who wrote lord of the rings theme music
Howard Leslie Shore
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Howard Shore Howard Leslie Shore (born October 18, 1946) is a Canadian composer who is notable for his film scores. He has composed the scores for over 80 films, most notably the scores for "The Lord of the Rings" and "The Hobbit" film trilogies. He won three Academy Awards for his work on the first trilogy, with one being for the original song "Into the West", an award he shared with Eurythmics lead vocalist Annie Lennox and writer/producer Fran Walsh, who wrote the lyrics. He is also a consistent collaborator with director David Cronenberg, having scored all but one of
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or the fan-credits of the extended editions. These appear below: Theme for Gondor Theme for the Shire Themes for Middle Earth Themes for the Fellowship Theme for Nature There are other "themes" of this nature but their definition is more tenuous. In the Extended Edition, there is technically a reprise of the Argonath music over the fan-credits. The choral piece for Saruman's duel with Gandalf can be seen as a relative of the Servants of Sauron theme (in the Lord of the Rings Symphony, Shore clarifies this connection by attaching this piece, in full, to the end of the composition
Music of The Lord of the Rings film series
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of pop culture references are made in the episode: In addition to the series' theme song, "We Used to Be Friends", by The Dandy Warhols, the following music can be heard in the episode: This episode was directed by Sarah Pia Anderson and co-written by series creator Rob Thomas (who wrote the story) and Phil Klemmer (who wrote the teleplay). This episode is the first to be directed by a female director. The episode's title is a joking reference to "The Return of the King", the third volume of J.R.R. Tolkien's high fantasy novel "The Lord of the Rings", or
Return of the Kane
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theme, the Servants of Sauron theme, the Fall of Men, Aragorn's theme and the Shire theme and variations and at some point was to feature the second-age Gondor theme and the Power of Mordor as well. The main Lord of the Rings theme appears on the main title, while the main theme of each individual episode appears on the second title. Shore used the first film to introduce the principal themes, the second film to add more themes and develop the existing ones, and the third film to create conflict and crossovers between the existing themes and bring them to
Music of The Lord of the Rings film series
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a system that copied recorded imagery of fire. The musical score for "The Lord of the Rings" films was composed by Howard Shore. It was performed by the 100-strong New Zealand Symphony Orchestra, the London Philharmonic Orchestra, the London Voices, The London Oratory School Schola, and the Maori Samoan Choir, and featured several vocal soloists. Shore wrote almost four hours of finalised music for the film (of which just over three hours are used as underscore), featuring a number of non-orchestral instruments, and a large number (49-62) of leitmotives. Two original songs, "Aníron" and the end title theme "May It
The Lord of the Rings: The Fellowship of the Ring
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Music of The Lord of the Rings film series The music of "The Lord of the Rings" film series was composed, orchestrated, conducted and produced by Howard Shore. The scores are often considered to represent one of the greatest achievements in the history of film music in terms of length of the score, the size of the staged forces, the unusual instrumentation, the featured soloists, the multitude of musical styles and the number of recurring musical themes used. Shore wrote many hours of music for "The Lord of the Rings", effectively scoring the entire film length. Over 13 hours of
Music of The Lord of the Rings film series
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and two "Planet of the Apes" sequels. Rosenman wrote an arrangement of Alexander Courage's "Star Trek" television theme as the title music for "The Voyage Home", but Nimoy requested an original composition. Music critic Jeff Bond writes, "The final result was one of the most unusual "Star Trek" movie themes," consisting of a six-note theme and variations set against a repetitious four-note brass motif; the theme's bridge borrows content from Rosenman's "Frodo March" for "The Lord of the Rings". The melody is played in the beginning of the film on Vulcan and the scenes of Taylor's search for Kirk to
Star Trek IV: The Voyage Home
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David Long (New Zealand musician) David Long is a musician, composer and producer. He has worked on all of Peter Jackson’s films of the last decade. In 2009 he composed additional score for Peter Jackson’s "The Lovely Bones". For "" he wrote (in collaboration with Plan 9 Music) ‘Misty Mountain’, a song for the dwarves that also features as the major theme in the score and was used as the basis for the credits song by Neil Finn. He wrote music and created musical sound design for Peter Jackson’s "The Lord of the Rings" and "King Kong" (also with Plan
David Long (New Zealand musician)
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Doug Adams (music journalist) Doug Adams is a musician, author, lecturer, and educator. He is the author of "The Music of the Lord of the Rings Films", a book about the music in "The Lord of the Rings" films. Adams previously worked for Film Score Monthly where, among other articles, he wrote extensive analyses of the themes used in John Williams' Star Wars film scores. After graduate school in 2001, Adams was selected by Howard Shore to observe and document his work on "The Lord of the Rings" films. Adams spent just under ten years writing the book, "The Music
Doug Adams (music journalist)
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the Fellowships' thematic material: The Isengard theme opens with a twisted variation of the "there and back again" shape that opens The Fellowship theme. The time signature of the Orc theme, 5/4, contrasts the 4/4 time signature of the Fellowship theme, the range of the brass instruments used is different, etcetra. Themes for Nature Themes for the Dwarves The Dwarvish music is raw, and based on parallel fifths rather than full chords. It is scored for all-male voices, often for very deep and rough voices at that, and for blaring brass. This contrasts it with the Elvish music, and also
