This essay explores how the Broadway musical of The Phantom of the Opera blurs the traditional distinction between cognition and emotion with the use of operatic music and librettos. Over the years, the musical has outshone the novel in its immediacy to exert a direct influence on the audience. The overall popularity of the musical points to the successful use of music supported by visual feast and narration. The general effect of Phantom over the audience also contributes to the problematization of mind-body dualism in affect theory and literary criticism, which also surfaces in cognitive psychology as emotion–cognition interaction. It is self-evident that music constitutes the fundamental unit of musical theatres. Thus, the main analysis dwells on the intertwined relationship between music and affect studies in order to explain the underlying reason why Leroux’s literary work has taken a back seat to Webber’s musical theatre, though the former provides an undeniably rich source for the latter and originally frames the debate on consciousness and the mind-body problem.

中文翻译：

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《歌剧魅影》中的音乐影响与情绪认知互动

本文探讨了百老汇音乐剧《歌剧魅影》如何通过使用歌剧音乐和剧本来模糊认知和情感之间的传统区别。多年来，音乐剧在直接性上已经超越了小说，对观众产生了直接影响。音乐剧的整体火爆，在于视觉盛宴和叙事的支持下音乐的成功运用。幻影对观众的普遍影响也有助于情感理论和文学批评中身心二元论的问题化，这也在认知心理学中表现为情感-认知互动。不言而喻，音乐构成了音乐剧的基本单位。因此，