In Communication Studies, the importance of context in understanding the meaning of verbal and non-verbal symbols or signs is very clear. Thus, it should not surprise us that music provides one of these contexts, allowing us to perceive the meaning of scenes and film frames in a particular way or direction. Scientific research on the role of music in cinema is a vast and fascinating field that spans psychology, neuroscience, musicology, and film studies. Far from being a mere embellishment, the soundtrack is a narrator, an emotional manipulator, and an indispensable architect of meaning.
Music not only accompanies but also guides and shapes our interpretation of what we see. It does so by fulfilling different functions. One of the most crucial functions is to “anchor” the meaning of an ambiguous scene. An image of a character walking down a hallway can be unsettling, romantic, or heroic, depending entirely on the music. Music resolves visual ambiguity by directing the viewer toward the interpretation desired by the director. Another function is to establish time and place — the key to a sequence’s cultural and historical context. The use of a flamenco guitar situates the action in Spain, while a Japanese shakuhachi immediately evokes feudal Japan.
A widely used device is the leitmotif, which consists of associating a recurring musical theme with a character, place, or idea, so that when we hear it, we instantly understand who is present or what concept is being invoked. Most people who have seen these films will think of the same melody when I mention Darth Vader, Superman, or Indiana Jones. Another technique is using music to represent a character’s internal mental state: a distorted or atonal melody can indicate confusion, madness, or panic, while a clear and lyrical melody might represent clarity of thought or love.
A coherent soundtrack helps unify disparate scenes, time jumps, or location changes, providing a sense of unity throughout the film. It smooths out cuts and transitions between scenes, preventing them from feeling abrupt or disorienting. The musical rhythm helps structure the narrative pacing of the film, speeding up or slowing down our perception of cinematic time.
As we know, sound cinema developed throughout the 20th century. But even earlier, in opera, we find great composers of this other lyrical genre. Thus, it is not surprising to find or recognize in the compositions and composers of 20th-century film scores (Max Steiner, Bernard Herrmann, Ennio Morricone…) echoes or techniques previously developed by composers like Wagner — or even the direct use of classical pieces or excerpts (Mahler, Debussy, Beethoven…) as film soundtracks.
Music is, in essence, an omnipresent character that whispers in our ear how to feel and what to think, making the cinematic experience infinitely richer, more coherent, and more emotional. Scientifically, it is well established that the soundtrack is not an optional decorative element, but a powerful cognitive and emotional tool.
Associate professor of Sociology at the University of Girona