The Functions Of: Film Music

The FUNCTIONS of
FILM MUSIC
Adapted from Zofia Lissa: Ästhetik der Filmmusik
(Berlin, 1959)
Philip Tagg —Faculté de musique, Université de Montréal, juin 2004

www.tagg.org
Film Music Function 1 (of 10)
1 Emphasis of movement
i.e. musically underlining visible or audible

movement that is not intrinsically music, e.g.
running, galoping, waving, swaying,
spinning, flying, hovering, caressing, hitting,
stabbing, cutting, flickering, to-and-fro,
quickly, slowly, calmly, jerkily, etc. +
stillness...
2 Emphasis of ‘real’ sounds
underlining, in stylised musical fashion,

sounds not included in ‘the music
itself’, e.g. rain, wind, footsteps,
hooves, machines, screams, sighs,
laughter, slam, bash, ‘pow’, ‘wham’,
‘thud’.
3 Representation of location
using music to connote a particular cultural,
physical, social or historical environment.
(a) physical, ethnic, e.g. Japan, jungle, Native Americans,

Paris, town, country, space, laboratory, underwater, posh
hotel, seedy club
(b) social, e.g. upper class, middle class, lower class
(c) historical, e.g. ancient, medieval, Baroque,

fin-de-siècle, future
4 Source music (non-diegetic music)

Film music becomes source music when it is motivated
by the narrative logic of the visual production’s fictional
‘reality’, i.e. when the source of that music is part of that
same fictional reality.
Source music can be thought of as music audible to (hearing)
characters (if any) and enacted in the scene where it occurs.
The sounding source of the source music may be visible on
screen, e.g. a marching band, a band in a nightclub, a parent
singing a lullaby, a concert, a church organ and congregation,
etc., but it can also be invisible, e.g. a car radio, Muzak in an
airport or shopping mall, a TV or hi-fi that has been turned on.)
5 Comment and counterpoint
(a) Music commenting on the images by distancing,

often by contradicting the connotative sphere of the
visual action, e.g. melifluous melody for atomic
holocaust, horror music for love scene.
(b) Music providing an emotional dimension to a

series of events that has just finished, i.e. the
opposite of function 9, below.
6 Expression of actor’s emotions

(compare with function 7)
Music communicating what characters played on

screen are supposed to be feeling, e.g. a neutral
shot of a hero or heroine reading a letter with
horror music as underscore telling the audience
he/she is shocked by such terrible news.
7 Basis for audience’s emotions

(compare with function 6)
Music communicating emotion[s] that may or may not

be the same as those supposed to be experienced by the
character[s] on screen, e.g. the same scene and same
music as in function 6, except this time it is the villain
who is seen reading a letter with horror music
underscore telling us (the audience) that something
awful is going to happen. In this case the letter carries
terrible news (for us) while it might be wonderful news
for the evil character reading it inside the fiction.
8 Symbol (of something else)
Music representing something or someone

known by the audience from the narrative
but who/which is not currently part of the
narrative, e.g. a wounded hero seen in the
misery and mud of the trenches but
underscored by ‘her’ theme.
9 Anticipation
Music prefiguring what is about to happen.
For example, the music starts to sound nasty

while the picture is still quite ‘innocent’,
presenting a mood of threat just before the
visuals go ugly...
Film Music Functions 10a-c (of 10)
Demarcation / improvement of
10 the film’s formal structure
Identification. Themes, motifs, instruments, etc.
identifying characters, environments and moods, thus
making the film emotionally more comprehensible.
Bridges. Music linking two scenes, often set in quite

different locations and with disparate moods.
Openings. Music communicating that something new of

a particular kind is starting.
Film Music Functions 10d-f (of 10)
Demarcation / improvement of
10 the film’s formal structure
Tails. Snippets of music, often after a change of scene,
that set the mood of the new scene and tail off, often on
an unresolved chord demanding that the narrative
(musical or otherwise) continue, thereby leaving the
acoustic space open for dialogue or sound effects
Endings. Music underlining that something has come to

a close.

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The FUNCTIONS of

Philip Tagg —Faculté de musique, Université de Montréal, juin 2004

i.e. musically underlining visible or audible

2 Emphasis of ‘real’ sounds

underlining, in stylised musical fashion,

(a) physical, ethnic, e.g. Japan, jungle, Native Americans,

(c) historical, e.g. ancient, medieval, Baroque,

4 Source music (non-diegetic music)

5 Comment and counterpoint

(a) Music commenting on the images by distancing,

(b) Music providing an emotional dimension to a

6 Expression of actor’s emotions

Music communicating what characters played on

7 Basis for audience’s emotions

Music communicating emotion[s] that may or may not

8 Symbol (of something else)

Music representing something or someone

Music prefiguring what is about to happen.

For example, the music starts to sound nasty

Bridges. Music linking two scenes, often set in quite

Openings. Music communicating that something new of

Endings. Music underlining that something has come to

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