Mickey Mousing is an example of extradiegetic music.

"Mickey Mousing" became a term for any movie action (animated or live action) that was perfectly synchronized with music.

However, Mickey Mousing may also create unintentional humor, and be used in parody or self-reference.

It is interesting that Mickey Mousing has come to represent the worst excesses of the Hollywood film score.

To him, Mickey Mousing means "patently false posturing."

The film's soundtrack also adds to the cartoon atmosphere by matching the action exactly (a technique known as Mickey Mousing) and commenting on it.

Perhaps as contemporary spectators we are no longer used to Mickey Mousing in films (its use radically diminished in the fifties and after).

Mickey Mousing and synchronicity help structure the viewing experience, to indicate how much events should impact the viewer, and to provide information not present on screen.

Musicians often refer to a film score that directly follows each action on screen as Mickey Mousing (also mickey-mousing and mickeymousing).

In 1954 Jean Cocteau described Mickey Mousing as the most vulgar technique used in film music.

It was Disney, too, that gave us the term Mickey Mousing, used to describe scores that mimic too obviously the movements of nature.

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In 1958 Hanns Eisler described Mickey Mousing as, "This awful Wagnerian illustration technique!"

"If I could," he said, "I would tell them to their faces that I demand more substance instead of this Mickey Mousing around in Trenton."

King Kong (1933) uses Mickey Mousing throughout, and is described by MacDonald as, "perhaps the single most noteworthy aspect of Steiner's score for King Kong."

Rhapsody Rabbit (1946) depicts Bugs Bunny slip back and forth between performing Hungarian Rhapsody and various music Mickey Mousing his actions.

The term "Mickey Mousing" is also used as a pejorative to imply that a technique used in productions aimed at adults is too simplistic and more appropriate for a juvenile audience.

The first known use of Mickey Mousing was in Steamboat Willie (1928), the first Mickey Mouse cartoon by Walt Disney, scored by Carl Stalling.

In Kenneth Branagh's Much Ado About Nothing (1993), Mickey Mousing is used at the opening, with the visual slowed to match the music, producing an intentionally lightly comical effect.

Still, the practice of catching every moment with music has a visual equivalent, and Mickey Mousing has been made to bear the brunt of the criticism for an overobnoxiousness that it only partially creates.

“It’s not like I’m Mickey Mousing the music,” Ms. McIntyre explained of her methodology, which requires that the musicians and dancers rehearse in the same studio, creating their material together and doing a little of everything.

In video games, Mickey Mousing may occur in dynamic audio compositions, such as in reaction or for indication (for example, in response to character action or to alert the player to the end of a countdown), and is often found in platform games.

Chaplin, Mr. Davis said, mingled little thematic gestures, a technique known to studio musicians as "Mickey Mousing," with larger mood and action sequences, creating what Mr. Davis sees as a challenge to the conductor, who has no leeway in choosing tempos, since the scene moves at a fixed pace.