This thesis examines how Zhao Jiping's film score in Yellow Earth (1984) establishes distinct identities for the diegetic and non-diegetic (presentational) space, as well as how Zhao manipulates the audience's perception of musical-spatial boundaries in order to create moments of musical significance during the "river scenes." To model the diegesis, I use a perception model approach combined with work by Winters and Yacavone. This frames the diegesis in relation to reality, without being beholden to it, and attributes to the audience an active role in constructing the diegesis, internally and subjectively expanding on fragments presented by the film. I then characterize the music of the diegesis as being representative of the Shaanbei region of China, using folk singing and instruments indigenous to the region. The music of the presentational space uses melodic material derived from the diegetic music, supported by orchestral music in a style similar to mixed instrument ensembles in Model Works. During the "river scenes", Zhao's music gradually detaches the audience's sense of anchoring in the diegetic space and pivots into the presentational space, creating an intense contrast that supports the narrative significance of the scene. Afterwards, similar techniques are then used to gradually re-anchor the audience back into the diegesis. Using models of the diegetic and presentational spaces that incorporate recent shifts in academic perspective, this thesis demonstrates Zhao Jiping's nuanced understanding of how an audience perceives musical space, both by creating distinct identities for the diegetic and presentational spaces, and by manipulating audience perception of space in order to create moments of musical significance.