composed by Howard Shore, are "superb". Where additional variety was required, other composers and performers were recruited; for example, the Irish Celtic fusion singer and songwriter Enya created a piece for an Elvish scene in Rivendell. Selling cited the film scholar Erica Sheen's remark that a film adaptation converts a book into a soundtrack, conveying emotion by combining images, words, and music, and argued that Jackson's films successfully "replicate the pleasurable experiences elicited by narrative". The final song, "Into the West", sung by Annie Lennox to Shore's music with lyrics by Fran Walsh, "intriguing[ly]" modulates the end of the last film "to a tone closer to that of the novel", write Judy Ann Ford and Robin Anne Reid; its lyrics speak of "weeping, shadows, and fading", counteracting the image of dazzling light presented by the film, and echoing the note of pessimism and doubt in Tolkien's ending. Estelle Jorgensen considers how Tolkien's text translates to film, and in particular how the implicit music of Tolkien's poetry is realized, both visually and aurally. She cites Jackson's remark that Tolkien's "music" is "imaginary", objecting only that his Gregorian chanting of "Namárië" and his "dramatic" performance of "Ride of the Rohirrim" give "a glimpse" of how he imagined his songs might have sounded. Jackson, she writes, omitted Tom Bombadil and Goldberry, along with all their music; and Galadriel's singing, too, is dropped. Jackson acknowledged his musical limitations, relying on Shore to represent Tolkien's music. Shore stated that he wanted to "re-insert" Tolkien's verse into his score with choral versions of songs in Tolkien's invented languages. Jorgensen comments that be that as it may, songs such as "May It Be" and "Aníron" are set to words not by Tolkien, while most of Tolkien's "rich" provision of Hobbit songs is absent from the score. She notes that the score is "pervasively orchestral and tonal" in keeping with Shore's intention to create "a feeling of antiquity", almost as if the music had been "discovered" rather than newly written. She comments that the actual result is rather different: "What happens, however, is that while the music lends another dimension to sight, it is swallowed up by sight...; the audience's focus is primarily upon the screen." She notes, on the other hand, that the use of familiar leitmotifs from the earlier films in The Return of the King helps to tie the trilogy together, while the song over