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Once again, I listen to these selections in my own manner, picking out the salient features that are most relevant to the overall structure such as the melodic or thematic ideas and their manipulations, key changes etc., rather than by a score card of incidental details along the way, including how the different instrumental groups are featured as in a jam session.
Overall structure has always been the most important factor for me in judging a work; meaning its overall coherence, which for me would be far more significant than what instruments are playing at any given moment, or what sort of cute feature may have turned up in the ninth bar or wherever.

Also, to make the bald statement that Robert Farnon and Sidney Torch were the most towering individuals in the field of light music is to express a personal opinion which the next one may or may not share. For my part, I at one time had far more enthusiasm for the works of these two than is the case for me at the present time. I have well moved on from their contributions and now claim other composers of light music (even taking just the British light music field into consideration) as my own personal favorites, and I could name at least four or five names in that regard.

We are taught in our music learning institutions who our greatest composers were and are, but I cannot and never could accept such a statement on faith and must experience for myself all music, whether serious or light, before deciding on what is ultimately valuable to me and what is not.