Previous studies have shown that pairing a film excerpt with different musical soundtracks can change the audience’s interpretation of the scene. This study examined the effects of mixing the same piece of music at different levels of loudness in a film soundtrack to suggest diegetic music (“source music,” presented as if arising from within the fictional world of the film characters) or to suggest nondiegetic music (a “dramatic score” accompanying the scene but not originating from within the fictional world). Adjusting the level of loudness significantly altered viewers’ perceptions of many elements that are fundamental to the storyline, including inferences about the relationship, intentions, and emotions of the film characters, their romantic interest toward each other, and the overall perceived tension of the scene. Surprisingly, varying the loudness (and resulting timbre) of the same piece of music produced greater differences in viewers’ interpretations of the film scene and characters than switching to a different music track. This finding is of theoretical and practical interest as changes in loudness and timbre are among the primary post-production modifications sound editors make to differentiate “source music” from “dramatic score” in motion pictures, and the effects on viewers have rarely been empirically investigated.

STUDIES ADDRESSING EFFECTS OF MUSIC ON VIEWERS' perceptions of film have usually presented music simultaneously with a scene of interest. In the present study, 177 undergraduates viewed film excerpts with music presented before or after a scene featuring a single character. Whereas the film characters had emotionally neutral or subdued facial expressions, the music conveyed happiness, sadness, fear, or anger. Overall, participants tended to interpret characters' emotions in ways that were consistent with the particular emotion expressed in the music, offering evidence for both forward and backward affective priming effects. Our data confirm Boltz, Schulkind, and Kantra's (1991) findings on the role of music in foreshadowing. As far as we are aware, the effects of music on a prior scene have not been demonstrated in film music research. Our findings suggest that music does not have to be presented concurrently with onscreen images to influence viewers' interpretations of film content.

This study examined the effects of repeated hearings on 74 participants’ responses to two types of musical compositions. Intact compositions consisted of short classical piano solos. Patchwork compositions were created by combining excerpts from three different musical works. The findings showed that listeners’ ratings of unity and liking for intact compositions were initially higher than those for patchwork compositions. With repeated hearings, however, ratings of patchwork compositions increased linearly while ratings of intact compositions showed a general downward trend. After four repeated hearings, ratings of patchwork compositions even exceeded those of the intact compositions. These trends across repeated hearings were contrary to what would be predicted if listeners were focusing on thematic relationships. Implications for Berlyne’s two-factor arousal theory and competing theories are discussed.