book Picturing Tolkien, writes that "even the film [series]'s harshest critics credit it with ... superb design elements, including ... music". The Tolkien scholar David Bratman, in his survey of music inspired by Tolkien, provides what Mythlore called "justified and sharp" criticisms of the film score. Bratman describes the score as "uninspired hackwork" and states that Shore's Celtic music representing the Shire (played on a "Celtic assortment of instruments", namely bodhrán, dulcimer, Celtic harp, musette, mandolin, and guitar) is inappropriate, given that the hobbits' homeland is known to have been inspired by the English Midlands where Tolkien lived. The folklorist Dimitra Fimi, also in Picturing Tolkien, comments that "ethereal music" accompanies the procession of Elves in the extended version of The Fellowship of the Ring (scene 11, "The Passing of the Elves"). She states that the scene borrows visually from the "Celtic" imagery of John Duncan's 1911 Pre-Raphaelite painting Riders of the Sidhe, giving an "otherworldly" effect very unlike the "playful tone" in Tolkien's text. Shore deliberately creates the "same 'Celtic' feel'", she writes, in the music for the Elves in Rivendell; Shore had approached the Irish "folk-cum-New Age" singer Enya, whose music represents "Celticity as melancholy over a lost tradition." In Fimi's view, the "'Celtic' air and ambience" that Jackson uses for the Elves is reinforced by what the film's conceptual designer Alan Lee called "the use of natural forms ... [and] of flowing graceful lines" and "elements of Art Nouveau and Celtic design". Fimi notes that both Tolkien and the historian Malcolm Chapman wrote "mocking[ly]" about the romantic stereotyping of Celts in this way, Tolkien speaking of "the wild incalculable poetic Celt, full of vague and misty imaginations", and Chapman of "high-flown metaphysical and moral conclusions drawn from 'Celtic' art by its admiring critics". By musicologists Vincent E. Rone writes that while many commentators noticed that Shore had borrowed techniques from "Romantic opera, especially his predilection for Wagnerian leitmotifs", the score is "far more nuanced" than that, identifying each people – Hobbits, Men, Elves – with their own system of harmony. In Rone's view, Hobbits are placed harmonically as familiar, using major-minor Diatonic scales. Men are placed as at once familiar and unfamiliar, by means of modal diatonic scales. Finally, Elves are placed as unfamiliar, through the use of nondiatonic scales ("chromatic mediants"). Rone suggests that in this way the film score both echoes 19th century tradition and