Furthermore, children as young as 3 or 4 years old are able to recognize basic emotions in music (Cunningham & Sterling 1988). Emotional contagion, it has been argued, 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 attachment and affiliation (e.g. Lakin et al. 2003), which is perhaps beneficial for social interaction (Juslin, PN 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. Although 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. story that evokes the emotional message of the story. However, they mainly focus on the circumstances in which the music is associated with the narrative content of the film (Juslin, PN and Vastfjall D., 2008, p.578).Brainstem ReflexesBrainstem reflexes refer to a process in which an emotion is induced by sound. or music because the fundamental acoustic characteristics of sound or music are received by the brainstem which signals a potentially urgent and important event. Sounds that are sudden, dissonant, loud, or have rapid temporal patterns cause excitement 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 continually scans the immediate environment of the paper itself. Music can decipher a narrative event by indicating perspective. To unify a set of diverse images and ensure rhythmic and formal continuity and momentum, the structure of a film is most often directly articulated by a musical structure. Music can facilitate the film's dialogue and visuals and is often inaudible (for example, music is meant to be heard subconsciously, not consciously). Music has been used by directors to strengthen or strengthen certain weak scenes in the film and on the other hand when music is not necessary to strengthen a scene. Music has frequently been used by directors to heighten the impact of dramatically weak scenes and conversely, when music is not necessary to strengthen a scene, it may be used for neutral effect and may refrain from attract attention to itself, for example easy listening or subtle complementary background music.