Music is one of the film's means of expression whose function is to contribute to a deeper experience of the film, which from the beginning of its development strives for visual-auditory unity. Situations in which the film and the music do not act as one, but stand in a kind of opposition, are called musical counterpoint. In his postmodernist filmography, Quentin Tarantino uses musical counterpoint as an author's signature, through which he uniquely portrays violence in a poetic and attractive way. The aim of this thesis is to analyze the phenomenon of Tarantino's musicality when he uses music as a counterpoint in his filmography, that is, when music stands in contrast with visual representations, which contributes to the artistic and emotional experience of the film. The paper analyzed selected scenes from Tarantino's entire filmography, in which the use of music as a counterpoint was noticed through a textual analysis of musical sequences as well as a semiotic analysis of scenes in which music plays the role of counterpoint to the narrative. Through the analysis, it was established that Tarantino creates his original film style through the use of counterpoint, influences the aesthetics and poetics of the film, and makes violence attractive, fun and romantic, giving it a new dimension through the aesthetics of the ugly/violent. Tarantino also does not think too much about the ethical dimension of the violence shown, but his goal is to leave an impression on the viewer's emotions and cause a shock, rather than something that would be a reflection of reality or have an impact on reality.