Five respectable, if not especially revelatory, nominees; no controversy. It’s a recipe for irrelevance, which would probably suit some in the music branch just fine this year. They famously shot themselves in the foot last year when they nominated (and then un-nominated) a tuneless dirge from a barely seen red state-baiting exploitation film simply because its composer used his position on the branch’s executive committee to e-blast his colleagues, imploring them not to ignore his work. So does this year’s slate represent an apologia on the music wing’s part? Much more than that, and given the contextual status of the category’s two highest-profile contenders, the best original song race could end up being the entire Academy’s chance to collectively say it’s sorry on a scale that far outpaces the category’s typical stature.