Journal of Education, Humanities and Social Sciences EMSS 2023

Volume 23 (2023)

The Roles of Music in Films

Chenyue Zhuang*
School of Beijing World Youth Academy, Beijing, 100102, China
* Corresponding Author Email: [email protected]
Abstract. Nowadays, music and film have become intertwined, creating art that resonates with
audiences on an emotional and societal level. This raises the question: How does music serve films
and their audiences? This question has captured the interest of scholars, directors, and workers in
the film industry, profoundly influencing the value and narratives conveyed in films. Extensive studies
and research have fostered a diverse range of perspectives, ultimately leading to the conclusion that
music plays a significant role in film, while simultaneously films enhance the power of music. Sounds
and music shape the atmospheres, tones, and characters in films, and film clips make music sounds
in more delicate feelings and emotions. This dynamic relationship highlights the importance of the
fusion of these two art forms.
Keywords: Music, film studies, character, narrative, space.

1. Introduction
Music is the composition of sounds, while film is developed through the binding of pictures and
graphs. They share a profound connection rooted in the realm of emotion [1]. In music, individuals’
emotions are amplified, while in films, they burst forth. As audience immerse themselves in the union
of music and cinema, they seek a sense of balance and inner peace through these connections. Music
is strategically employed throughout various stages of a film. It often sets the tone at the beginning,
fades into the background during transitional scenes, and commonly takes center stage in the climactic
moments towards the end. It is through music that films come alive, harmoniously linking the
audience together and evoking deep emotional responses that resonate in their hearts. The question
of how music influences film and creates value for audiences has become a popular topic.
The paper delves into well-known studies from scholars that explore the influence of music on key
aspects of film. For example, Siu-Lan Tan’s research on the audience’s perception of music among
characters and Hung’s work on interpretations of narrative through music are reviewed [2]. In
addition, prominent directors also dedicated their efforts to studying this dynamic relationship,
offering their unique perspectives. Varieties of paper studies, second-hand interpretations, and precise
quotes are used in this paper to analyze the impacts of music on films. To provide a focus,
contemporary studies often concentrate on three key aspects: that music in films plays various roles,
including building character, enhancing the narrative, and creating a sense of time and space. These
areas are explored to better understand the profound role that music plays in shaping the emotional
landscape of films and its impact on the overall cinematic experience. Other thoughts that contradict
these three aspects are also recorded to cover a bigger chance of the audience alliance.

2. Music’s Impacts on Film Characters

Music influences the viewer’s interpretation of film content, particularly in shaping their views on
characters and narratives. Siu-Lan Tan’s exploration of music’s impact on character perception
unveils three pivotal dimensions: the audience’s perception of a character’s motivational and
emotional states, their visualization of a character’s role in a scene, and their understanding of the
character’s interpersonal dynamics [2]. For example, as Dika Newlin featured in her research on
Alfred Hitchcock’s cinematic masterpiece Vertigo (1958), Hitchcock masterfully incorporated music
and visuals to heighten the suspense in the opening sequence to mold the character’s inner feelings
[3]. In this scene, a detective prepares to pursue a suspect across a rooftop, but his fear of heights

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poses a significant challenge. music becomes the conduit for expressing his emotional distress. The
composition, characterized by fragmented chords and repetitive motifs, emulates the sensation of
falling and spinning, thus intensifying the detective’s apprehension and evoking a nerve-wracking
atmosphere for the audience. By manipulating the musical elements, Hitchcock reached the
character’s emotions which further heightens the tension within the scene and effectively engages the
viewer’s senses. Furthermore, when portraying a character’s role and function, Marshall Cohen’s
integration of Heider and Simmel’s geometric shapes with original music unveils a thought-
provoking paradigm [4]. By pairing strong or weak music with distinct shapes, Cohen delved into the
dynamic interplay of perception and auditory stimuli. A classic and notable case involves two
triangles, one large and the other small. There are two shapes, a large triangle and a small triangle.
Before music is added, the larger triangle appears to be more active and aggressive, and audiences
have a stereotypical reaction to the characters based on their shape sizes. However, when the small
triangle is accompanied by intense music in a minor key with a gradually accelerating tempo, and the
large triangle is complemented by "gentle" music in a major key with a constant tempo, the audience's
perceptions are intriguingly subverted. Suddenly, the smaller triangle exudes greater intensity,
capturing their attention and confounding conventional expectations [4]. This example demonstrates
the influence of music on the audience’s perception of characters’ physical and mental roles in films.
Furthermore, music can represent the relationships between characters just as effectively as the
other aspects previously mentioned. The inclusion of music in films enhances the audience’s
understanding of these relationships, adding yet another layer of comprehension to the overall
viewing experience. In summation, the fusion of music and film is a harmonious duet, where each
partner complements the other's strengths. It is through this synthesis that films cease to be mere
visual experiences and transform into captivating symphonies of human experience.

