What exactly does music contribute to the film and its emotional aspects? Well, music has a huge influence in shaping the cinematic experience, manipulating emotions, point of view and managing perceptions of characters, moods and narrative events. Music itself is symbolic in language. Communicate emotions through sound rather than using spoken language. The purpose of this article will be to investigate the role that music plays in conveying emotion within film, while supporting the thesis that it is a major source of emotion in film. This will be achieved by studying various other works, which will help further explain why this is so. Music practically always accompanies films. Hegel said that music in the film is an absolute necessity while Zizek interprets it as a necessity in the form of contingency. It is predominantly made up of symbols in the form of sounds consisting of pitch, melody, rhythm, key, harmony and timbre. All of these components are tools used to present musical concepts and project emotions. There may be no precise formula as to which sounds produce exactly which emotional response, but there is a long history of empirical devices and techniques originally learned by both trial and error along with observation and study of how to best elicit a psychological response. in the listener's mind. The main requirement for film music is that it serves the purpose of the film and is effective in realizing the director's vision. It can be used to enhance the plot, reflect the theme and enhance the atmosphere. It can help pinpoint dialogue and can sometimes even surpass spoken words in conveying psychological elements. A good soundtrack... middle of paper... elements that go far beyond simply spinning a good story. The cinematic experience must mimic in some way all three overlapping dimensions of subjective reality; the symbolic, the real and the imaginary. The method by which this occurs involves the massive use of film music.” Works citedZizek, Slavoj. The Metasthesis 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, California: Michael Wiese Productions, 2001. pp.156 Copland, Aaron. What to listen to in music, 2nd edition. New York: McGraw-Hill, 1957. pp. 256-258Hall, Roger. Writing 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. page. 2.