38:
476:", is also diegetic. In the 1936 film, it is supposed to be an old folk song known only to blacks; in the 1951 film, it is merely a song that Julie knows; however, she and the captain's daughter Magnolia are fully aware that Julie is singing. When Julie, Queenie, and the black chorus sing the second chorus of the song in the 1936 version, they are presumably unaware of any orchestral accompaniment, but in the 1951 film, when Magnolia sings and dances this same chorus, she does so to the accompaniment of two deckhands on the boat playing a banjo and a harmonica. Two other songs in the 1936
417:, as in film, the term "diegesis" refers to the context of a musical number in a work's theatrical narrative. In typical operas or operettas, musical numbers are non-diegetic; characters are not singing in a manner that they would do in a naturalistic setting; in a sense, they are not "aware" that they are in a musical. In contrast, when a song occurs literally in the plot, the number is considered diegetic. Diegetic numbers are often present in
533:. The audience is led to assume that this is a "musical episode", in which the characters are unaware that they are singing. It becomes clear that the characters are all too aware of their musical interludes, and that determining the supernatural causes of the singing is the focus of the episode's story. On the same show, the episode entitled "
511:", which the Phantom composed, not only are Christine and Raoul's words repeated, but they are sung to the same tune they used, suggesting that the eavesdropping Phantom heard them to be singing, rather than speaking, their conversation. To define "All I Ask of You" as either diegetic or non-diegetic is therefore not straightforward.
299:
the characters in the room, then transforms into the incidental music for the closing credits. Music can also becomes diegetic with the assistance of audio engineering techniques, having its reverberation undergo change to match the room's characteristics and indicate a spatial location from the surround speakers. Even though
298:
playing over separate shot sequences as non-diegetic music, but then later showing it to come from a gramophone in a hospital waiting room. A similar cross-over occurs in the closing scene of the HBO docudrama "Conspiracy", in which a
Schubert concerto is placed on a gramophone and commented on by
177:
Songs are commonly used in various film sequences to serve different purposes. They can be used to link scenes in the story where a character progresses through various stages toward a final goal. If it is synchronized with the action, as in the "Good
Morning" dance sequence from
204:
by professionals in the industry. It is said to be within the narrative sphere of the film. For instance, if a character in the film is playing a piano, or turns on a CD player, the resulting sound is diegetic. The cantina band sequence in the original
471:
sings it during a rehearsal in a nightclub. A solo piano (played onscreen) accompanies her, and the film's offscreen orchestra (presumably not heard by the characters) sneaks in for the second verse of the song. Julie's other song in the film,
505:", and the Phantom, having eavesdropped on them, reprises the song shortly after. Narratively, there is no reason for the characters to be singing, and so these numbers would appear to be non-diegetic. However, in Act 2, within the opera "
71:, is music that is part of the fictional world portrayed in a piece of narrative media (such as a film, show, play, or video game) and is thus knowingly performed and/or heard by the characters. This is in contrast to
307:
to match the film's tone, and the film being edited to her recording. The recording itself was timed to include a layer of narrative commentary for audiences familiar with the German lyrics.
37:
529:" toys with the distinction between diegetic and non-diegetic musical numbers. In this episode, the Buffy characters find themselves compelled to burst into song in the style of a
526:
211:
is an example of diegetic music in film, with the band playing instruments and swaying to the beat, as patrons are heard reacting to the second piece the band plays. In
454:" is non-diegetic, since the musical material is external to the narrative, it being a conversation that would in a naturalistic setting take place as simple speech.
83:
that is heard by the viewer but not the characters, or in musical theater, when characters are singing in a manner that they would not do in a realistic setting.
936:
501:
offers an interesting example of ambiguity in distinguishing between diegetic and non-diegetic music. At the end of Act 1, Christine and Raoul sing "
303:
reappears extensively as diegetic music, its inclusion was treated as non-diegetic by the film-makers, the song being a bespoke recording by soprano
497:
860:
537:" was presented without any non-diegetic music at all, in order to convey the reality of the theme of death within the family that it portrays.
150:
97:
979:
1019:
521:
446:" is diegetic, since the character (Captain von Trapp) is performing the piece in front of other fictional characters at a gathering. In "
949:
534:
46:
331:"heavenly choir" sound effect, which is then revealed to be coming from an actual church choir singing on a passing bus. The 2014 film
964:
813:
785:
752:
674:
371:
450:" the character Maria is using the song to teach the children how to sing, so this song is also diegetic. In contrast, the song "
271:, which are sounds imagined by a character within the film, such as memories, hallucinatory sounds, and distorted perspectives.
264:—a blending of diegetic source music, such as a character singing or playing an instrument, with non-diegetic dramatic scoring.
