Diegetic/Non-Diegetic Music

When watching a film, more often than not there will be music that accompanies the images we are watching and whether we realise it or not, this music can help us in a number of ways to resolve what is maybe happening in the film, provide depth to a character or environment or introduce a new scene. Maybe some people think that it is ‘cheating’ a little to use music to help carry a story but quite often, even though we may not be fully aware of the music being played during the film, it may be afterwards that we realise how good or important it was.
This realisation may take place when we watch the film a second time or in fact go out and buy the soundtrack. Clearly, from a commercial point of view the music has done its job and also has reinforced a relationship that has bonded the moving images and sound together.

But what of the music? 

The terms DIEGETIC and NONDIEGETIC are ones that are used in film criticism and come from the term ‘diegesis’ which is the world of the narrative. These can can be defined as follows ;

DIEGETIC – This is where the sound (and it’s source) is present on screen and comes from within the ‘narrative sphere’ of the story. The sound, which can be music, voices or sound effects can be heard, played or manipulated by the characters in this story space.

In Quentin Tarantino’s Pulp Fiction, when Vincent and Mrs Mia Wallace (John Travolta & Uma Thurman) go for dinner at Jack Rabbit Slim’s restaurant, Vincent is persuaded to accompany Mia in the twist contest to the song ‘You Never Can Tell’ by Chuck Berry. Because this song is within the narrative of the story and it is clear that all characters can hear it being played in the restaurant, it would be classed as diegetic music or ‘actual sound’.

Another example of diegetic music is a piece from the film Back to the Future, when Marty McFly is playing along with the band at a school prom night. Marty (Michael J Fox) is on stage and the band react to what he is playing, even at the point when his guitar solo gets a little ‘crazy’ and their confusion is apparent in their faces. This music has played a big part in the actual storyline and it’s source (band on stage) can be seen/heard by all characters on screen.

NON-DIEGETIC - This is the kind of music that exists where the characters can’t hear it, and where there will be no identifiable source. A good example of non-diegetic sound would be any background music (although there will be a few examples where this is diegetic, (Quentin Tarantino uses this contradiction well).

The dramatic orchestral music or other pieces of music can be looked at as being ‘just’ for the audience to listen to, and where it may typically influence a persons emotional reaction to a scene.

In the previous post, where I talk about my experience of listening to the music of Superman, here the non-diegetic music (that only the audience can hear) has changed my mood somewhat, giving me a ‘hero’ feeling.

One comment on YouTube regarding this title sequence was 'This music makes you want to be a better person. Am I the only one who thinks that?'

In this clip from Star Wars - The Phantom Menace, Obi-Wan is having a lightsaber duel with Darth Maul with no music at all. The sound effects of the jedi’s weapons, the humming of the space station, and footsteps taken are all considered to be diegetic music that both characters will be able to hear. However at 44 seconds into the clip when Obi-Wan is pushed away to his certain doom, a piece of non-diegetic music (that the characters cannot hear) is played over the top and creates a kind of tension where you feel Obi-Wan has lost. However, another piece of music then starts to play that gives the viewer the idea that there may still be a chance for Obi-Wan. A musical clue to what may happen next, and it does. Obi-Wan defeats Darth Maul,which is reflected in the music being played.

In this next clip from The Wizard of Oz, the conversation that is going on between the three characters is almost mirrored by the music being played as background, but that has a very close resemblance to what is being said. Here the non-diegetic music is supporting the narrative, but at the same time it is giving the audience a more emotional attachment to the scene. 

In    

N