Thus, the ultimate transformation wherein Europe imitates Hollywood, and in certain respects surpasses it. But almost always designed to give pleasure and emotional catharsis. In the second century of the history of movies, and at the dawn of the Third Millennium, music in the movies is now a legitimate subject of study at respected universities. Among contemporary composers, Toru Takemitsu, Peter Maxwell Davies, Andre Previn, Elliott Goldenthal, Alfred Schnittke, Leonard Rosenman, John Corigliano, Steven Sondheim, Tan Dun, Phillip Glass, Steve Reich, Paul Chihara and William Bolcom are especially noteworthy. The list of fine composers working today reveals a bewildering variety in backgrounds, musical styles, and techniques.
Postmodernism is a term aptly applied to the melange of musical styles in most major films.
Many young composers step out of the universities or conservatories into prominent commercial assignments. Of course, many are also out of work, but the work is there-as is an international audience of many millions whose appetite for movies and music seems insatiable.