Music is everywhere; we cannot escape it. It is well acknowledged that music has a strong effect on an individual’s emotions. Advertisers, businessmen, and, in this case, filmmakers use that to their advantage. Films in particular, use scoring as a way to build tension, create emotional connections, and pull viewers deeper into what is called Suspension of Disbelief. (Elaborate on SOD). This is the idea that an individual willingly “suspends one’s critical faculties” and “sacrifices realism and logic for the sake of enjoyment.” In this context, film uses music to draw in an audience and create a degree of investment.
Aaron Copland named the “Five Ways Music Serves the Screen” as:
1. Creating a more convincing atmosphere of time and place
2. Underlining psychological refinements
3. Serving as a kind of neutral background filler
4. Building a sense of continuity
5. Underpinning the theatrical buildup of a scene, and rounding it off with a sense of finality (Copland 1940)
With this in mind, this report hypothesizes that music scoring in film uses schematic
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From the peripheral routes, proprioceptive feedback and the facilitation of pre-existing emotions are used. Proprioceptive Feedback provides evidence that the emotional system can be activated by manipulating the pattern of one of (it’s) components. Proprioception is the sense one has of one’s own body. Certain structural features of music are known to affect the body directly. Rhythm, for instance, has a contagious effect, coupling internal rhythms to external drivers. The facilitation of pre-existing emotions is shown through the effect of listening to emotionally arousing music shows a weakening of control or regulation of efforts imposed by cultural norms. This preexisting tendency (motor expressions and physiological reactions) is reinforced by external stimuli, making it harder to keep affect under