industrial effect. For Gollum, a corrupted Hobbit in two minds with a strange way of moving, Shore used the cymbaly, an instrument like a medieval hammered dulcimer, giving a trembling feeling. For some concerts conducted by Shore, images of Middle-earth by the films' conceptual designers Alan Lee and John Howe were projected while the music was played. There are over 50 leitmotifs in the music; the symphony begins with the rising and falling "The History of the Ring" theme with a "breathlike pattern to give the Ring a sense of consciousness and purpose". Shore comments that this could be taken as the central theme of the score. The "Fellowship" theme appears when the 9 heroes, the Fellowship of the Ring, first come together at the Council of Elrond at Rivendell; the theme splinters when the Fellowship breaks apart, and gradually reassembles as the Fellowship makes progress with its task. The symphony is edited to concert length from over 11 hours of film music. The symphony has a 19th century structure to give the audience a sense of history, hinting at the great lapse of time since the Third Age of Middle-earth. Shore, with Jackson and Walsh, wanted it to feel like opera. To represent the evolution of characters, the themes change; thus, the Hobbits' tin whistle is replaced by a flute when they return to the Shire. That return, to save the Shire, is a central theme of the story, accompanied by the Hobbits' theme. Live to Projection is a series where The Lord of the Rings films (their soundtrack limited to dialogue and sound effects) are projected while the music is performed live in sync with the films. It is conducted by and Erik Eino Ochsner and was performed around the world, including Switzerland, Australia and the United States. The concerts, which consist of multiple movements, restore unused or alternate sections of the soundtrack (where other concerts of this kind for other films repeat the final film music) and even required Shore to edit several bars of the music, including a feature entr'acte suite. Analysis In 2010, the musicologist and music journalist Doug Adams published what is effectively the official book of Shore's scores for the films, The Music of the Lord of the Rings Films, as Shore had invited him to "organize and present a cohesive view of the score". The book is based on unique long-term access