"Eric Satie’s score for Entr’acte (1924) shines as an anti-narrative, proto-minimalist gem; like Clair’s film, it is designed both to dazzle and to disorient the audience, partly by parodying the medium’s customary product, partly by following a subtle formal logic beneath a deceptively random surface."
From Music and the Silent Film by Matin Marks. Found in The Oxford History of World Cinema.