Tom Service investigates the ostinato, a repeated phrase in music that can nag or hypnotise the listener (the word derives from the Italian for "stubborn "). From Ravel's Boléro to Donna Summer's "I Feel Love", the ostinato is everywhere in music - driving the crescendo of Rossini's William Tell overture, underpinning the primitive ritual dances of Stravinsky's Rite of Spring - but is it an accompaniment or a riff? A rhythm or a tune? Tom finds it can be all those things and more....

As BBC 2's epic history series Icons is underway, Tom Service takes a closer look at four icons of the classical music world: Maria Callas, Nigel Kennedy, Jacqueline du Pré, and Luciano Pavarotti. With the help of opera critic Anna Picard Tom asks whether these icons are born or whether they're made, and what factors (beyond great artistry and talent) are at play in the making of an icon.

Tom Service considers what makes a good song work - verse, chorus, a good tune and...? Is a pop song using fundamentally the same structure as an art song or lied? From the timeless pop of The Carpenters to the gigantic "song symphonies" of Gustav Mahler, Tom examines what you can do with a few verses, perhaps a chorus, and maybe a "middle eight". He's also joined by composer and pianist Richard Sisson to consider the genius of Robert Schumann's songcraft, and by producer Dan Carey who considers contrasting song structures by The Beach Boys and Frank Ocean.

Think of The Nutcracker as a super-saccharine classic for the feel-good season? Think again. Is everything really all sweetness and light in the world of sugar-plum fairy? No! But don't let the tale's dark undertones spoil your enjoyment of the wonderful music.

Tom Service tears the gaudy wrapping paper from Tchaikovsky's balletic masterpiece to remind us you don't always get what you want. Behind the tinsel and fluffy snowflakes lies a story imbued with darkness and death. But maybe that is the secret of its unfading allure and beauty.

Tom is joined by Marina Frolova-Walker and Peggy Reynolds to crack the most popular nut in the repertoire.

Tom Service on the mystery, magic and music associated with bells

For thousands of years human life has been accompanied by the sound of bells - calls to prayer, driving away evil spirits, marking the hours and seasons of life - births, marriages, deaths, alarm bells, peace bells, sleigh bells and Christmas bells. In a programme first broadcast in 2018, Tom looks at the meaning and magic of the sound of bells, and listens to the interpretations and reverberations of bells in music.

With the help of violinist Pekka Kuusisto Tom Service explores the concerto from Vivaldi in the early 18th century to today's composers. How has the idea of the concerto evolved over three centuries and what are the challenges for the soloist, walking the tightrope of virtuosity, sandwiched between orchestral colleagues and expectant audience?

David Papp (producer)

What are the most extreme pieces of classical music ever written? And is today's shock-of-the-new tomorrow's old-hat?

Tom Service looks some of the longest, the most apocalyptic, the weirdest and the most expensive music ever written - what were the composers up to, exactly? And where do we go from here?

From medieval English music to the Everly Brothers - what is it about the musical interval of the third that sounds so attractive? Why does a major third tend to feel positive, and a minor third tend to feel sad? Nature or nurture? And what about their dark cousin, the tritone - the so-called "Devil in Music" - what on earth can be that sinister about a couple of notes?

Tom Service is joined by Dr Adam Ockelford to try and find some answers.

To mark the 150th anniversary of Rossini's death, Tom Service salutes the opera composer who was a celebrity in his own time, whose music was whistled in the street. A colourful, jovial character, Rossini was also a renowned gourmand (Bolognese-spattered manuscripts are evidence that he composed while he ate) whose love of food permeated his whole creative outlook. His innovative whipping up of musical excitement earned him the nickname "Signor Crescendo", and he had a healthy attitude to the ephemeral nature of his art: as today's guest, baritone Simon Butteriss, points out, Rossini famously re-composed a page of manuscript that he had dropped while composing in bed, rather than disturb his breakfast tray getting out of bed to pick it up. Rossini understood that music is an essential ingredient of everyday existence - and we all need him in our lives.

What do we actually mean when we talk about "classical music"? What is - or isn't it?

By its narrowest definition it's essentially mid-18th to early 19th century music and yet it's usually used to mean much much more. So how is classical music defined these days? Is it a walled garden of a very distinct style, or can it embrace all sorts of things? Does being played by an orchestra make something classical? Is film music classical? Are crossover artists classical? Is game music classical? Questions, and possibly some answers, with Tom Service, plus thoughts from composer Max Richter and writer Charlotte Higgins..