Some unmentioned uses of jazz: -Louis Gruenberg's score for <The Fight for Life> (Lorentz, 1940), has some interesting jazz materials in it; his compositional output was marked by his early ventures into jazz/"classical' fusions (at about the same time that Copland and Gershwin were getting much more attention for the same thing). This score raises some interesting questions regarding diegetic/non-diegetic questions. -While Copland got a lot of attention in the first part of his career for borrowing jazz harmonies in his concert hall music, I can't think of any of his film scores that do the same. -Virgil Thomson has what may be the first use of jazz in a documentary score in <The Plow That Broke the Plains> (Lorentz, 1936). (At least one section, "Blues," contains some idiomatic jazz harmonies and instrumentation, if not any improvisational moments which would actually define it as jazz.) The music appears to become diegetic in origin by the end of the sequence, but the first chunk of the section I have in mind has non-diegetic jazz. I'm writing a dissertation on film music in three U. S. Government documentaries (<Plow>, <The Fight for Life>, and <The Cummington Story> (Copland, 1945), and would be happy to share more if you're interested. Neil Lerner [log in to unmask]