Modes of musicalization from the lyrical to the timbrel abound with aural complexity in the po-faced spectrum of understatement, vacuousness, mundanity, dumbness. Film music is generally deaf to the power of beautiful nothingness - of music's potency in reduction, of its force when cast in slight stature.
Film music is brassy, sassy, classy.
It is there to assure you that it is doing its job. It feels it has to signify, communicate, organize narrational data for the ear. Hence the strong reactions against any music which does not perform in this way. The music is coded as a form of socio-political somnambulism. The earliest and most astute inversion of muzak's numbing self-erasure is to be found in the colour films of Jacques Tati.