The score is:

1. Invisibility: The physical source of the music (microphones, performers, etc.)should not be seen on screen unless the music is diegetic (i.e., with a visible or understood source of music appearing as part of the world occurring on screen).
2. “Inaudibility”: The music should remain “background” or unobtrusive, not drawing attention to itself, and below any level of dialogue. The audience should not usually be conscious of it.
3. Signifier of emotion: The music is “implicit content”—where something is not “visually discernable in the image”—and says this is the most common way music is used. Music may signify tension, excitement, romance, the irrational, or an epic feeling to what is occurring on screen.
4. Narrative cueing: Music may evoke a sense of time and place, point of view, or mood, and may interpret a narrative event; with the opening title/end title music, it may denote genre, mood, and provide a sense of beginning and closure to the story.
5. Continuity: Music may fill in the gaps in dialogue or action, and smoothes transitions and montages, thereby “bridging gaps of diegetic time.”
6. Unity: Music is used to reinforce unity through tonal relationships, through the “musical envelope” provided by the opening and end title music, and through the use of musical themes or leitmotifs that are repeated and varied throughout a film.
7. Any of the above principles may be violated in the service of another principle.

Fra “Unheard minimalism”, Eaton 2008

Her et eksempel på minimalistisk musik fra Steve Reich. Musik der på en eller anden beskriver mennesket i den moderne verden og skal opleves over tid.

Samme simple teknik “bagfra”. En percussivt ensemble, der starter ude af sync og til sidst kommer det “i takt”