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finalized music were recorded each day to allow for input from director Peter Jackson and revisions to the music and performance Jackson gave Shore direction and had each theme played to him as a mock-up and by the orchestra before approving it. All of the music production (which overlapped with the films' editing process) was supervised by Jackson who often asked for significant changes to the music, which is unusual for film music. Shore began his work on the music early during the production of "" in late 2000 and recorded the first pieces of music (the Moria sequence) in
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of film music (and even some theater works) by strictly applying them for narrative purposes, never resulting to using them purely to suggest mood, although several intriguing instances still exist in his work: he replaced the Realm of Gondor theme used for the passage of the Argonath with a statement of The History of the One Ring theme, the main theme of the trilogy, to denote the film coming to a close; and he used the so-called Ringwraith theme (which in fact applies more broadly to all the servants of Sauron) to the Orc armies of the prologue. Otherwise, the
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of the Lord of the Rings Films". He also wrote the booklets and liner notes packaged with the extended versions of "The Lord of the Rings" scores. Adams also works at Hickory Creek Middle School in Frankfort Illinois as a Band Director. Adams' association with Howard Shore continued in 2011, during which time he acted as an advisor to Shore's "The Lord of the Rings in Concert" series and produced a recording of an orchestrion for the film "Hugo". In late 2013, he was seen in two documentaries: "The Songs of the Hobbit" (which was included with the extended edition
Doug Adams (music journalist)
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"Journey in the Dark", and "Hobbits". In 1989 the symphony was awarded the Sudler Composition Award, awarded biennially for best wind band composition. The Danish Tolkien Ensemble have released a number of albums that feature the complete poems and songs of "The Lord of the Rings" set to music, with some featuring recitation by Christopher Lee. Enya wrote an instrumental piece called "Lothlórien" in 1991, and composed two songs for the film ""—"May It Be" (sung in English and Quenya) and "Aníron" (sung in Sindarin). "The Lord of the Rings" has had a profound and wide-ranging impact on popular culture,
The Lord of the Rings
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Music of The Hobbit film series The music of "The Hobbit" film series is composed and produced by Howard Shore, who scored all three "The Lord of the Rings" films, to which The Hobbit trilogy is a prequel. The score continues the style of The Lord of the Rings score, and utlizies a vast ensemble, multiple musical forms and styles, a large number of leitmotives and various unusual instruments, adding to Shore's overarching music of the Middle-earth films. Shore composed over nine hours of music, featuring 65 new musical themes and reprising 50 themes from the Lord of the Rings.
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Music Inspired by Lord of the Rings (Bo Hansson album) Music Inspired by Lord of the Rings is an instrumental progressive rock album by Swedish musician Bo Hansson. As its title suggests, it is a concept album based on author J. R. R. Tolkien's high fantasy novel, "The Lord of the Rings". The album was originally issued in Sweden in late 1970, under the Swedish title of "Sagan om ringen", and was subsequently re-released internationally as "Music Inspired by Lord of the Rings" in September 1972. The album reached the Top 40 of the UK Album Chart and was eventually
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(who often serve as featured soloists in the live performances of his Lord of the Rings scores), often in conjunction with the music of nature or the Elves. Unlike The Lord of the Rings, no boy soprano or young girls were used in the score. As with "The Lord of the Rings", the scores from "The Hobbit" were also largely vocal works, including choirs and soloists, as well as diegetic music and songs for the end-credits of each film. Howard Shore composed "The Valley of Imladris" - a diegetic piece for lute, lyre, wood flute and harp that is performed
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the Rings, Shore wrote 21 hours of music. Howard Shore's composition does not utilize motifs from other scores he had written previously, or from passages of existing film or stage music, with the exception of one intentional nod to Richard Wagner's ring cycle over the end-credits of the third film. Shore wrote a long series of interrelated leitmotifs that were used, developed, combined or fragmented throughout the three scores. The motifs are attached to places, cultures, characters, objects and occurrences, and are divided into sets and subsets of related themes. Shore used his themes in defiance to the common practices
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on several of the Shire themes, including a variant of the rural or playful Shire theme and a variation of the Hobbit Antics. Other themes also have such variations: The melody and accompaniments of the Rivendell theme often appear separately, as well. The Rohan theme has several distinct variations, including two successive statements of a "klaxon" variation, and a "call of arms" variation used across the Helm's Deep scenes. Aragorn's theme appears in a "second-age" variation attached to Isildur, mentioned by Doug as "the fleeting shape of the Fellowship theme." For Anduril, Shore introduces a triumphant setting of the otherwise
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and acoustic chamber music usually featuring an instrumental soloist. He frequently wrote for soloists who played instruments previously neglected by composers such as the marimba, tuba, euphonium, viola, saxophone, and bassoon. Much of the music he wrote during this period was influenced by J.R.R. Tolkien's "The Lord of the Rings". His musical language was eclectic, ranging from non-serial atonality to tertian and modal harmonies, frequently contrapuntal, and had a high degree of metric/rhythmic animation. This musical language reflected his previous occupation as a commercial musician in jazz, funk, and rock genres. However, he had an abiding love for the music
