A groundbreaking study from Queen Mary University of London has unveiled that the soundscapes and music featured in toy commercials play a crucial role in reinforcing strict gender norms, thereby shaping children’s perceptions of masculinity and femininity. This research highlights how gender stereotypes are conveyed not just through visual elements and language but are intricately woven into the sounds and music used in adverts aimed at children.
For over four decades, studies have indicated that gender polarisation in children’s television advertising permeates various aspects of production, including camera techniques, settings, colours, and character roles. This recent study, however, published in PLOS ONE and led by PhD student Luca Marinelli under the supervision of Dr Charalampos Saitis at the Centre for Digital Music (Queen Mary), in collaboration with Professor Petra Lucht from the Centre for Interdisciplinary Women’s and Gender Studies (TU Berlin), examines an often-neglected element: music.
Luca Marinelli, the study’s lead author, explains, “The role of music in representing gender has been largely overlooked, but our findings demonstrate that soundtracks play a key role in forming gender perceptions from a young age.” The research involved analysing many toy commercials broadcast in the UK and identifying distinct musical styles tailored to advertisements targeting boys or girls. Commercials aimed at boys often featured louder, more abrasive, distorted soundtracks, reinforcing masculinity through more aggressive soundscapes. On the other hand, advertisements for girls typically included softer, more melodic music, perpetuating traditional feminine associations.
“These synergistic design choices are intentionally aligned with deep-seated gender norms,” Marinelli adds. Dr Charalampos Saitis, a Lecturer in Digital Music Processing and the paper’s senior author emphasises such practices’ broader societal implications. “The gendered music in advertising doesn’t merely influence how toys are marketed; it affects the emotional experience of the advertisement itself,” he notes. Children absorb these messages on multiple levels, with the music’s emotional impact subtly yet powerfully reinforcing the gender binary.”
The publication of this research is timely, aligning with the evolving advertising regulations in the UK aimed at combating harmful gender stereotypes. A 2020 statement from the UK Committee of Advertising Practice underlined the importance of addressing the broader implications of advertising messages that either adhere to or challenge traditional gender norms. “Our findings underscore the necessity for more comprehensive regulation,” argues Marinelli. “It’s imperative that regulators consider not only the visual and verbal content but also the auditory aspects and how music reinforces restrictive stereotypes.”
The societal repercussions of these findings resonate with the 2019 report from the Fawcett Society, which connected early exposure to gender stereotypes with various issues, including body image concerns, restricted career aspirations, and higher male suicide rates. “The ramifications of these early impressions are extensive,” Marinelli points out. “Music in toy commercials may be just one component, but it’s a significant one.”
The study further explores gendered associations’ historical and cultural origins with specific musical instruments and identities. For instance, harps have often been viewed as feminine due to their historical presence in 18th-century French salons, whereas drums, traditionally used in warfare, are commonly associated with masculinity. “These associations are so embedded in our collective consciousness that we seldom question them,” notes Marinelli. “Yet, they profoundly affect how we interpret gender roles, even in something as seemingly innocuous as a toy commercial.”
A novel concept introduced in the study is the idea of “music-primed gender schemas,” a psychological framework wherein music evokes specific gendered meanings and expectations. “These schemas blend aesthetic and gendered meanings, priming listeners to associate particular sounds with masculinity or femininity,” Marinelli explains. “In the realm of advertising, this can solidify narrow views of gender roles, thereby shaping children’s perceptions of what is ‘appropriate’ for boys and girls.”
According to Marinelli, toy commercials act as “semiotic bombs,” embedding layers of meaning into brief bursts of sound, imagery, and language. “It’s not merely ‘pink for girls and blue for boys,'” he concludes. “When music and sound effects are integrated, the gendered messages are significantly amplified.”
More information: Luca Marinelli et al, A multimodal understanding of the role of sound and music in gendered toy marketing, PLOS ONE. DOI: 10.1371/journal.pone.0311876
Journal information: PLOS ONE Provided by Queen Mary University of London