In a post-Golden Globes analysis piece (dated 1.12), Hollywood Reporter columnist Scott Feinberg states a general rule about musical scores, i.e., “The score you hear the most in a good film is usually the one that wins [awards]” Okay, then why didn’t Antonio Sanchez‘s all-percussion score for Birdman win last night instead of Johan Johannsson‘s score for The Theory of Everything? Johansson’s score swirls around the film and viewer alike, lifting both into state of simulated cosmic wonderment, and so you can understand why it won. But Sanchez’s all-drumming score is a visceral knockout, all jazzy and punching and popping like corn on a skillet, totally unlike any score….oh, wait, it’s not actually “music”, is it? And so it’s not really a “score.” And so a regular-sounding score with violins and a piano and a brass section is preferable. Feinberg’s amended rule: “The traditional musical score you hear the most in a good film is usually the one that wins awards.”