Kubrick's use of pre-existing music is a mark of his genius--think of Singing in the Rain and the Gazza Ladra overture in Clockwork Orange; the waltz and Thus Spake Zarathustra in 2001. I didn't realize that the choice of musical background could be so brilliant until Kubrick entered my awareness. I thought it was just schlocky soaring strings a la Douglas Sirk or Nicholas Ray, heavy-handed "heightening" a la Bernard Hermann, or the arty disassociation in French Nouvelle Vague flicks of baroque sewing maching music or a Brahms Sextet in "The Lovers" (wonderful, but not the power and irony of Kubrick's choices).