The thesis discusses the use and psychology of film music on the example of three films by Stanley Kubrick (A Clockwork Orange, The Shining, and Eyes Wide Shut). The introductory chapters deal with the review of the selected categories of the function of music in the visual context; a short reflection on Kubrick's work in general; the relationship between music, emotions, and film; and the interactivity of the audio-visual processes. The core of the thesis brings an analytical table with interdisciplinary descriptions of the chosen narratives and music. Kubrick has strongly influenced the perception of a movie soundtrack, and his oeuvre represents a blend of examples from the pre-existent classical music, popular music, and electronically produced musical innovations. The thesis questions the following: how does the musical meaning correspond with the meaning of the filmic narrative? To what extent and how does music influence the emotional world of the audience? What are the cognitive processes activated in the audience's mind while experiencing film music? The main theoretical model integrated into the interdisciplinary analysis and used as a psychological tool is BRECVEMA (Juslin and Västfjäll, 2016). The synaesthetic audio-visual experience is dissolved into psychophysical mechanisms which are activated according to the certain musical examples that appear in the analysed films. The image and words reveal the objective meaning, while music affects the emotional aspects and the audience's judgment of artistic values. The thesis emphasizes Kubrick's modus operandi which does not take away music's autonomous value; its subjective value is interwoven with the visual medium and creates new meanings.