Because of music's non-concrete nature, it's a more powerful door to children's fantasy lives than visual imagery. Children glean from music what they need and want, allowing their imaginations to shape the end result. While kids can appreciate all kinds of music, there are limitations to how much visual information they can incorporate, and handle. With imagery, children become mentally and emotionally overwhelmed if things are too elaborate or carry too much emotional weight.

So what are children looking for when they listen to music? Simple or complex, kids want music that is good. They look to this music to feed their fantasy play and to reinforce their beliefs and feelings. That is their idea of entertainment. Kids watch videos, television programs, cartoons, et al., as preparation for play, but musicÉkids listen to music not only to prepare for play, but also to integrate songs into their imaginary scenarios.

Unlike adults, children listen to music without the slightest concern for genre. You will never find country music on a commercial rock station; never hear classical music on a dot-com spot aimed at college students. You will, however, hear Weird Al Yankovic, Peggy Lee's version of "She's a Tramp," an orchestral cue from Titanic and Brittany Spears all in one hour, on one station: Radio Disney. This is not bold programming on the part of Radio Disney executives, but a bow to what children like and demand.

Because of programs such as Radio Disney -- and the general pervasiveness of pop culture -- children are more sophisticated about music than ever before. And, when it comes to music in advertising, they are as critical and as discerning as adults are. Gone are the days when advertisers could get away with an unconsidered, saccharine-sweet jingle or a milquetoast, rock 'n roll knock off, counting on the product shots to sell their candy or breakfast cereal. Products sold to such music tend to have short shelf lives and are more often than not reviled by parents.

The answer does not lie, however, in scoring kids commercials with Backstreet Boys or N'Sync songs. Adults tend to associate what they see with what they hear. And, if they like what they hear, it translates well to the brand. Children, on the other hand, have a short attention span and, as I mention above, a greater degree of sophistication in audio as compared to visual language. So, when kids hear a well-loved tune, they are immediately transported. I've seen my own daughters watch commercials scored with songs they know well. They literally tune out the television to focus on the music; turn to one another and sing. So, buyers beware. If you plan to license music for children's spots, consider featuring the artist in the ad, or make sure the music, the copy and the visuals tell the same story.

Commercial music at its best -- and most effective -- either inspires personal fantasies or helps viewers gain insight into their feelings (this is true for audiences of all ages). The creatives behind the recent Gap Kid's ad "How About the Boys" clearly realize this fact. So too, do more and more agencies producing children's advertising for primetime. Unfortunately, this insight has not yet trickled into Saturday morning children's fare, where advertisers commit the greatest transgressions. Could agencies be assuming that since adults rarely watch Saturday morning programming, they can ignore quality issues when it comes to music? Or are they failing to appropriate their budgets as wisely as they should?

So what do kids want from music? They want music that attends to their interests and desires, that enhances their play and fantasy life. They want music that speaks to them with the same level of sophistication that occurs when adults speak to each other. In short they want the same things we want -- just a little younger.

>Jeff Elmassian is a producer, songwriter, sound designer, orchestrator, performer and composer. He creates soundtracks for commercials, feature films and television programming. He formed his own production company, Digihearit? with executive producer Caylyn Eastin Morris in October 1998. Elmassian's recent credits include co-composing and producing songs for the

Columbia Pictures October 1999 release, The Adventures of Elmo in Grouchland.

Elmassian is the father of two children and lives in the Larchmont area of Los Angeles.