Daniel W. McCarthy
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while also keeping reasonably with the plot progression of the film. Many of the cues are edited to create concert suites of some of the themes such as the Ringwraith theme (in "Black Rider"), the Durin theme (In "Journey in the Dark"), the Rohan theme (in "Riders of Rohan") and the Gondor theme (in "The White Tree"). All soundtrack albums of the trilogy have been released through Reprise Records, Enya's label at that time of the first soundtrack's release. While the cover art for "The Fellowship of the Ring" uses an original compilation of film characters, the covers for "The
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one man who had given in to temptation can return to the good path and give his life, however ineffectively, for a good cause. Themes of The Lord of the Rings Since the publications of J. R. R. Tolkien's "The Lord of the Rings", "The Hobbit" and "The Silmarillion", a wealth of secondary literature has been published discussing the literary themes and archetypes present in the stories. Tolkien also wrote about the themes of his books in letters to friends, family and fans, and often within the books themselves. In his Foreword to the Second Edition of "The Lord of
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Lord of the Rings (musical) The Lord of the Rings is the most prominent of several theatre adaptations of J. R. R. Tolkien's epic high fantasy novel of the same name, with music by A. R. Rahman, Christopher Nightingale and the band Värttinä, and book and lyrics by Matthew Warchus and Shaun McKenna. Set in the world of Middle-earth, "The Lord of the Rings" tells the tale of a humble hobbit who is asked to play the hero and undertake a treacherous mission to destroy an evil, magic ring without being seduced by its power. The show was first performed
Lord of the Rings (musical)
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This is, according to Shippey, a very modern, 20th-century theme, since in earlier, medieval times, power was considered to "reveal character", not alter it. Shippey mentions Lord Acton's famous statement in 1887, that ""Power tends to corrupt, and absolute power corrupts absolutely. Great men are almost always bad men..."" He then goes on to point out authors that were dealing in the same themes of power and corruption at around the same time as Tolkien wrote his work. These authors include George Orwell with "Animal Farm" (1945), William Golding with "Lord of the Flies" (1954), and T. H. White with
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and tin whistle. Their maturation through the story has them not only transform melodically and harmonically, but also make use of the orchestral relatives of the folk instruments with which they are originally played. The music is stepwise and calm, with old-world modal harmonies to evoke familiarity. The basic tune appears as several distinct themes: Besides the variations of the basic tune, Shore crafts several accompaniment motivs that often play as a baseline to The Hobbiton theme. However, as the story progresses, elements of this baseline begin to appear independently of each other and of the Shire theme: Besides all
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gradual coming together of the Fellowship of the Ring and leading up to the full statement in the council of Elrond. There is even significance as to the order in which themes appear in a scene or to when a theme is absent. The themes go through a series of variations of orchestration, tempo and harmony to denote changes to characters and the general progression of the plot. Again, the Fellowship theme gradually comes together before appearing in a string of full heroic statements as the whole company travels and struggles. After Gandalf's demise, however, the theme appears fragmented, the
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again" shape that opens the Fellowship theme and connects it to its subsidiary themes. Equally, the inverted figure, serves as a general gesture for the forces of evil. Part of the thematic development in the score also occurs throughout introduction of hybrid figures, although few of those are labeled as separate themes by Adams: there is a recurring hybrid of Smeagol's theme and the Ring theme, which illustrates his connecting to it. Other notable variations include Shore changing melodies from descending to rising, a device applied to all the Mordor motivs in Return of the King, but not one of
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odds is a recurring theme in Tolkien's literature. As he wrote in "The Monsters and the Critics", Tolkien was inspired by the apocalyptical Norse legend of "Ragnarök," where the gods know that they are doomed in their final battle for the world, but they and their allies go to fight anyway. This "northern courage" as he called it is seen in the fate of Frodo and Samwise, for example, who have little prospect of returning home from their mission to Mount Doom. Another kind of courage was defined by Tolkien in the difference between humility and the arrogant desire for
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syllables from "The Revelation of the Ringwraiths", associated with the ringwraith theme, without quoting the theme, per se. Besides recurring gestures and variations, there are also pieces that were written by Shore specifically for one set piece, and are woven throughout it: The Emyn Muil sequences features (on album) a choral melody unique to the sequence which, in the rarities version of the piece, appears several times during the sequence. The Lorien scenes have several individual pieces built out of the Lorien theme, including the choral piece accompanying the reveal of Caras Galadhon and Galadriel, the Lament for Gandalf and
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an adaptation of Sam Shepard's play "Simpatico" – which he co-wrote and directed, starring Nick Nolte, Jeff Bridges, Albert Finney and Sharon Stone. In 2000 he directed Sam Shepard's "True West" starring Philip Seymour Hoffman and John C. Reilly. In 2002 he directed "Our House," at the Cambridge Theatre, a new musical written by Tim Firth featuring the music of Madness which won the Olivier Award for Best New Musical. In 2007 he directed "Lord of the Rings", the stage adaptation of "Lord of the Rings", which played at the Theatre Royal, Drury Lane from May 2007 to July 2008.
