Sounds Like Respect. The Impact of Background Music on the Acceptance of Gay Men in Audio-Visual Advertising

A multimodal understanding of the role of sound and music in gendered toy marketing

Literature in music theory and psychology shows that, even in isolation, musical sounds can reliably encode gender-loaded messages. Musical material can be imbued with many ideological dimensions and gender is just one of them. Nonetheless, studies of the gendering of music within multimodal communicative events are sparse and lack an encompassing theoretical framework. The present study attempts to address this literature gap by employing a critical quantitative analysis of music in gendered toy marketing, which integrated a content analytical approach with multimodal affective and music-focused perceptual responses. Ratings were collected on a set of 606 commercials spanning a ten-year time frame and strong gender polarization was observed in nearly all of the collected variables. Gendered music styles in toy commercials exhibit synergistic design choices, as music in masculine-targeted adverts was substantially more abrasive-louder, more inharmonious, and more distorted-than in feminine-targeted ones. Thus, toy advertising music appeared deliberately and consistently in line with traditional gender norms. In addition, music perceptual scales and voice-related content analytical variables explain quite well the heavily polarized affective ratings. This study presents a empirical understanding of the gendering of music as constructed within multimodal discourse, reiterating the importance of the sociocultural underpinnings of music cognition. We provided a public repository with all code and data necessary to reproduce the results of this study on github.com/marinelliluca/music-role-gender-marketing.

Ambient ageism: Exploring ageism in acoustic representations of older adults in AgeTech advertisements

Ageing-in-place environments are increasingly marked by ambient digital technologies designed to keep older adults safe while they live independently at home. These AgeTech companies market their products by constructing imagined visual and aural worlds of the smart home, usually deploying ageist representations of ageing and older adults. The advertisements are multimodal, and while what is seen on screen is often considered most important in a visuo-centric western culture, scholars have argued that it is what audiences hear that has the greatest impact. The acoustic domain of AgeTech advertisements and its relationship to ageism in marketing has not yet been explored. Accordingly, this paper will address this gap by following Van Leeuwen's framework for critical analysis of musical discourse to explore what AgeTech companies say about ageing, older adults, and ageing-in-place technologies using sound in an illustrative set of smart home advertisements for ageing-in-place. The paper will discuss how music, voice, and sound are semiotic resources that are used to construct stereotypical (both negative and positive) portrayals of older adults, reinforce the narrative of "technology as saviour," and trouble the private/public boundaries of the ageing-in-place smart home.