirect way? What factors play a decisive role for the efficiency of an adopted strategy? The main aim of this article is to answer the above questions by the analysis of two exemplary concepts of background music (musique d’ameublement by Erik Satie and Muzak) through the prism of the author’s theoretical model of “acoustic wallpaper” (Makomaska, 2021). This novel ap- proach derives from the psychologically-based reciprocal feedback model of musical response (hargreaves, et al., 2005) and socio-musicological studies on pragmatic forms of musical communication (brown, 2006). It assumes that the effectiveness of “acoustic wallpaper” being under control of the sender (the composer or a professional company) is conditioned by correlations between structural characteristics of music, the listener, and historical-social context. The analysis shows that the intended functions of background music (seen from the perspective of the sender) can differ from the real ones and in the case of particular concepts can be moderated by various groups of factors. The results provoke further discussion on the application potential of the proposed model in psychologically, historically and/or marketing-oriented studies on such concepts as e.g. ambient music and contemporary audiomarketing strategies implemented in commercial environments, where music located on the periphery of the listener’s attention can become an effective tool of mani- pulation.
2
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Erik Satie – the ‘progenitor’ of muzak or the precursor of ‘pipedown’ movement? On the concept of musique d’ameublement

100%
Makomaska S.
Interdisciplinary Studies in Musicology
|
2019
|
issue 19
135-145
EN
Erik Satie (1866–1925) was a colourful and intriguing artist in the world of Parisian avant-garde. In the turbulent times of the early 20th century he created the concept of musique d’ameublement (‘furniture music’) – a vision of music that did not require attentive listening because it was supposed to play an extravagant role (as it was perceived in that period) of an acoustic background accompanying all everyday events. A change in recording and sound reproduction techniques in the 20th century that led to the ubiquity of music in the contemporary world seems to confirm that Satie’s ‘furniture music’ can be treated as a prophetic idea. However, the problem of how the concept of musique d’ameublement should be interpreted still remains ambiguous. The main aim of the present paper is to discuss the two contrary ways of the interpretation of ‘furniture music’. The first approach assumes that Satie can be treated as ‘the progenitor’ of muzak – a musical genre initially associated with the activities of Muzak company and then gradually identified with any background music provided on a mass scale to the public space. The second approach is an attempt to interpret the concept of musique d’ameublement in a completely different way – as an expression of opposition to an increasingly mechanized Western world dominated by progress and technology, where the role of music boils down only to the function of the acoustic background. Therefore, Satie becomes one of the precursors of the actions taken by the opponents of muzak (e. g. pipedown movements), who seek to eliminate the imposed background music from the public space. The reconstruction of musique d’ameublement (basing, inter alia, on selected source materials) is treated as a starting point for the discussion that leads to the acoustic ecology perspective.
3
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Audiomarketing - music as a tool for indirect persuasion

100%
Makomaska S.
Interdisciplinary Studies in Musicology
|
2011
|
issue 10
77-86
PL
In modern society, music penetrates most of our everyday activities, and so one is not surprised that it has become commonplace, and even expected by consumers, in places of sale. Contemporary shops are no longer merely points of sale. They have become a sort of medium between clients, on one hand, and vendors and producers, on the other. Audiomarketing is a term used to define a modern marketing tool that uses music to create the unique atmosphere of a particular place and to influence consumer in places of sale. To explain the audiomarketing phenomenon, a review of selected studies concerning the problem of emotional responses to music has been presented. These findings are supported by a review of some investigations indicating that music can have a strong impact on consumer behaviour (e.g. music and the speed of customer activity, music and time perception, the effects of music on sales, etc.). The presented examples of experimental research provide excellent proof that it is worth introducing suitably chosen music into a space where people buy and consume. This is due above all to the fact that present-day society, overwhelmed by vociferous messages, prefers emotional arguments, and music can act as an excellent tool for communicating with consumers on an emotional level.
4
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On the genesis of absolute pitch

100%
Makomaska S.
Interdisciplinary Studies in Musicology
|
2009
|
issue 8
253-270
PL
The clear majority of people with a professional or amateur contact with music do not possess absolute pitch and get by perfectly well without it, making use of relative musical pitch. Yet many people dream of also fixing in their memory the actual pitches of the notes of the musical scale, which would effectively give them the chance to recognise and reproduce any chromatic pitch (C, C#, D, D#, etc.) without recourse to a reference note. Unfortunately, it almost always proves too late for them to develop absolute pitch. The question of the factors determining the forming of absolute pitch is still the subject of quite heated discussion. Practically from the outset of the interest in the phenomenon of absolute pitch (i.e. from the second half of the nineteenth century) controversial theories arose regarding its origins. In discussion on the subject, there was a clash of two fundamental views, regarding absolute pitch either as an innate ability or, on the contrary, as an ability that could be acquired at any age. With time, there emerged an increasing number of hypotheses accounting for the origin of absolute pitch: from the theory of the limitless possibility of absolute pitch acquisition through the theories of innate factors and of early learning, to the latest theory that links absolute pitch to tonal languages. The present paper shows the results of the research project on the occurrence of absolute pitch among young people in musical education in Poland (1175 pupils, aged 11-29) carried out in the years 2004-2007. The test results (pitch-naming tests) supported by the data from the survey (concerning e.g. musical education, familial aggregation of AP and etc.) are presented in the context of theories which attempt to investigate the source of absolute pitch (especially early musical training theory and genetic factors theory).
5
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Absolute Pitch and Its Significance in the System of Musical Communication

63%
Makomaska S., Rakowski A.
Interdisciplinary Studies in Musicology
|
2008
|
issue 7
43-50
PL
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