 Thus, music becomes what Theodor W. Adorno might call a negative dialectic of original unoriginality, allowing the seeming banality of impoverished invention to serve as a vessel for the lamentations of the outcast. By reducing other people's masterworks to cheap ditties, Horner shakes his fist at the suffocating weight of bourgeois culture. In the absence of an individual voice, we are given to perceive the destruction of individuality itself. That’s one explanation. The other is that the man is a hack.
Alex (the music critic for The New Yorker) Ross
"The Score for Troy"
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