Abstract
This paper analyzes how the music of Johann Sebastian Bach is symbolically utilized in the film <The Children Act>, with the aim of understanding the symbolic relationship between Bach's music and the film. Based on the theory of music semiotician Roland Barthes, Philip Tagg suggested various examples how music functions as meaningful sign. Juan Chattah presents a model for analyzing the relationship between film and music using meaning-based music. The Bach pieces used in this study are BWV 826, <Sinfonia>, <Allemande>, and <Sarabande>, and BWV 126, “Aria.” The analysis reveals that BWV 826 supports the inner and outer aspects of the protagonists' relationships through the use of auditory signals, while BWV 126 performs an implicit function in the plot by utilizing lyrics and compositional motivations.
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