The radical and experimental nature of ‘Daisies’ is further enhanced by its erratic score which consists of the juxtaposition of various non-melodic elements and sound effects, laden with a broad palette of samples and snippets of choral and classical vintage recordings spliced with concrete effects, traditional brass band music, Disney style exotica. charleston dance standards and token 60’s beat tracks. For the bulk of the original score Chytilova enlisted the services of two Barrandov stalwarts Jiri Sust and Jiri Slitr who doubled up as an actor and composer in many CNW features (such as Menzel’s ‘Crime In The Night Club’ in which he played a key role alongside the radical jazz singer and close friend Eva Pilarova).

The re-appropriation of existing portions of music by classical composers such as Brahms and Wagner interspersed with original themes played by established Prague based ensembles such as Barrandov’s ‘Filmovy Symfonicky Orchestra’, ‘The Prazsky Dixieland’ (who would also record for Supraphon) and big-band conductor and arranger Frantisek Belfin marked musical territory as a primitive example of sampling. By utilising the live sound effects within the film such as clock pendulums, scissors and typewriters Sust and Slitr paid homage to the pioneering work of Pierre Schaeffer and his Musique concrete legacy.