Introduction

Abstract

Incongruent music that lacks shared properties with the images and narrative can influence audience response and construction of filmic meaning in various ways. This chapter discusses: the levels on which (in)congruence may be judged; the conflation of these judgements with ideas of fit and appropriateness; the relevance of these concepts to film audiences, producers, and composers; and the inadequacy of broad binary labels when describing film–music relationships. A (re)definition and an inter- and multidisciplinary psycho-semiotic approach—the incongruent perspective—for identifying and interpreting film-music (in)congruence are outlined. The inclusion of various disciplinary influences in the incongruent perspective, including semiotic and poststructuralist ideas that might be considered incongruent with the book’s broader cognitive stance, is justified. An overview of the book’s contents and central aims are provided.