Abstract

Current film music theories acknowledge a problem with the categorisation system of music in film. The diegetic/non-diegetic divide is often crossed and blurred, which supports the notion that some film music is a musical equivalent to the film technique of the interior monologue, where the audience hears the character's thoughts as if spoken. Claudia Gorbman (1987) has spoken of this musical equivalent briefly, calling it metadiegetic music. Simon Frith (1986) has also asked the question "is the character really hearing something?". Metadiegetic music can be directly linked to the common experience of everyday life where humans hear music in their minds, a phenomenon called audiation. Although theorists have discussed this possibility not one study exists which examines the concept in detail, how it is possible and how it is used in film. This thesis is the first exploration of the application of this film music technique in contemporary film. Using case studies this thesis explores the use of audiation (or metadiegetic music) within two films, A Clockwork Orange (1971) and 10 Things I Hate About You (1999). Interpretation of the case studies suggests that audiation is used in certain situations relating to the character, that it is more likely to be pre-existing music than original music and that it has similar characteristics to audiation found in everyday life. An interview with a theatre and TV composer/director supports the theory and shows that the technique is being used inadvertently, even in theatre.