Even children as young as 3 or 4 years old are able to recognize basic emotions in music (Cunningham & Sterling 1988). It has been argued that emotional contagion facilitates mother-infant bonding (Darwin 1872), as well as social interaction in general terms (Preston & de Waal 2002). In support of this, this emotional contagion appears to create liking and affiliation (e.g. Lakin et al. 2003) which is perhaps beneficial for social interaction (Juslin, P.N. and Vastfjall D., 2008, p.565). Episodic memories Episodic memory is a conscious process: music evokes memories and therefore also evokes the emotions associated with these memories. While this discussion of memory processes is compelling, it is incomplete because it excludes mention of circumstances in which music is explicitly associated with narrative content that independently evokes emotional responses, for example music accompanied by lyrics that tell a story that evokes the emotional message of the history. However, their main focus is on the circumstances in which music is associated with the narrative content of the film (Juslin, PN and Vastfjall D., 2008, p.578). Brainstem Reflexes Brainstem reflexes refer to a process in which an emotion is induced by sound or music because key acoustic characteristics of the sound or music are received by the brainstem signaling a potentially urgent and important event. Sudden, dissonant, loud sounds or sounds with rapid temporal patterns induce arousal or feelings of unpleasantness in the listener (Berlyne 1971; Burt et al. 1995; Foss et al. 1989; Halpern et al. 1986). These responses show the impact of auditory sensations (music as sound in the most basic sense). Our perceptual system continuously scans the immediate contour... the center of the paper... itself. Music can decipher a narrative event by indicating a perspective. To unify a series of different images and provide rhythmic and formal continuity and momentum, the structure of a film is, in most cases, directly articulated by a musical structure. Music can assist the film's dialogue and imagery and is often inaudible (i.e., music must be listened to unconsciously, not consciously). Music has been used by directors to strengthen or strengthen some weak scenes in movies and on the other hand when music is not needed to strengthen a scene. Music has often been used by directors to strengthen the impact of dramatically weak scenes and conversely, when music is not needed to strengthen a scene, it can be used to a neutral effect and can refrain from drawing attention to it. itself, for example light or complementary background music.