Matthew Warchus
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The music maintains the guitar-based rock style of previous "Sonic" titles, adding elements of traditional Middle Eastern music to complement the game's theme and aesthetic. Sega released a video game soundtrack album, "Seven Rings in Hand: Sonic and the Secret Rings Original Sound Track", on March 15, 2007. The main theme and album title track of "Secret Rings" is "Seven Rings in Hand". "Sonic and the Secret Rings" received a score of 69/100 on review aggregator Metacritic; the site classifies its score as "mixed or average". The game charted well; it was the eleventh best-selling game of February 2007 worldwide,
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into Ringwraiths, undying but not truly living either. "The Lord of the Rings" centres around the corrupting influence of the One Ring. This theme is discussed at length by Tom Shippey in chapter III of "". In this chapter, titled, "The Lord of the Rings (2): Concepts of Evil" (pp 112–160), Shippey notes that what lies at the heart of the story is the assertions made by Gandalf about the power and influence of the One Ring, and the corrupting influence it has on its bearers. Gandalf rejects the Ring after Frodo offers it to him, and this view of
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This trend was followed in the documentation of The Music of The Hobbit, with a 10-minute HD documentary of the score to An Unexpected Journey and a 40-minute one for The Desolation of Smaug, as well an episode of the production diary being dedicated to it. Music of The Lord of the Rings film series The music of "The Lord of the Rings" film series was composed, orchestrated, conducted and produced by Howard Shore. The scores are often considered to represent one of the greatest achievements in the history of film music in terms of length of the score, the
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the overarching concept of Howard's Middle Earth music (including the music of "the Hobbit" films), the score has occasionally adopted diegetic music (by "the Elvish Impersonators") like the Misty Mountains song, as well as leaked into diegetic music (like "Valley of Imladris") and even into sound effects, with a war horn calling out the Erebor theme. Hence, these compositions can be viewed in much the same way that other composers will use phrases from Dies Irae as themes within their scores. These "themes" include the piece "Flaming Red Hair on her feet" which would go on to be reprised in
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James Hannigan James Hannigan (born 23 July 1971) is a British Academy Award Winning British composer, musician, music producer and live event creative director. His work as a composer has included single or multiple entries in the multi-million selling "Command & Conquer", "Harry Potter", "The Lord of the Rings", "Dead Space", "Warhammer", "Wing Commander", "Space Hulk", "Evil Genius", "Grand Prix" and "Theme Park" game series; video games including "Freelancer", "RuneScape", "Cloudy with a Chance of Meatballs", "Dead Space 3", The "Transformers Universe," "", "," "Sim Theme Park", "", "", Nintendo's "Art Academy" (video game), "Reign of Fire", "", and others,
James Hannigan
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song "The Last Goodbye". The two-disc special edition contains two bonus tracks and five extended tracks. Music of The Hobbit film series The music of "The Hobbit" film series is composed and produced by Howard Shore, who scored all three "The Lord of the Rings" films, to which The Hobbit trilogy is a prequel. The score continues the style of The Lord of the Rings score, and utlizies a vast ensemble, multiple musical forms and styles, a large number of leitmotives and various unusual instruments, adding to Shore's overarching music of the Middle-earth films. Shore composed over nine hours of
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inspired, and continues to inspire, artwork, music, films and television, video games, board games, and subsequent literature. Award-winning adaptations of "The Lord of the Rings" have been made for radio, theatre, and film. In 2003, it was named Britain's best novel of all time in the BBC's The Big Read. Thousands of years before the events of the novel, the Dark Lord Sauron had forged the One Ring to rule the other Rings of Power and corrupt those who wore them: the nine leaders of Men, the three of Elves and the seven of Dwarves. Sauron was defeated by an
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Scrolls" series of games as well as video games set in Middle-earth itself. Research also suggests that some consumers of fantasy games derive their motivation from trying to create an epic fantasy narrative which is influenced by "The Lord of the Rings". In 1965, songwriter Donald Swann, who was best known for his collaboration with Michael Flanders as Flanders & Swann, set six poems from "The Lord of the Rings" and one from "The Adventures of Tom Bombadil" ("Errantry") to music. When Swann met with Tolkien to play the songs for his approval, Tolkien suggested for "Namárië" (Galadriel's lament) a
The Lord of the Rings
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contributed. Even actors Billy Boyd, Viggo Mortensen, Liv Tyler, Miranda Otto (extended cuts only for the latter two), and Peter Jackson (for a single gong sound in the second film) contributed to the score. Fran Walsh and Philippa Boyens served as librettists, writing lyrics to various music and songs, which David Salo translated into Tolkien's languages. The third film's end song, "Into the West", was a tribute to a young filmmaker Jackson and Walsh befriended named Cameron Duncan, who died of cancer in 2003. Shore composed a main theme for "The Fellowship" rather than many different character themes, and its
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Elrond stated in "The Lord of the Rings": "Nothing is evil in the beginning. Even Sauron was not so." Rebellion originated with the Vala Melkor (as Morgoth was called before he turned to darkness). According to a story meant as a parable of events beyond Elvish comprehension, Eru let his spirit-children perform a great Music, the Music of the Ainur, developing a theme revealed by Eru himself. For a while the cosmic choir made wondrous music, but then Melkor tried to increase his own glory by weaving into his song thoughts and ideas that were not in accordance with the
Sauron
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Themes of The Lord of the Rings Since the publications of J. R. R. Tolkien's "The Lord of the Rings", "The Hobbit" and "The Silmarillion", a wealth of secondary literature has been published discussing the literary themes and archetypes present in the stories. Tolkien also wrote about the themes of his books in letters to friends, family and fans, and often within the books themselves. In his Foreword to the Second Edition of "The Lord of the Rings", Tolkien said that he "disliked allegory in all its forms" (using the word "applicability" instead), and told those claiming the story was
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Translations of The Lord of the Rings "The Lord of the Rings" by J. R. R. Tolkien, written originally in English, has since been translated, with varying degrees of success, into dozens of other languages. Tolkien, an expert in Germanic philology, scrutinized those that were under preparation during his lifetime, and had comments that reflect both the translation process and his work. To aid translators, and because he was unhappy with some choices made by early translators such as Åke Ohlmarks, Tolkien wrote his Guide to the Names in The Lord of the Rings in 1967 (released publicly in 1975
