Abstract
Abstract The article draws attention to the value of objective measurement of both human responses and soundtracks for validating conjectures about the role of film music. Based on empirical research on film music as well as ideas from film theory and cognitive science, the author’s Congruence-Association Model with Working Narrative (CAM-WN) is introduced as a means for organizing ideas about the role of music in film. The application of CAM-WN to the problem of unattended film music is reviewed, and the notion of subjective silence is examined in the context of spectrographic representation of film music. While empirical research with human participants is also encouraged, the complexity of the enterprise is highlighted by a list of questions to consider in advance. Interdisciplinary collaboration is suggested as a means for overcoming the complexity of film-music behavioral research, though it is not a panacea. The Lund University Film Studies Department offers an important example in this direction.
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