ABSTRACT
The capacity of music both to connect and/or to separate may in a way undermine the overemphasising of the diegetic/nondiegetic observation but, by the same token, put this pair in a more flexible position as contributing elements in usage and understanding of film music. The world in between the 'extreme', being a fantastical gap can accommodate many variables that may stretch and push aside the rigid diegetic/nondiegetic axiom. The diegetic/nondiegetic axis may add to their spatial location as can the physical volume or loudness of the music. The three 'archetypal' categories are: Incidental, Transitional, and Conditional. The incidental main function of film music is to be 'involved' with the ongoing narrative seen on the screen. The transitional function of music-image is to deal mainly with space and time changes taking place on the screen and in the narrative. The conditional, should not be mixed with and/or mistaken for any behavioural psychology term of a process of a behavioural teaching.
