[Thor Joachim Haga]

I also object to the idea that such film scores as Once Upon a Time in the West or The Thin Red Line are in any way less representative of film music than… exactly what other film scores?

Not as a whole, but tracks such as “L’uomo dell’armonica” or “Journey to the Line” are special compositions for special circumstances in the films. Most of it is not like that. Most of the tracks are not self-sufficient pieces like that. Well, maybe THIN RED LINE, but that’s such a special score anyway, hovering somewhat “over” the film than narrating it in a traditional way (like in most of Malick’s films; he rarely uses traditional narratives). So it’s a rather poor example of traditional, narrative film music.

You indirectly ask for examples on my end, but really — MOST film music tracks in all of history constitute examples. At least original film cues (rearranged concert suites, ‘setpiece tracks’ etc. are something different). I could just select a score at random and I’ll find most tracks being “typical” film music. Should I do that?

It’s great that you recognize film music as its own artform, but if you don’t think there’s anything – any characteristics whatsoever – that separates it from other kinds of music, I do wonder what properties you think this artform is based on?