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harmony is changed and the instrumentation is reduced leading up to a dirge-like statement over the death of Boromir. It is gradually remade during the next two films, leading up to a grand choral statement during the assault on the Black Gate. Each film, and particularly the first one, starts with an overture: a series of statements of the principal themes of the feature, which extended from the opening credits till after the individual title of the film. The prologue to the first film, for instance, features the History of the One Ring theme, Lothlórien theme, The Mordor accompaniments, Sauron's
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the theme derived from the lute song "Flow my tears". It became one of the best known collections of consort music in his time. His pavane, "Lachrymae antiquae", was also popular in the seventeenth century, and was arranged and used as a theme for variations by many composers. He wrote a lute version of the popular ballad "My Lord Willoughby's Welcome Home". Dowland's music often displays the melancholia that was so fashionable in music at that time. He wrote a consort piece with the punning title ""Semper Dowland, semper dolens"" (always Dowland, always doleful), which may be said to sum
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score sees the full introduction of the Gondor theme, originally heard during Boromir's speeches at the in "The Fellowship of the Ring" and at Osgiliath in "The Two Towers" Extended Edition. Shore also used the Gondor theme with the new ascending coda (which is unique to this film) in his score for the trailer of the film. The score features the London Philharmonic Orchestra, London Voices, the London Oratory School Schola and featured vocal soloists. The score is the most expansive of the three: scoring effectively the entire movie length, not including additional music written for the trailer and various
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as the journey's in the dark, the Dead Marshes and the shadow World. Aleatoric devices are used similarly, as well. There are also distinct timbral variations on themes: The Shire theme also has a more spy variation for tin whistle, and even when it is played on a clarinet it is usually done to evoke Bilbo. Even lyrics are used narratively: before the seduction of the ring theme can appear, Shore introduces the associated lyric with a rising male choir, without the melody, to portray Isildur's seduction by the ring. When Frodo and Sam approach Minas Morgul, the choir sings
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“Terra Beata”, verbatim in his Shire theme from his music for the Lord of the Rings film trilogy. One notable recording of the song was by Amy Grant. Her version is the opening track on her 2002 studio album "Legacy... Hymns and Faith" and also appears on her 2015 compilation album "Be Still and Know... Hymns & Faith". A child sings this hymn in the Criminal Minds first season episode "Blood Hungry" in 2005. The theme song from Penn Jillette's podcast Penn's Sunday School is based off the hymn. While Penn is an atheist, he states that this was his
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to give the album the augmented title of "Music Inspired by Lord of the Rings", at the insistence of Tolkien and his publishers Allen & Unwin. Tolkien's publishers also had a hand in determining the musical content of the album, as Hansson told music journalist Tony Tyler in the November 18, 1972 edition of the "NME": "I originally intended to use voices – perhaps a girl soprano – on the tracks but when we contacted George Allen and Unwin they put a firm 'no' to the idea. So we had to use the term 'inspired' by Lord of the Rings'
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The Lord of the Rings. Existing themes The first film is the most reliant on existing themes, and that reliance was expanded upon in the final film, including multiple cases of tracked music. Nevertheless, most themes are introduced in more devolved expression and evolve to their starting point from The Lord of the Rings. There are, nevertheless some puzzling thematic connections: There are various unconfirmed themes and non-thematic recurring figures that are nevertheless important to the storytelling in the score: As with "The Lord of the Rings", many soloists performed music for the three films. To support the more Dwarf-centric
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certified gold in the UK and Australia. It was also moderately successful in America, where it reached number 154 on the "Billboard" Top LPs & Tapes chart. "Music Inspired by Lord of the Rings" remains the only release by Hansson to have reached the UK and US charts and as a result, it is by far his best known and most successful album. Prior to the recording of "Music Inspired by Lord of the Rings", Bo Hansson had worked as one half of the duo Hansson & Karlsson. The duo were relatively well known in their native Sweden and between
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informs the perils of Moria. Themes for Gondor The music of Gondor and the World of men and stately and brassy, but not necessarily triumphant, the music lamenting the decay of the mortal world. Only from the later half of the Two Towers and into Return of the King are the themes of the world of men presented in more heroic settings. Themes for the Fellowship Themes for the Monsters of Middle Earth Themes for Middle Earth: The Ring Quest themes Themes for Middle Earth: "All Shall Come to Darkness" themes Themes for Middle Earth: "Another Path" theme Themes recurring
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1988 as an "extended remixed version", with an additional eleven bonus tracks taken from Hansson's other 1970s albums "Magician's Hat" and "Attic Thoughts". It was then reissued on CD for a second time in 1993 by Resource Records, again in a remixed version but without any bonus tracks. In 2002, the album was re-issued again by Silence Records and Virgin Records, with the inclusion of the previously unreleased bonus track "Early Sketches from Middle Earth". Music Inspired by Lord of the Rings (Bo Hansson album) Music Inspired by Lord of the Rings is an instrumental progressive rock album by Swedish
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only instance of music outside of the narrative is done by means of tracked music, featuring the Moria motif being applied by the filmmakers to the Warg attack in the Two Towers instead of Shore's original intention. Shore's use of the leitmotif is not only strict but also nuanced: rather than mimic the onscreen action, the themes are often used subtly to inform underlying dramatic connections. A good example is how Shore forms the first notes of the Fellowship theme over Sam joining Frodo, and expanding on it when Merry, Pippin and Strider join the group—all to hint at the
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Sergei Prokofiev and Igor Stravinsky in the score to "Star Wars." Williams relied less and less on references to existing music in the latter seven scores, incorporating more strains of modernist orchestral writing with each progressive score, although occasional nods continue to permeate the music. The love theme from "Empire Strikes Back" is closely related to Williams' composition for "Indiana Jones and the Raiders of the Lost Ark". The score to has clear resemblances to the successful scores of other contemporary composers of the time, namely Howard Shore's "Lord of the Rings", Hans Zimmer's "Gladiator" and Tan Dun's" Crouching Tiger,
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of this material, Shore also introduces one other, independent theme for the Shire: Themes for Gollum Themes for The Elves The Music of the Elves is sinuous (in line with the Arts Department's vision of the Elvish architecture), clear-toned and elegant, being scored for women voices, violins and chimes. It is however also ancient, exotic and at times closed off to the outside world, like the Elves, and is in those instances scored for eastern instruments and contains melodic intervals prevalent in Eastern music. Themes for Isengard Whereas the Mordor material contrasts the Shire material, the related Isengard material contrasts
