Creativity in the instrumental applications in While You Were Sleeping may be lacking, but that matters very little in this context. The orchestra is supplemented with the contemporary elements of keyboard, organ, and percussion that lend a slight atmosphere of funk in an otherwise pop approach. Swinging rhythmic enthusiasm, bouncing its way through several cues of irresistible cuteness, wouldn't seem completely foreign to a Randy Newman score. In fact, many of the techniques utilized by Newman to achieve the same ends are heard in While You Were Sleeping, including the inability to resist breaking out into spirited rhythmic explorations of the pop theme in the score whenever possible. There are three identities at work in the score, the first the modern, hip, and humorous phrases with the soloists heard during roughly half of the cues. This is where the Newman fans will feast. The second is a lightly dramatic theme introduced in "Peter's Family" to represent the personalities thrust upon Bullock's character and their slightly overwhelming presence. There's an appropriately carnival-like demeanor to this theme that accesses some of Edelman's faux Western-related structures at times. Extending out of this material is the primary identity of romance in While You Were Sleeping, summarized in "Love Theme" and progressively dominating the score as it reaches its romantic crescendo. Delicate piano and woodwinds over swaying strings highlight this theme's fuller presentation in "Jack and Lucy," and collectors of the composer's music will note similarities in progression to several other Edelman themes (and the forthcoming Dragonheart in particular). The pop and romance themes are summarized in "A Happy Ending," which contains the obligatory culmination of the latter one, complete with cymbal crashes and trumpet accompaniment. Ultimately, what you come away from this score with is an effortless series of piano-centered ideas, the instrument that remains Edelman's stalwart and one malleable enough to cross into every facet of this work. The 38-minute score-only album is one of those products that has remained readily available because it failed to include any of the film's prominent songs and therefore flooded the used-CD market. The only substantial omission by Varèse Sarabande is Diane Warren's "Wherever I Would Be," performed by Dusty Springfield and Daryl Hall for the film's end credits. A few problematic transitions in the album's presentation of the score result from volume inconsistencies, but Edelman's smoothly relaxing and endearing score survives with few other detriments.  ****   @Amazon.com: CD or Download