The Listening Service had a question from a listener:

"When I see the musicians playing, they seem to be looking at their sheet music, not the conductor. Can an orchestra not function perfectly well without a conductor? If I'm intensely moved by a piece of orchestral music, is it not the musicians which moved me? Why must I applaud some arbitrary conductor, who never touched a single instrument throughout the entire performance?"

Tom Service rises to the challenge and looks at the role of the conductor - is it all about their ego, their clothes, their ability to beat time or their emotional outpouring onstage - or it is something else entirely? Rethink music with The Listening Service.

In a programme first broadcast in 2017, Tom Service explores arguably the most famous piece of music in the world: the Ode to Joy from Beethoven's Ninth Symphony. It's a piece which has been appropriated by everyone from the European Union, to the writer Anthony Burgess, who used it as an unsettling counterpoint to the murderous exploits of the characters in his novel A Clockwork Orange. Tom asks whether Beethoven's original vision of a musical utopia has actually turned out to be far more dangerous than the composer could ever have imagined.

Enter the magical musical world of the forest. It's charming, mysterious, beautiful and scary. Tom Service is your guide as he explores the magical role of the forest in music, from the Romantic charms of Schubert songs to the nightmarish spirits of Weber's Freischütz opera, and beyond to the symbolic psychological forests of Schoenberg's Erwartung and Sibelius's Tapiola. He also talks to sound artist Jez Riley French about his close-up recordings of forests, which bring us the truly wild sounds of un-romanticised nature.

The line-up of early 20th-century English composers includes great figures such as Holst, Vaughan Williams, Arnold Bax and Frederick Delius. Since the 1950s, these composers have been dogged by a casual and unkind slur against their work, namely by referring to it as 'cowpat music'.

Tom Service argues that, far from producing shallow and whimsical pastoral scores, the music produced by this English movement is among the most profound and communicative of the last century, rarely far from the influence of the two world wars.

A rollercoaster of a show as Tom experiences how music gets our hearts racing. How do composers from Bach to Jarvis Cocker manipulate speed in music? How can a slow movement by Sibelius be 'faster' than 'speedcore' dance music? Tom takes us inside the mechanics of speed, and discovers that Sibelius controls our heart rate in symphonic music in the same way that a DJ in Ibiza does as their set unfolds. Just to put his theories to the test, Tom rides a roller coaster with the composer Anna Meredith who explains how those mighty rides do much the same thing as she does when writing the music designed to get our pulse rate up.

From the dawn of human music-making, all instrumental music has been made via technology, whether bone flutes, violins, pianos, tape or synthesisers. Is new musical technology driven by the needs of composers and musicians or are they dazzled by its possibilities before they can really get to grips with it? How has cheap technology impacted on music, now that laptops have done for expensive studios and choosy producers. Do the infinite possibilities of today's digital technology limit musical imagination?

To help answer these and many other questions, Tom is joined by Maggie Cole, player of keyboard-based technologies from the clavichord to the synthesiser, and by composer, producer, and surfer of today’s digital technological Utopia, Jono Buchanan.

Space. A place few men or women have gone before ... but plenty of composers have. The universe has inspired musicians for hundreds of years and consequently we all know what space music sounds like. Or do we?

From Holst and David Bowie to John Williams via Ligeti, Thomas Ades and the Beastie Boys, Tom Service dons his spacesuit on a mission to explore why cosmic-inspired music sounds the way it does, and discovers how space science is just as inspired by music as musicians are by space.

En route to the stars, space scientist Lucie Green is on hand to tell Tom the reality of sound in space, while mathematician Elaine Chew helps him uncover the music of the spheres.

Less really is more on today’s The Listening Service: we’re maxing out on minimalism, that most popular but also most divisive and most misunderstood of all 20th-century musical movements. Music that either makes you bliss out or brings you out in hives - it's the sound of that rhythmic repetitive music by a quartet of American composers - Steve Reich, Philip Glass, LaMonte Young, and Terry Riley, who have defined the movement, the style, even the genre of minimalism. Take a chord, a pattern, a handful of notes - and repeat them - and repeat again…and again...

What is minimalism in music and why should you listen to it?

Humanity has used music to commune with the sacred for as long as we have been human: from the caves of Chauvet, tens of thousands of years ago, to the churches, temples, and synagogues of today, we have sung and hymned and played our connection with our God(s).

What does it mean to be good? If you're a virtuoso pianist, violinist, cellist, does that mean you can play faster than everybody else - or better? What does it mean to be a virtuoso? Are you in league with the devil, as 19th-century critics said about the violinist Paganini, or are you able to communicate more movingly, more emotionally, more humanly than other players?