This essay will provide that on screen music pursues and brings intensity to the internal thoughts of the characters; depending on the emotional context of a scene, it can bring about, misery, joy, terror among other emotions and it can accelerate or slow down the speed of the narrative. …
According to the essay "Emotional Effect Music Can Have on a Film" findings, music in the film can have the effect of convincing the audience to believe the actions or the mood portrayed by the character as opposed to simply accepting the scene and the overall mood. For example, when a ballad is played repeatedly every time an actor is onscreen, the audience will ultimately connect the mood of the music to the character (Tan et al139). An example of this is the haunting song by David Raskin which was used repeatedly in the film Laura which resulted in the film acquiring a deeper feel owing to the perceived depth of the score. Music is used to direct the sympathy or empathy of the audience towards the characters that the director wants to depict as good of evil respectively, as such, in a film, the soundtrack played when the villain is onscreen is likely to be eerie and designed to evoke apprehension tension or fear (Juslin and Sloboda 371). Nevertheless, when the protagonist is onscreen, the music played will be evocative of hope and in action scenes when the antagonist is winning cheerful hopeful music such as the “eye of the tiger” which is considered by many to be the anthem of motivation in modern film.
Used effectively as a synesthesia, music can create mood in which an audience will be subtly manipulated into associating a certain piece of music with a given mood, from a Gestalt perspective, one may even argue that some of the emotional evocations are innate,. Films such as Phycho 1960 and the more recent horror series Saw, (2005) use a variety of musical devices such as pitch, tone and melodic line to create a classical conditioning that succeeds in making the audience nervous and even scared, which is the purpose of creating a horror film in the first place. When a file plays music from which an audience can make a direct connection to the based on the retrospective themes covered by the music, it has the distinct effect of bringing past emotional experiences into the current viewing ...
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The book addresses the uniqueness of films and the role they play in the society, especially the informative roles (Braudy & Cohen, 2004 p22). The book gives valuable insights into films and film interpretation, ranging from the visual codes, the sound application, sign usage and many other aspects that influence the film process to be what it is, in the final product (Eberwein, 1979 p41).
According to the paper to fully appreciate and understand the crucial roles sound design and film music are playing in modern cinema, we need to look at the evolution of cinematic sound and the effect it had on film aesthetics and narratives. The musicians would either improvise or use well-known classical compositions.
Music is the result of a complex process in which roles are not always clearly defined. In order to be considered part of the composition process and thus an owner of the music, the contributor must have provided something unique and not separate from the work.
What does it mean to say of a piece of instrumental music that it has certain emotional qualities?
A distinction is sometimes drawn between music that possesses an emotional quality and music that is expressive of that emotion. The distinction between piece of music that possesses emotional quality and an instrument of music that, in virtue of its possession of emotional qualities and various of its other features can properly be said to be a musical expression of emotion.
Movies have allowed artists and musicians to create an abundant and rich variety of music. Yet, most of the researches done in this direction include music scores written in the era of talking movies. Very poor knowledge of what film music was like in the silent movies was conducted.
The conclusion from this study states that to listen to the score of a film is to appreciate fully exactly what the filmmakers were trying to point out to us. The acting and directing and the writing is the element that primarily we remember, however, subconsciously we remember more than we give ourselves credit for.
Different types of films are therefore more likely to evoke divergent emotions. It is also possible for a single film to evoke different emotions in single individuals. Apart from film, other methods have as
’There is no way a films can be silent’’ and ‘’ never were silent films silent at all’’ are some of the statements that one is likely to encounter upon enquiring about the manner in which the music accompanied the silent films. On whether or not such statements are true leaves a lot to be debated.
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