473:
284:
blending/transforming a sound or piece of music from one spectrum of diegesis to another – from diegetic to non-diegetic space
132:
In
Britain from 1940 onwards there was a trend for including specially composed piano concertos (dubbed 'Denham Concertos' by
1014:
592:
215:
where the characters are traveling by car, we often hear the music that the characters are depicted as listening to on the
288:
718:
878:
650:
349:
Examples of diegetic music in opera go right back to its beginnings - for instance the central wedding serenade in
249:
359:. Stories about musicians are common in opera, and almost all operas include some level of internal performance.
248:" plays non-diegetically as Rocky makes his way through his training regimen finishing on the top steps of the
174:, in which a piano virtuoso plays a concerts and recalls composing the concerto while the Germans bomb London.
196:
If the characters in the film can (or could) hear the music the audience hears, then that music is called
180:
485:
481:
337:
does this several times throughout the movie, where all the music turns out to be diegetic, produced by
101:, Claudia Gorbman was influential in establishing the terms "diegetic" and "non-diegetic" (derived from
365:
294:
687:
507:
304:
170:
137:
41:
438:
350:
338:
328:
323:
777:
770:
809:
781:
748:
670:
451:
423:
418:
387:
159:
105:) for use in academic film music studies. From there, its usage spread to other disciplines.
918:
695:
556:
551:
502:
443:
396:
223:
119:
76:
566:
530:
414:
392:
318:
164:
56:
492:
into the film, and both are performed in the same nightclub in which Julie sings "Bill".
360:
333:
185:
1008:
856:
561:
376:
245:
155:
145:
125:
260:
A combination of these concepts in film sound and music is known in the industry as
468:
401:
31:
665:
Goldmark, D. (2011) "Sounds Funny/Funny Sounds" in D. Goldmark and C. Keil (eds).
600:
489:
464:
313:
141:
102:
51:
30:"Source music" redirects here. For the South Korean entertainment company, see
571:
355:
241:
216:
212:
133:
113:
Source music was sometimes used as scores from the earliest days of
Hollywood
80:
459:
207:
772:
Hearing Film: Tracking
Identifications in Contemporary Hollywood Film Music
267:
There are other varying dimensions of diegesis in film sound, for example,
129:(1958), where there is proportionately more source compared to underscore.
937:
Diegetic music in the operas of
Benjamin Britten: The case of Peter Grimes
17:
546:
447:
92:
861:"2BR02B: the journey of a dystopian film–an interview with Leon Coward"
429:
310:
This distinction may also be made explicit for comic effect, a form of
114:
381:
385:
makes full use of the street music and street activity of
Seville.
292:
is an example of cross-over diegetic music in film, with
Schubert's
651:"Movie Review: 'Dangerous Moonlight' (1941), At Loew's Criterion."
236:
36:
669:
pp 260-261. Berkeley and Los
Angeles, University of California.
54:
to mix diegetic and non-diegetic sources of music and singing.
596:
226:
that cannot be heard by the characters in the movie is termed
667:
Funny
Pictures: Animation and comedy in studio-era Hollywood
123:(1931)—using it to the exclusion of any underscoring; or in
879:"Is All the World Really a Stage in 'Birdman'?, PopMatters"
719:"Diegetic Music, Non-Diegetic Music, and 'Source Scoring'"
158:(an accomplished pianist) as Lord Lebanon. A year later
140:) into films as part of the plot. An early example was
463:, as well as in the original stage version, the song "
27:
Music in a drama that is part of the fictional setting
996:
Music, Sound, and Silence in Buffy the Vampire Slayer
484:" (sung by the comic dancers Ellie and Frank), and "
769:
154:. Here the piano is actually played by lead actor
144:'s 'Portrait of Isla' from the score for the 1940
327:is accompanied by what initially appears to be a
636:Goldmark, Daniel. 'Gorbman, Claudia Louise', in
363:used the singing contest as a plot mechanism in
808:. UK: Zarathustra Books. pp. 122 and 123.
457:In both the 1936 and the 1951 film versions of
8:
747:. New York: E.D.J. Music, Inc. p. 200.
688:"Gregory Kurczynski on Outsight Radio Hours"
282:by Danny Hahn, in which he describes it as "
95:, a style of storytelling. In her 1987 work
980:Snelson, John, and Block, Geoffrey Holden.
806:Primeval Cinema – An Audiovisual Philosophy
405:contains a wide variety of diegetic music.
280:Primeval Cinema - An Audiovisual Philosophy
845:(91). The Schubert Institute (UK): 16–19.
274:Another notable condition of diegesis is
395:is an example of opera within an opera.
799:
797:
583:
317:. For example, the first appearance of
914:
912:
656:14 May 1942. Retrieved: 27 March 2023.
625:Unheard Melodies: Narrative Film Music
619:
617:
452:How Do You Solve A Problem Like Maria?
7:
50:uses the in-universe setting of an
252:with his hands raised in the air.
