Go, the Magnificent Seven is ended...

I am reading The Heresy of Formlessness, a gift from my Mother for my birthday ... I have to keep reminding myself that everyone IRL and on the internet who would be interested has already read the dang thing, and there is no need for me to post long excerpts from it, in tandem with my commentary at once brilliant and profound.
I love movie soundtracks, really love them, especially neo-romantic, "program music" types. Alexander Nevsky, Raiders of the Lost Ark, Sea Hawk, Tous Les Matins du Monde, The Untouchables? those aren't films, they're scores, they're music!
I heard an interview once with Elmer Bernstein, who seemed very... let's say confidant.
He essentially said that his scores were responsible for the success of each one of the movies he wrote for, the films wouldn't have worked without him, (which I could buy in some cases, but To Kill a Mockingbird? Com'on....)
A choir member recently had what he intended as high praise for something (not of my choosing,) we sang at Mass: that sounds like it oughta be the score for the new Indiana Jones movie!
And so it did.
It occurs to me that the non-verbal signals many contemporary -- and I mean "of this day and age," I do not mean utilizing any particular style or era of music, which reminds me, when a Mass schedule says it features the "contemporary ensemble", what does that mean? that for musicians at other Masses they raid the local boneyard, or the other choirs have used a worm-hole to circumvent the space-time continuum?
But I digress...
As I was saying, the non-verbal signals many contemporary liturgical celebrations send are as if someone at the studio got soundtracks mixed up and we were watching To Kill a Mockingbird with the score from the Magnificent Seven.