question: why is music so much louder than voices in movies?
comment: Those films are made to be played in theatres where there are multiple speakers with surround sound. Speaking, sound effects and music can be from separate speakers, so one doesn't overpower the others. Even tv's hooked up to surround sound are in a small space, so the sounds will blend in more with each other than in a theatre.
passages: Section::::Differences between soundtrack and film performances.
   Section::::Films.:"Iron Man 3".
   Section::::Films.:"Captain America: The First Avenger".
   Section::::Production.:Screenplay and pre-production.
   Section::::Films.:"The Avengers".
   Section::::Films.:"Ant-Man".
   Section::::Films.:"Iron Man 2".
   Section::::Films.:"The Incredible Hulk".
   On 21 August 2014, it was reported that the crews started the preparations for the shooting of the film on Northern Boulevard in Bayside, New York. The eight-week of filming began on 4 September 2014, in New York City.
  
  Section::::Reception.
   In a unified score, there is no discernible difference between the music playing during each story segment. For example, in "Sin City", the highly stylized background music offers ambiance and contributes to the setting and does not vary between characters and stories. In "Love Actually", pop music blares through happy moments, ballads wail during morose moments, and triumphant strings swell when all things are as they should be.
  
  Section::::Composite film scores.:Composite score.
   In September 2016, the YouTube channel Every Frame a Painting, which analyzes films and the filmmaking process, posted a video essay discussing the music of the MCU. The video also highlights the lack of memorability for general audience members compared to franchises such as "Star Wars" and "James Bond", and proposes several reasons for why this is: the tendency for the music to be background noise, or to be "hidden" behind other sounds such as voiceovers; how it closely reflects the events on screen, and so does not stand out or surprise the audience; and how it is often similar to other music, which the video blames on the temp process and filmmakers editing the film to the temp music before bringing in the composer, or asking composers to imitate the temp tracks. Saying that the music is not bad, just "bland and inoffensive", the video states that Marvel could improve their music by simply taking more risks with it, like putting more emphasis on the music without any other sound effects, or mismatching it with the visuals—for example, playing "emotional" music during an otherwise "humorous" scene to give more impact to the underlying feelings of the characters rather than their surface actions.
   Section::::Television series.:"Daredevil".
   Section::::Television series.:"Jessica Jones".
   The film is noted for its balance between music and silence, with music primarily absent or reserved during a majority of the film's action sequences. Discussing his approach to this balance, Kraemer described, "Music can make such an impact when it enters a scene, and obviously the only way to do that is to have silence beforehand. I also generally like to have long tails on my cues so that they sort of fade away rather than ending abruptly. In this way, I try to weave music in and out very carefully so that the audience is as unaware as possible of the entrances and exits. I often cite "Patton" as a prime example of great spotting – a three and half hour biopic with, what, twenty-eight minutes of score? That's unheard of today. But it worked!"
   Section::::Films.:"Captain America: The Winter Soldier".
   Section::::Production music.
   Section::::Films.:"Doctor Strange".
   Section::::Films.:"Captain America: Civil War".
   Section::::Films.
  
  Section::::Films.:"Iron Man".
   Section::::Films.:"Guardians of the Galaxy".
   BULLET::::- Cinema sound systems became capable of high-fidelity reproduction, particularly after the adoption of Dolby Stereo. These systems were originally devised as gimmicks to increase theater attendance, but their widespread implementation created a content vacuum that had to be filled by competent professionals. Before stereo soundtracks, film sound was of such low fidelity that only the dialogue and occasional sound effects were practical. The greater dynamic range of the new systems, coupled with the ability to produce sounds at the sides or behind the audience, provided the audio production team new opportunities for creative expression in film sound.
   Section::::Artistic merit.
  
  Section::::Artistic merit.:Music criticism.
   Section::::Films.:"Avengers: Age of Ultron".
   Section::::Television series.:"Agent Carter".
   10/28/12 – Scores of Scares: It was a creepy “Night on the Bare Mountain” when that “Psycho” “Harry Potter” grabbed a bottle of “Beetlejuice” in his “Jaws” and told me about the night he and “Young Frankenstein” took some “Gremlins” to see “The Dance of the Witches.” I’ll never forget “The Day the Earth Stood Still” because I knew it would never scare me as much as “Ed Wood.”
  
  02/24/12 – From the Vault: Concert announcing permanent conductor Jesus Torres. Hosted by film composer Brian Satterwhite.
  