25:
776:. New York: Routledge. pp.
717:Richards, Mark (21 April 2013).
278:, which is explored in the book
831:"...for a father hear a child!"
151:The Case of the Frightened Lady
488:", sung by Magnolia. Both are
1:
467:" is diegetic. The character
289:2BR02B: To Be or Naught to Be
923:Sondheim's Broadway Musicals
1020:Theatrical sound production
234:. An example of this is in
192:Source and background music
1036:
904:Opera: The Extravagant Art
768:Kassabian, Anahid (2000).
649:Strauss, Theodore (T.S.).
591:Dillon, Kym (2011-09-18).
250:Philadelphia Museum of Art
29:
519:In the television series
474:Can't Help Lovin' Dat Man
865:Feathers of the Firebird
525:, the episode entitled "
522:Buffy the Vampire Slayer
498:The Phantom of the Opera
117:, in some cases—such as
902:Lindenberger, Herbert.
527:Once More, with Feeling
921:. 'Diegetic Song', in
837:and the film 2BR02B".
61:
1015:Film sound production
934:Stallings, Bonnie L.
829:Black, Anna (2016). "
743:Hagen, Earle (1971).
603:on September 24, 2011
482:Goodbye, My Lady Love
168:appeared in the film
40:
967:The Musical as Drama
804:Hahn, Danny (2016).
593:"The Art of Scoring"
480:are also diegetic: "
200:. It is also called
162:'s much more famous
47:Phantom of the Opera
982:Andrew Lloyd Webber
940:(1994 dissertation)
925:(1993), pp. 184-187
859:(19 October 2016).
654:The New York Times,
508:Don Juan Triumphant
276:cross-over diegesis
184:, it is said to be
181:Singin' in the Rain
171:Dangerous Moonlight
91:The term refers to
42:Andrew Lloyd Webber
883:www.popmatters.com
638:Grove Music Online
623:Gorbman, Claudia.
439:The Sound of Music
419:backstage musicals
269:metadiegetic sound
75:, which refers to
73:non-diegetic music
62:
994:Halfyard, Janet.
965:McMillin, Scott.
952:The Art of Movies
950:Sfetcu, Nicolae.
919:Banfield, Stephen
745:Scoring for Films
388:Ariadne auf Naxos
372:Die Meistersinger
339:street performers
222:By contrast, the
160:Richard Addinsell
16:(Redirected from
1027:
999:
992:
986:
977:
971:
962:
956:
947:
941:
932:
926:
916:
907:
900:
894:
893:
891:
890:
875:
869:
868:
853:
847:
846:
826:
820:
819:
801:
792:
791:
775:
765:
759:
758:
740:
734:
733:
731:
729:
723:Film Music Notes
714:
708:
707:
705:
703:
696:Internet Archive
684:
678:
663:
657:
647:
641:
634:
628:
621:
612:
611:
609:
608:
599:. Archived from
588:
557:Background music
552:Incidental music
503:All I Ask of You
436:For example, in
397:Benjamin Britten
286:". The sci-film
224:background music
120:The Public Enemy
103:narrative theory
98:Unheard Melodies
77:incidental music
21:
1035:
1034:
1030:
1029:
1028:
1026:
1025:
1024:
1005:
1004:
1003:
1002:
993:
989:
978:
974:
963:
959:
948:
944:
933:
929:
917:
910:
901:
897:
888:
886:
877:
876:
872:
855:
854:
850:
839:The Schubertian
828:
827:
823:
816:
803:
802:
795:
788:
767:
766:
762:
755:
742:
741:
737:
727:
725:
716:
715:
711:
701:
699:
692:Community Audio
686:
685:
681:
664:
660:
648:
644:
635:
631:
622:
615:
606:
604:
590:
589:
585:
580:
567:Furniture music
543:
517:
415:musical theatre
411:
409:Musical theatre
393:Richard Strauss
347:
319:Kermit the Frog
258:
194:
165:Warsaw Concerto
111:
89:
57:Inside Broadway
35:
28:
23:
22:
15:
12:
11:
5:
1033:
1031:
1023:
1022:
1017:
1007:
1006:
1001:
1000:
987:
972:
969:(2014), p. 108
957:
954:(2014), p. 990
942:
927:
908:
906:(1984), p. 140
895:
870:
857:Masson, Sophie
848:
821:
814:
793:
786:
760:
753:
735:
709:
679:
658:
642:
629:
613:
582:
581:
579:
576:
575:
574:
569:
564:
559:
554:
549:
542:
539:
516:
513:
486:After the Ball
410:
407:
346:
343:
262:source scoring
257:
254:
193:
190:
186:Mickey Mousing
110:
107:
88:
85:
67:, also called
65:Diegetic music
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1032:
1021:
1018:
1016:
1013:
1012:
1010:
997:
991:
988:
985:
984:(2009), p. 72
983:
976:
973:
970:
968:
961:
958:
955:
953:
946:
943:
939:
938:
931:
928:
924:
920:
915:
913:
909:
905:
899:
896:
884:
880:
874:
871:
866:
862:
858:
852:
849:
844:
840:
836:
832:
825:
822:
817:
815:9780993338618
811:
807:
800:
798:
794:
789:
787:9780415928540
783:
779:
774:
773:
764:
761:
756:
754:9780882843872
750:
746:
739:
736:
724:
720:
713:
710:
698:. 22 May 2011
697:
694:(Interview).