3. Music’s Effects on Film Narration

3.1. Narrating the Settings
Once viewers have developed an understanding of the characters, their interpretation of the events
that unfold in the film becomes crucial. Many studies suggest that this is precisely where the role of
music in shaping narrative interpretation comes into play. For instance, Hung discovered that when
audiences watched an advertisement for a shopping mall accompanied by classical music, they tended
to perceive it as a luxurious place frequented by sophisticated individuals [4]. In contrast, when the
same footage was accompanied by rock music, the perception shifted. This finding underscores how
the music backdrop has the power to sway people’s interpretations of a film location. Even in a dark
and grimy setting, the use of classical music featuring soft violin melodies can transform the
perception of the place, making it appear bright and full of hope. This technique can be effectively
employed in films where the central storyline unfolds in an unsatisfactory and gloomy environment,
while the characters within the film may exhibit optimism and a sense of profound pleasure to the
surroundings. Here, the choice of music can amplify these high-energy emotions, thereby bestowing
a vibrant quality upon the location and the mood of the film.
3.2. Narrating Forthcoming Events
Music also contributes to shaping the audience's anticipation of forthcoming developments in the
film's narrative [5]. An experiment outlined by Boltz et al. underscores this point by demonstrating
how music, or its absence, concurrently presented with film, can influence the audience’s perception
of characters’ moods and their predictive expectations [3]. In the study, 177 participants watched a
selection of excerpts from famous films, each about 1 minute, coupled with different emotions of
music ranging from happiness, sadness, fear, to anger. The result of this experiment shows the
influence of different types or genres of music on the audience’s mood, affecting feelings of anger or
happiness. It further reflects how pre- and post-scene music affects emotional responses, as assessed
through post-experiment surveys.
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Table 1. Means for the Significant Music Placement by Emotion of Music by Rating Scales
Interaction.
Rating scales
Anger Happiness
Music Emotion Pre-scene Post-scene Pre-scene Post-scene
Happiness 1.10 0.72 1.43 1.94
Sadness 1.17 0.92 1.02 1.16
Fear 0.99 1.10 1.09 0.62
Anger 1.12 1.42 1.23 1.13

As illustrated in Table 1, in the pre-scene condition, both happiness and sadness music excerpts
were associated with higher anger ratings compared to the post-scene condition. However, in the post-
scene condition, these same excerpts received higher happiness ratings compared to the pre-scene
condition. Surprisingly, fear-including excerpts received higher happiness scale ratings in the pre-
scene condition than in the post-scene condition. On the contrary, anger-laden excerpts received
higher anger scale ratings in the post-scene condition compared to the pre-scene condition. These
preliminary findings suggest that participants’ perceptions of characters’ emotions are influenced by
the specific emotions expressed in accompanying music as well as the timing of its presentation.
When the ratings are partial to anger in the pre-scene, audiences experience heightened positive
tension with an inclination toward action readiness. This is the time when the audience anticipates
the characters in the film to take some actions either for themselves or others and things [6]. In
addition, according to some surveys that clearly portray the emotional music’s relation to the
audience’s tensions and action readiness, music evoking happiness and sadness yields a low sense of
action readiness in both the pre-and post-scenes, while sadness elicits lower tension as well. These
emotions create a stable emotional experience, where the audience anticipates minimal character
action. In contrast, the presence of fear results in elevated action readiness but low tension. This
indicates that when fear appears in a scene, the audience will not pay much attention to the character’s
facial expressions but more to the music, showing that fear will make the audience look forward to
the character’s actions to get out from its current state.

4. Music’s Role in Creating Space

4.1. Music’s Role in Signifying Space and Time
Alongside character and narrative, music also holds a significant place in its ability to signify place
and time [7]. Martin Scorsese claimed that music is a very important element in his films to convey
certain temporal and spatial contexts. In his movie Goodfellas (1990), the soundtrack uses songs like
“Rags to Riches” by Tony Bennett, “Layla” by Derek and the Dominos, and “Gimme Shelter” by The
Rolling Stones to capture the atmosphere of the 1960s to 1970s. Similarly, in his Wolf of Wall Street,
he included a vibrant mix of pop and rock hits from that era like “Hey Leroy, Your Mama’s Callin’
You” by Jimmy Castor, “Mrs. Robinson” by Simon & Garfunkel, and “Black Skinhead” by Kanye
West to encapsulate the financial excess and corruption prevalent during the 1980s to 1990s [8]. Aside
from specific songs, directors often collaborate with composers to create original scores that enhance
the atmosphere of the films. In Inception, Christopher Nolan collaborated with the composer Hans
Zimmer to create a distinct score called “Time,” featuring a rhythmic ticking clock sound that
emphasizes themes of urgency and time. Similarly, Steven Spielberg has also worked with various
composers, including John Williams, to achieve a specific sense of time and place in his films. He
understands that music can be a powerful tool for creating atmospheres related to different time
periods and locations. Films like Jaws (1975), E.T. the Extra-Terrestrial (1982), and the Indiana
Jones series all bear testament to the significant role of music.