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the Rings Online: Shadows of Angmar". The Two Towers (MUD) is also set in Tolkien's world. Lego's licensed theme game version had Japanese anime graphics. Games Workshop have made a miniature wargame called "The Lord of the Rings Strategy Battle Game", which, while part of the film trilogy's merchandise, combines elements from both the books and films. Many of Games Workshop's other battle games that are not directly related to the books have had some key background based on it. Several other games have been based directly on "The Lord of the Rings" and related works, including, amongst many, Iron
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from the A-phrase, often in a very different, expansive effect. The underlying bodhran-tapping accompaniment, while too generic to be a proper leitmotiv, is a recurring figure across the various scores, and acts in contrast to the rhythmic motivs of Mordor and the Orcs. While the Shire's theme Fourth Age variation is described as a new theme, the undelying accompaniment, a development of the Outline figure, is not. In fact, the outline figure also has a uniquely "warped" variation used for Smeagol's antics (when he fetches rabbits for Frodo), as well. Smeagol and Deagol are actually associated with several "second-age" variations
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those is labeled a separate theme in the book. He also takes the Nazgul harmonies and sets them to a choir for the Witch King's battle with Eowyn and while that figure is non-recurring, it is a device that he also used with other themes like Thorin's in An Unexpected Journey. There is a two-beat variation of the Mordor Skip-Beat used in "the most frenetic situations" which can be described as a separate chase motiv. The Shire theme, because of the malleable and long-winded nature, can be described as two motivic units, with the B-section being used sparingly and separately
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Rings of Power. The development team picked Celebrimbor because they considered his backstory sufficiently interesting to expand the canon's authenticity, allowing the team to write a story around power (a major theme of the game). Another important component was "Mordor" tone. The team created a dark atmosphere with humor, reflected in dialogue and voice acting. This was handled by Dan Abnett, who previously worked on books related to "Warhammer" "dark and gritty" universe. The team hired David Salo, a linguist who worked on the Tolkien's languages for the "Lord of the Rings" film trilogy, to develop the Orcs' Black Speech.
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of the Rings" film trilogy, released in three installments as "" (2001), "" (2002), and "" (2003). "", a prequel to "The Lord of the Rings" trilogy featuring some of the same characters, was released on 12 December 2012, directed by Peter Jackson. "" was released on 13 December 2013 and the final installment, "", was released on 11 December 2014. A previous animated adaptation of "The Hobbit" (1977) exists, and was directed by Jules Bass and Arthur Rankin, Jr. A Swedish live action television film, "Sagan om ringen", inspired by the music album "Music Inspired by Lord of the
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actual influence on his writing, and cites evidence to this effect in her essay "'Mad' Elves and 'elusive beauty': some Celtic strands of Tolkien's mythology". Terry Gunnell notes that the titles of the Germanic gods Freyr and Freyja (Old Norse 'lord' and 'lady') are also given to Celeborn and Galadriel in the "Lord of The Rings". According to Tom Shippey, the theme of diminishment from semi-divine Elf to diminutive Fairy resurfaces in "The Lord of the Rings" in the dialogue of Galadriel. "Yet if you succeed, then our power is diminished, and Lothlórien will fade, and the tides of Time
Elf (Middle-earth)
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February 4, 2008, and features 18 musical numbers from the show. The CD release was accompanied by a DVD with superior sound quality and DVD bonuses. Disc 2 features an alternative version of "The Song of Hope (Duet)" and a slideshow of production images. It does not contain any video material although six official music videos had been filmed. "The Lord of the Rings" received mostly negative reviews from critics. Lord of the Rings (musical) The Lord of the Rings is the most prominent of several theatre adaptations of J. R. R. Tolkien's epic high fantasy novel of the same
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original release, about a minute of material in the fan credits, and some additional alternates, there are over four and a half hours of finalized music for "Return of the King," including the music for the trailer. The Lord of the Rings: The Return of the King (soundtrack) The Lord of the Rings: The Return of the King was released on November 25, 2003. It was composed, orchestrated, and conducted by Howard Shore, and performed by the London Philharmonic Orchestra, the London Voices, and the London Oratory School Schola. The limited edition contains a bonus DVD with the track "Use
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The Lord of the Rings: The Fellowship of the Ring The Lord of the Rings: The Fellowship of the Ring is a 2001 epic fantasy adventure film directed by Peter Jackson based on the first volume of J. R. R. Tolkien's "The Lord of the Rings" (1954–1955). It is the first instalment in "The Lord of the Rings series", and was followed by "" (2002) and "" (2003), based on the second and third volumes of "The Lord of the Rings". Set in Middle-earth, the story tells of the Dark Lord Sauron (Sala Baker), who is seeking the One Ring.
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in Scandinavia. The Tolkien Society of Sweden was founded in Gothenburg in 1968 ("of Sweden" was added in 1969 to avoid confusion with the UK society) and The Tolkien Society Forodrim was founded in Sweden in 1972. Denmark has two Tolkien societies, Bri, the Danish Tolkien Society and Imladris, which is a virtual community only. Some fans, known as Tolkien tourists, travel for the purpose of visiting "Lord of the Rings" and Tolkien-related sites. Isaac Asimov, who had read "The Lord of the Rings" three times by Tolkien's death in September 1973, wrote a Black Widowers short story as tribute
Tolkien fandom
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as a young Hobbit in a flashback of the Old Took's party in the extended edition of "". Boyens first became a Tolkien fan as a child. When she came on board to help the writing team on "The Lord of the Rings", she had already read the book seven times. Philippa Boyens Philippa Boyens, MNZM, is a New Zealand screenwriter and producer who co-wrote the screenplay for Peter Jackson's films "The Lord of the Rings" series, "King Kong", "The Lovely Bones", and the three-part film "The Hobbit", all with Jackson and Fran Walsh. She, Jackson, and Walsh won the
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Sonic and the Secret Rings The title was released in place of an aborted attempt to port the 2006 game "Sonic the Hedgehog" to the Wii. Producer Yojiro Ogawa conceived "Secret Rings" to tap into the Wii Remote's capabilities. He chose the theme of "Arabian Nights", using many elements of the stories in the game's setting, characters, and Middle Eastern-influenced music. Sega changed the title of the game several times, originally being announced as "Sonic Wild Fire", before settling on "Sonic and the Secret Rings" to tie in the theme of "Arabian Nights". Upon release, "Secret Rings" received average reviews.