693:
689:
683:
680:
676:
675:9780520950122
672:
668:
662:
659:
655:
652:
646:
643:
639:
633:
630:
626:
620:
618:
614:
602:
598:
594:
587:
584:
577:
573:
570:
568:
565:
563:
562:Ambient music
560:
558:
555:
553:
550:
548:
545:
544:
540:
538:
536:
532:
528:
524:
523:
514:
512:
510:
509:
504:
500:
499:
493:
491:
487:
483:
479:
475:
470:
469:Julie LaVerne
466:
462:
461:
455:
453:
449:
445:
441:
440:
434:
432:
431:
426:
425:
420:
416:
408:
406:
404:
403:
398:
394:
390:
389:
384:
383:
378:
374:
373:
368:
367:
362:
358:
357:
352:
344:
342:
340:
336:
335:
330:
326:
325:
320:
316:
315:
312:breaking the
308:
306:
305:Imogen Coward
302:
297:
296:
291:
290:
285:
281:
277:
272:
270:
265:
263:
255:
253:
251:
247:
246:Gonna Fly Now
243:
239:
238:
233:
232:extradiegetic
229:
225:
220:
218:
214:
210:
209:
203:
199:
191:
189:
187:
183:
182:
175:
173:
172:
167:
166:
161:
157:
156:Marius Goring
153:
152:
147:
146:Edgar Wallace
143:
139:
135:
130:
128:
127:
126:Touch of Evil
122:
121:
116:
108:
106:
104:
100:
99:
94:
86:
84:
82:
78:
74:
70:
66:
59:
58:
53:
49:
48:
43:
39:
33:
19:
995:
990:
981:
975:
966:
960:
951:
945:
935:
930:
922:
903:
898:
887:. Retrieved
885:. 2015-02-24
882:
873:
867:(Interview).
864:
851:
842:
838:
834:
830:
824:
805:
771:
763:
744:
738:
726:. Retrieved
722:
712:
700:. Retrieved
691:
682:
666:
661:
653:
645:
637:
632:
624:
605:. Retrieved
601:the original
586:
520:
518:
506:
496:
495:The musical
494:
490:interpolated
477:
458:
456:
442:, the song "
437:
435:
428:
422:
412:
402:Peter Grimes
400:
386:
380:
370:
364:
354:
348:
332:
322:
311:
309:
300:
293:
287:
283:
279:
275:
273:
268:
266:
261:
259:
235:
231:
228:non-diegetic
227:
221:
206:
202:source music
201:
197:
195:
179:
176:
169:
163:
149:
138:film studios
131:
124:
118:
112:
96:
90:
72:
69:source music
68:
64:
63:
55:
45:
32:Source Music
833:Schubert's
324:The Muppets
314:fourth wall
213:road movies
142:Jack Beaver
52:opera house
1009:Categories
889:2024-04-28
728:12 January
702:4 February
607:2011-10-01
578:References
572:Film score
515:Television
366:Tannhäuser
351:Monteverdi
256:Variations
242:Bill Conti
217:car stereo
136:after the
134:Steve Race
18:Source cue
835:Ave Maria
478:Show Boat
460:Show Boat
444:Edelweiss
301:Ave Maria
295:Ave Maria
208:Star Wars
87:Etymology
547:Diegesis
541:See also
535:The Body
448:Do-Re-Mi
421:such as
240:, where
198:diegetic
93:diegesis
531:musical
430:Follies
424:Cabaret
356:L'Orfeo
334:Birdman
115:talkies
60:, 2018.
998:(2017)
812:
784:
751:
673:
640:(2001)
627:(1987)
382:Carmen
375:, and
361:Wagner
377:Bizet
345:Opera
329:stock
237:Rocky
148:film
81:score
79:or a
843:July
810:ISBN
782:ISBN
749:ISBN
730:2019
704:2017
671:ISBN
465:Bill
427:and
369:and
244:'s "
109:Film
597:IGN
413:In
399:'s
391:by
379:'s
353:'s
321:in
230:or
188:.
44:'s
1011::
911:^
881:.
863:.
841:.
796:^
780:.
778:45
721:.
690:.
616:^
595:.
433:.
341:.
219:.
892:.
818:.
790:.
757:.
732:.
706:.
677:.
610:.
472:"
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
