Boyens) and the translator (usually Salo) is stated. For example, for the scene "The Court of Meduseld" in The Two Towers, Adams describes the picture as Théoden King of Rohan sits slumped in his throne, being whispered lies by Saruman's spy, the traitor Wormtongue. The music is the "Gríma Wormtongue" theme, in which "contrabassoon, tuba, celli, and contrabasses wallow in a sepulchral, debauched chromatic line... colored by resonant bass drum strokes and a film of high string clusters." The music shifts as the wizard Gandalf and his companions Legolas and Gimli enter: the chorus sing "The King" (in Old English, the language Tolkien uses for Rohan), and the orchestra plays in turn the "Isengard" theme (for Saruman), the "Fellowship" theme (for Legolas and Gimli), and the "Gandalf the White" theme (for the wizard, returned from the dead). The account is illustrated with a drawing of the King on the throne, Wormtongue's head visible by his right arm; with the music of the "Wormtongue" theme modified by the "Rohan" theme's beat and Dorian mode; by a film still of the head of the aged and despondent king; and by the lyrics of "The King" in Old English and in translation. Reception Awards The scores and soundtrack albums of the film trilogy have won three Academy Awards, three Golden Globe awards, and four Grammy Awards, including: The Fellowship of the Ring won an Academy Award for Best Original Score and a Grammy Award for Best Score Soundtrack Album in 2001. The Two Towers won a Grammy Award for Best Score Soundtrack Album in 2002. The Return of the King won an Academy Award for Best Original Score, an Academy Award for Best Original Song with "Into the West" by Annie Lennox, a Golden Globe Award for Best Original Score, and a Grammy Award for Best Score Soundtrack Album in 2003. By critics The philosopher and author Roger Scruton, for the Future Symphony Institute, notes that the phrase "film music" has, however unfairly, often been used pejoratively by critics. He writes that, on the contrary, "the most successful film music today exhibits a quite extraordinary level of competence." In Scruton's view, "Howard Shore’s evocative music for The Lord of the Rings exhibit[s] a mastery of harmonic sequences, polyphonic organisation and orchestral effect that would be the envy of many a composer for the concert hall." By Tolkien scholars Kristin Thompson, in the scholarly