It’s always interested me to notice that composers of film music have managed to help people tolerate dissonance in a way in which composers of concert music haven’t. In the case of film music, of course, there is always the film itself to distract someone’s ear from the music but, on the other hand, the music is there to enhance the film and to make emotions – and even thoughts – clearer and more expressive than they would be without the music. So we do indeed hear the music. These days film music is often the only music of the orchestral tradition that we want to hear. Listening to the score in the absence of the film can be a rewarding and enjoyable experience. Contemporary film music, for many people, is occupying a place that can no longer be filled by the music of composers who write solely for the concert hall. Most of us want music that touches our heart, and most contemporary ‘serious’ music can no longer do this.