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there is a poem entitled "The Green Man". Ronald Johnson also wrote a book-length poem sequence, "The Book of the Green Man". The premise has even made its way into comics, most notably with the character of Swamp Thing. Green men, and variants on the theme, frequently occur in modern fantasy literature and science fiction. Tom Bombadil and the Ents in "The Lord of the Rings" could be considered possible examples. In Kenneth Grahame's 1908 children's classic "The Wind in the Willows", a depiction of a natural deity, analogous with Pan and Green Man legend, appears as the climax of
Green Man
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those interested in Catholic engagement with culture, respectful inter-religious dialogue, integral human development and "ressourcement". "Christendom Awake", for whom he wrote a number of articles, maintains a page with biographical information, a partial bibliography, and some links to Caldecott's work. J. R. R. Tolkien was among the writers whose works influenced Caldecott's conversion to Christianity. Caldecott became an authority on the Christian themes in The Lord of the Rings. As a teenager Caldecott had fallen in love with America because of its comic books. He loved the fight between good and evil, and the theme of hope that the comics
Stratford Caldecott
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for orchestra, choir and soloist. This suite has been performed in various concert halls around the world, accompanied by a light and visual art show by Alan Lee and John Howe. A DVD titled "Howard Shore: Creating the Lord of the Rings Symphony—a composer's journey through Middle Earth" has been released. The 50-minute-long DVD features extensive excerpts of the concert given by Shore and the Montreal Orchestra, Grand Choir and Children choir at the "Montreal en Lumiere" Festival, interspersed with spoken commentary by Shore, who recounts his approach in composing the music for the three films and then reworking it
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BBC broadcast "The Lord of the Rings," a new, ambitious dramatisation in 26 half-hour instalments. It starred Ian Holm as Frodo Baggins, the protagonist; he would play Bilbo Baggins, his character's cousin/uncle, in the live-action trilogy. In 1992 the German radio stations SDR and WDR broadcast Der Herr der Ringe, a 30-episode adaptation of "The Lord of the Rings". In 1999-2000 the Danish radio station Danmarks Radio broadcast "Eventyret om Ringen", a Danish language retelling of The Lord of the Rings by Rune T. Kidde. Music by The Tolkien Ensemble, Hedningarna, Sorten Muld and Kim Skovbye. In 2001, 2002 and
Adaptations of The Lord of the Rings
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of traveling from one place to another singing his songs at temples, he came to be called "Kshetragna" or "Kshetrayya" (one who travels). He perfected the "padam" format that is still used today. His "padams" are sung in dance (Bharatanatyam and Kuchipudi) and music recitals. A unique feature of his padams is the practice of singing the "anupallavi" first then the "pallavi" (second verse followed by first verse). Most of the padams are of the theme of longing for the coming of the Lord Krishna. He wrote with Sringara as a main theme in expressing "madhurabhakti" (devotion to the supreme).
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The Lord of the Rings: The Fellowship of the Ring (soundtrack) The Lord of the Rings: The Fellowship of the Ring: Original Motion Picture Soundtrack was released on November 20, 2001. It was composed, orchestrated, and conducted by Howard Shore, and performed by the London Philharmonic Orchestra, the New Zealand Symphony Orchestra, the London Voices, London Oratory School Schola choir and multiple featured instrumental and vocal soloists. The album is a reduction of over three and a half hours of finalized music written for The Fellowship of the Ring. The music on the album features edited-down compositions to create a
The Lord of the Rings: The Fellowship of the Ring (soundtrack)
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by the UK's "Big Read" survey, about 250,000 Germans found "The Lord of the Rings" to be their favourite work of literature. Tolkien wrote a brief "Sketch of the Mythology", which included the tales of Beren and Lúthien and of Túrin; and that sketch eventually evolved into the "Quenta Silmarillion", an epic history that Tolkien started three times but never published. Tolkien desperately hoped to publish it along with "The Lord of the Rings", but publishers (both Allen & Unwin and Collins) declined. Moreover, printing costs were very high in 1950s Britain, requiring "The Lord of the Rings" to be
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particularly clear in Tolkien's treatment of the rural Shire and its race of simple, complacent hobbits, who ultimately go on to defeat an evil whose more obvious counterparts were great wizards, kings, and the aforementioned kingdoms of good. Likewise, though Tolkien's magic, immortal elves seem to act as an idealized version of a comparatively lowly humankind, their inability to accept change causes a "deep nostalgia for [an] edenic past", which in turn becomes their "great folly". Tolkien wrote about "The Lord of the Rings" and death in his "Letters": Throughout "The Silmarillion", death is referred to as the "gift (and
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character obsessed with "The Lord of the Rings" who creates a post-apocalyptic community based upon the Elves and Dúnedain of Middle-earth. The same plot point was used by the Russian writer Vladimir Berezin in his novel "Road Signs" (from the Universe of Metro 2033). Another Russian writer, Kirill Eskov, wrote "The Last Ringbearer", about the events in "Lord of the Rings" from the perspective of Sauron. Stephen King, best known for horror novels, has acknowledged Tolkien's influence on his novel "The Stand" as well as his fantasy series "The Dark Tower". Several other prominent fantasy writers, including Michael Swanwick, Raymond
Works inspired by J. R. R. Tolkien
