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Publication
Sound branding em rádio: Construção da identidade de marca
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Abstract(s)
Esta dissertação analisa a presença e o impacto dos elementos de sound branding em 138 marcas emitidas durante uma semana no período das 07h às 10h pela RFM (82 marcas) e pela Rádio Renascença (56 marcas). A fundamentação teórica assenta nos contributos de Berchmans (2008) e Holman (2010) sobre design sonoro, e nas obras de Bronner & Hirt (2009) e Zanna (2015) sobre os principais elementos que constituem o sound branding (Brand Voice, Brand Soundscape, Jingle, etc…). Em paralelo, a identificação dos formatos publicitários radiofónicos (spots, autopromoções, patrocínios, diretos comerciais, etc…) resultou da escuta ativa realizada nessa semana, uma resposta necessária à ausência de artigos científicos existentes sobre estes formatos. A metodologia, de natureza aplicada, de caráter descritiva e exploratório, envolveu: (1) recolha e codificação sistemática dos formatos publicitários (spots, autopromoções, patrocínios, diretos comerciais) mediante escuta ativa; (2) revisão bibliográfica para fundamentar uma base teórica mais aprofundada sobre sound branding, formatos publicitários na rádio e design sonoro; e (3) categorização e quantificação dos elementos sonoros conforme referências teóricas. Os resultados revelam que 96% das marcas recorrem pelo menos a um elemento de sound branding (95 % na RFM, 98 % na Renascença). Todos os anúnvios com spot contêm componentes sonoros, enquanto formatos breves ou informativos demonstram menor incidência. A brand voice regista o maior número de ocorrências (415 na RFM, 341 na Renascença), seguindo-se o brand soundscape e slogans. Outros elementos, sound logo, jingle, brand song, sound icon surgem com menor frequência, e o corporate anthem não foi utilizado. Conclui-se que o som, em especial a voz da marca e a paisagem sonora, desempenha um papel fundamental na consolidação da identidade institucional e na criação de ligações emocionais com os ouvintes.
This dissertation examines the presence and impact of sound branding elements in 138 brands aired over the course of one week between 7:00 a.m. and 10 a.m. on RFM (82 brands) and Rádio Renascença (56 brands). The theoretical framework is based on the contributions of Berchmans (2008) and Holman (2010) regarding sound design, as well as the work of Bronner & Hirt (2009) and Zanna (2015) on the primary components of sound branding (Brand Voice, Brand Soundscape, Jingle, etc.). Additionally, the identification of radio advertising formats (spots, promos, sponsorships, live reads, etc.) resulted from active listening during that week, a necessary measure due to the lack of academic literature on these formats. The methodology, which is applied, descriptive, and exploratory in nature, involved: (1) a systematic survey and coding of advertising formats (spots, promos, sponsorships, live reads) through active listening; (2) a literature review to deepen the theoretical basis on sound branding, radio advertising formats, and sound design; and (3) the categorization and quantification of sound elements according to theoretical references. The results show that 96 % of the brands incorporate at least one sound branding element (95 % on RFM, 98 % on Renascença). All spots contain sound components, whereas shorter or informational formats show lower incidence. Brand voice recorded the highest number of occurrences (415 on RFM, 341 on Renascença), followed by brand soundscape and slogans. Other elements, sound logo, jingle, brand song, appeared less frequently, and the corporate anthem was not used. It is concluded that sound, especially brand voice and soundscape, plays a crucial role in consolidating institutional identity and fostering emotional connections with listeners.
This dissertation examines the presence and impact of sound branding elements in 138 brands aired over the course of one week between 7:00 a.m. and 10 a.m. on RFM (82 brands) and Rádio Renascença (56 brands). The theoretical framework is based on the contributions of Berchmans (2008) and Holman (2010) regarding sound design, as well as the work of Bronner & Hirt (2009) and Zanna (2015) on the primary components of sound branding (Brand Voice, Brand Soundscape, Jingle, etc.). Additionally, the identification of radio advertising formats (spots, promos, sponsorships, live reads, etc.) resulted from active listening during that week, a necessary measure due to the lack of academic literature on these formats. The methodology, which is applied, descriptive, and exploratory in nature, involved: (1) a systematic survey and coding of advertising formats (spots, promos, sponsorships, live reads) through active listening; (2) a literature review to deepen the theoretical basis on sound branding, radio advertising formats, and sound design; and (3) the categorization and quantification of sound elements according to theoretical references. The results show that 96 % of the brands incorporate at least one sound branding element (95 % on RFM, 98 % on Renascença). All spots contain sound components, whereas shorter or informational formats show lower incidence. Brand voice recorded the highest number of occurrences (415 on RFM, 341 on Renascença), followed by brand soundscape and slogans. Other elements, sound logo, jingle, brand song, appeared less frequently, and the corporate anthem was not used. It is concluded that sound, especially brand voice and soundscape, plays a crucial role in consolidating institutional identity and fostering emotional connections with listeners.
Description
Keywords
Sound branding Identidade sonora Publicidade radiofónica Formatos de rádio Design sonoro