What exactly does music bring to the film and its emotional aspects? Well, music has a considerable influence in shaping the cinematic experience, manipulating emotions, point of view and managing perceptions of characters, moods and narrative events. The music itself is symbolic in language. He communicates emotions through sound instead of using spoken language. The aim of this article will be to investigate the role that music plays in conveying emotion within film, while supporting the argument that it is one of the greatest sources of emotion in cinema. This will be achieved by studying various other works, which will help to further explain why this is so. Music almost always accompanies the film. Hegel said that music in film is an absolute necessity while Zizek interprets it as a necessity in the form of contingency. It is mainly made up of symbols in the form of sounds composed of pitch, melody, rhythm, tone, harmony and timbre. All of these components are tools used to present musical concepts and project emotions. There may be no precise formula for knowing which sounds produce exactly which emotional response, but there is a long history of empirical devices and techniques originally learned through trial and error, in conjunction with observation and the study of how best to elicit a psychological response. in the mind of the listener. The major requirement of film music is that it serves the purpose of the picture and is effective in realizing the director's vision. It can be used to enhance the plot, reflect the theme and improve the mood. This can help to define the dialogue and can also, sometimes, surpass speech by transmitting psychological elements. Good musical music...... middle of paper ...... far beyond just spinning a good yarn. The cinematic experience must somehow mimic the three overlapping dimensions of subjective reality; the symbolic, the real and the imaginary. The method by which this is achieved very largely involves the use of film music. »Works CitedZizek, Slavoj. The Metastases of Pleasure, New York: Verso, 1994. pp. 35-36Sonnenschein, David. Sound Design: the expressive power of music, voice and sound effects in cinema. Studio City, CA: Michael Wiese Productions, 2001. pp.156 Copland, Aaron. What to listen to in music, 2nd edition. New York: McGraw-Hill, 1957. pp. 256-258 Hall, Roger. Write your first play. Boston: Focal Press, 1991. pp. XCopland, Aaron. Music and imagination. Cambridge: Harvard University Press, 1968. pp. 192-193Audiovision pp. 8-9. Spande, Robert. The three regimes: a theory of film music. pp. 2.