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4.2. Contradicting Music’s Impacts on a Montage

In the realm of exploring the impact of contradicting music on film imagery, scholars like
Gorbman and Siegfried have provided valuable insights. Gorbman suggests that music in a film can
either “resemble” or “contradict” the action or mood depicted on the screen. Siegfried adds to this
idea, emphasizing the powerful effect of “contradicting” music in achieving creative montage [9].
Larry M. Timm’s book The Soul of Cinema: An Appreciation of Film Music further delves into the
technique of blending music that does not align with the genre of the film [10]. For example, directors
sometimes use contrasting music to temper the violence depicted in a scene, incorporating opera or a
soft, slow ballad to lessen the intensity. This technique creates a montage atmosphere in the movie,
as the different meanings conveyed by the music and the film combine to convey a complex image
or message to the audience. This contradictory combination of music and visuals contributes to a
mysterious effect, allowing the audience to speculate about the underlying message. Take the film
Taxi Driver (1976) as an illustrative example. In this movie, Stanley Myers’ haunting and
melancholic composition “Cavatina,” is played. The delicate and beautiful melodies from the
classical guitar piece starkly contrast with the brutal and unsettling actions unfolding on screen. This
contrast serves to underscore the inner turmoil and psychological disarray experienced by the main
character, Travis. By juxtaposing Travis’s violent tendencies with a kind of tragic beauty, the use of
classical music in this context adds depth and complexity to the scene, intensifying the emotional
impact on the audience.
4.3. Profound Relationships between Music and Film
As it is widely acknowledged that music plays a significant role in enhancing the cinematic
experience, nuanced perspectives on the relationship between music and film have emerged. Some
scholars argue that the dynamic between music and film is characterized by a process of mutual
serving, where both art forms benefit from their collaboration. In his book Music in the Cinema: The
Epistemology of Listening, author David Neumeyer explores the reciprocal relationship between
music and film, stating “Music is not simply subordinate to the film; it serves the subject matter of
the film, but at the same time, the music industry and its practitioners benefit from their association
with film” [11]. This perspective recognizes that music not only enhances the emotional impact,
narrative depth, and atmosphere of a film but also gains exposure and recognition through its
inclusion in cinematic works.
Conversely, films themselves benefit from the influence and cultural currency of popular music,
as it adds to their appeal, marketing potential, and overall artistic quality [11]. Moreover, in an article
titled Music, Film, and Their Mutually Serving Industries published in the Journal of Popular Film
and Television, author Tom Stempel discusses the symbiotic relationship between music and film
industries. Stempel asserts, “Film can give the industry exposure and keep its songs popular, and the
music industry can provide the film business with a soundtrack and a tie-in audience”. This analysis
underscores the commercial and promotional aspects of music in film, as well as the film’s role as a
marketing tool for the music industry [12]. For instance, the song “My Heart Will Go On" by Celine
Dion from Titanic (1997), became a massive hit and classic song of the singer which proves how film
can serve as a powerful platform for the music industry.

5. Summary
In conclusion, in the ever-evolving narrative of filmmaking, music stands as a symphonic bridge
spanning past, present, and future. It fuses time and place, emotion, and imagery, taking audiences
on a journey beyond the realm of words. Although the research shows a tiny quantity of experiments
and images for the understanding of the concepts and thoughts, it offers for future research to build
on whether film imageries make contributions to the understanding of music elements. For instance,
in various music videos, the interplay between visuals and the accompanying music can redefine and
reshape the meanings conveyed. Delving into this topic would unravel the intricate ways in which

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images amplify or transform the musical experience. This intriguing question offers scholars an
opportunity to delve deeper into the synergistic relationship between music and visual elements,
paving the way for further investigations and insights in the field. Moreover, an interesting aspect to
consider would be the exploration of how specific types of music are intentionally composed or
curated to evoke specific emotions or enhance particular narrative moments within a film. What music
elements are used and how are they composed to meet and match the film’s moods? This line of
inquiry would shed light on the deliberate creative choices made by filmmakers and composers,
further enriching the understanding of the complex interplay between music and cinema.

References
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Music and the Moving Image, 2015, 8(2): 81-86.
[2] Siu-Lan Tan et al. Viewers’ Interpretations of Film Characters’ Emotions: Effects of Presenting Film
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135-52.
[3] Dika Newlin. Music for the Flickering Image: American Film Scores. Music Educators Journal, 1977,
64(1): 25-35.
[4] Ernest Irving. Film Music. Tempo, 1946, 31-32.
[5] Miguel Mera and Stumpf Simone. Eye-Tracking Film Music. Music and the Moving Image, 2014, 7(3):
3-23.
[6] Kulezic-Wilson Danijela. The Music of Film Silence. Music and the Moving Image, 2009, 2(3): 1-10.
[7] Ben Winters. The non-diegetic fallacy: film, music, and narrative space. Music & Letters, 2010, 91(2):
224-44.
[8] Jessica Green. Understanding the Score: Film Music Communicating to and Influencing the Audience.
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[9] Claudia Gorbman. Narrative Film Music. Yale French Studies, 1980, (60): 183-203.
[10] Larry M. Timm. The Soul of Cinema: An Appreciation of Film Music. Pearson, 2014.
[11] Neumeyer David. Music in the Cinema: The Epistemology of Listening. Music and the Moving Image,
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[12] Richard Farmer, et al. Film and Pop Music. Transformation and Tradition in 1960s British Cinema,
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