What are the theoretical relationships between Music, Film Music, and Emotions, and what are the implications for a semiotic analysis of Affect in Narrative Film?

Abstract

Music is often described as the language of emotions, and film music, it is argued, is the strongest source of emotion in cinematic film. Despite the ubiquity of emotional responses to music-alone and film music, the special relationship between music and emotion almost defies explanation. Questions tend to be asked about whether emotions might reside within the music itself, and about how the listener perceives, experiences and responds to emotions expressed by the music. Theoretical relationships between film music and emotion are informed by both psychological perspectives on emotions per se, and cognitive-psychological research into the music-emotion relationship. As well, film theorists have modelled how film music impacts on the listening/viewing audience (hereafter called the subject) and causes emotional experience. An examination of the interdisciplinary theorising of music and emotion should be able to inform future research that seeks to analyse the relationship between film music and emotion, in narrative film.