the Ring" theme as the One Ring passes from one owner to another. The libretto was derived from several sources, including songs and poems written by Tolkien, phrases from the screenplay (often sung against the corresponding dialogue or recitation) as well as original and adapted material from Shore and from screenwriters Fran Walsh, Philippa Boyens, and others, all translated by Salo while stressing good choral sounds. Songs and diegetic music The score includes a series of songs, some diegetic, some not. A selection of them, with the associated underscore, were released as single CD releases and music videos featuring footage from the film and the production, prior to the release of the entire soundtracks. Some of the diegetic songs were not composed by Shore, but he orchestrated and conducted the orchestral accompaniment and even reprised some of them in his symphony. Thus, Bilbo's farewell party sees the hobbits celebrating and dancing vigorously to music by Plan 9, a group who had long worked with Peter Jackson and Fran Walsh. Shore commented that their music had "the right feel" for the scene, and liked the difference from his own music. A few of the diegetic songs are settings of poems by Tolkien, interspersed in the text of The Lord of the Rings. Among these is "The Road Goes Ever On", sung softly by Ian McKellen playing Gandalf arriving in Hobbiton in his farm cart, to a melody by Walsh. Some of the non-diegetic songs, too, were by other composers; for instance, "May It Be" and Aníron (the theme for Aragorn and Arwen) were composed and sung by the Irish singer and songwriter of modern Celtic music, Enya. "The Funeral of Théodred" in The Two Towers was composed by Plan 9 and performed by the actor Miranda Otto, playing Eowyn; the words are not Tolkien's. Symphony For the music to be played as the six-movement The Lord of the Rings Symphony, over 200 musicians and singers are required on stage. To suit the complex narrative, with its contrasting cultures, Shore wrote music in different styles for each of the peoples of Middle-earth. For the Elves, the music is mainly women's voices, Rivendell designed to appear as a timeless place of learning, while Lothlórien was by intention "mystical and exotic". In contrast, the Orcs of Isengard were accompanied by a 5-beat rhythm on steel plates, Japanese drums, and metal chains, giving a harsh