@article{2017,title={CINEMA AND MUSIC FEATURE-REPERTUAR IN THE FRAMEWORK OF SYMBIOLOGY},abstractNode={For most audiences, music is a system that emanates from the musical experience and is the most important aspect of emotion and meaning (Sloboda, 1985). This emerging system may be a paradox with other systems. At this point we are trying to explain the relationship between eigenvalness and the cinematic symbiotics which we have considered as a subsystem in our system. The difficulty of explaining and exploring the concepts of emotion and meaning, which are the deep aspects of music practice, is also difficult to investigate in terms of music and emotion and meaning in cinema. Nevertheless, the research content has moved to explore the relationship between music and meaning within the film, and it has been accepted that this is a starting point. From the above, it can be said that the research focuses on the symbiotic relationship of cinema and music, ontology of music in film, its usability and its historicity. In addition, in the course of his research, Adorno, Eisler, and Prendergast have moved on film and music relations, taking Wernick's consideration of Erol's "Promotional Transfer" into the place of sound artists in the cinema as a substitute for the actors, , The role of the leading actor has been problematized and tried to be answered. Another aim and focus of the research is to add a new activity to the work done in our country related to cinema and music and to provide support for the literature to work on this field. Research has generally embraced historiography, moving from the origins of cinema and music to the present day and keeping it in order to shed light on the practices of film music in our country.},author={Seyhan CANYAKAN},year={2017},journal={The Journal of Academic Social Science}}