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the primary source of the allegations could be traced to freelance animal wranglers who had been dismissed by the production over a year earlier "for cause". The music of "The Hobbit" film series was composed, produced and (in the case of the first film) orchestrated and conducted by Howard Shore, who scored all three "The Lord of the Rings" films. Recording sessions for the first film began on 20 August 2012, at Abbey Road Studios. The second and third films were recorded in New Zealand. Unlike with the Lord of the Rings, which only received an expanded release after 2005,
The Hobbit (film series)
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the Shadow", "The Treason of Isengard", "The War of the Ring", and "Sauron Defeated". The novel has been translated, with various degrees of success, into at least 56 languages. Tolkien, an expert in philology, examined many of these translations, and made comments on each that reflect both the translation process and his work. As he was unhappy with some choices made by early translators, such as the Swedish translation by Åke Ohlmarks, Tolkien wrote a "Guide to the Names in The Lord of the Rings" (1967). Because "The Lord of the Rings" purports to be a translation of the fictitious
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with the Dutch and Swedish translations, Tolkien asked that With a view to the planned Danish translation, Tolkien decided to take action in order to avoid similar disappointments in the future. On 2 January 1967, he wrote to Otto B. Lindhardt, of the Danish publisher Gyldendals Bibliotek: Photocopies of this "commentary" were sent to translators of "The Lord of the Rings" by Allen & Unwin from 1967. After Tolkien's death, it was published as Guide to the Names in The Lord of the Rings, edited by Christopher Tolkien in "A Tolkien Compass" (1975). Hammond and Scull (2005) have newly transcribed
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& Unwin, led to the book being offered to Collins in 1950. Tolkien intended "The Silmarillion" (itself largely unrevised at this point) to be published along with "The Lord of the Rings," but A&U were unwilling to do this. After Milton Waldman, his contact at Collins, expressed the belief that "The Lord of the Rings" itself "urgently wanted cutting", Tolkien eventually demanded that they publish the book in 1952. Collins did not; and so Tolkien wrote to Allen and Unwin, saying, "I would gladly consider the publication of any part of the stuff", fearing his work would never see the
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in March 2004. It was a classical crossover album and included two pop songs written by Richard Marx and one ballad, "Wait A While", written by Jon Lord of Deep Purple. "My Heart" reached No. 3 on the Billboard Classical Album Chart after debuting at No. 7 and spent 31 weeks on the chart. In the summer and fall of 2004, Sissel went on tour with The Lord of the Rings Symphony. She was a featured soloist for an orchestral performance dedicated to the music from "The Lord of the Rings" films. "The Lord of the Rings" composer Howard Shore,
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the novel, stating he preferred applicability to allegory. This theme is taken up at greater length in his essay "On Fairy-Stories", where he argues that fairy-stories are so apt because they are consistent both within themselves and with some truths about reality. He concludes that Christianity itself follows this pattern of inner consistency and external truth. His belief in the fundamental truths of Christianity leads commentators to find Christian themes in "The Lord of the Rings". Tolkien objected strongly to C. S. Lewis's use of religious references in his stories, which were often overtly allegorical. However, Tolkien wrote that the
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Stephen Dinehart Stephen Erin Dinehart IV is an industry-leading game maker, writer, and the original 'Narrative Designer'. Trained at USC School of Cinematic Arts while on scholarship from Electronic Arts and The David Lynch Foundation, his works range from show writing for major theme parks, VR/AR, mobile and AAA video games. Dinehart has worked with franchises and characters ranging from The Marvel Universe and Mario to Batman and Lord of the Rings. Best known for his work in video games and themed entertainment, Stephen wrote the job description and took the first "Narrative Designer" position at THQ in 2006, the
Stephen Dinehart
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Digital Media is from the College for Creative Studies in Detroit. Stephen Dinehart Stephen Erin Dinehart IV is an industry-leading game maker, writer, and the original 'Narrative Designer'. Trained at USC School of Cinematic Arts while on scholarship from Electronic Arts and The David Lynch Foundation, his works range from show writing for major theme parks, VR/AR, mobile and AAA video games. Dinehart has worked with franchises and characters ranging from The Marvel Universe and Mario to Batman and Lord of the Rings. Best known for his work in video games and themed entertainment, Stephen wrote the job description and
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in the book of "wraithing", a distinctive 20th-century view of evil that he attributes to Tolkien in which individuals are "'eaten up inside' by devotion to some abstraction". Referring to Saruman's demise, Kocher says that he is one example of the consistent theme of nothingness as the fate of evil throughout "The Lord of the Rings". Saruman has appeared in film, audio and stage adaptations of "The Lord of the Rings". BBC Radio produced the first adaptation in 1956, in which Saruman was played by Robert Farquharson, and which has not survived. Tolkien was apparently disappointed by it. In Ralph
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Aníron "Aníron" is a song in "The Lord of the Rings" film trilogy soundtrack. It is the theme for Aragorn and Arwen Evenstar. "Aníron" means "I desire" in the constructed Elvish language of Sindarin. It is featured as part of the track "The Council of Elrond" on the soundtrack album "The Lord of the Rings: The Fellowship of the Ring". This song does not appear in Tolkien's writings; it was composed and sung by Enya, and the lyrics were written by Roma Ryan. The song was conducted by Howard Shore and performed by the London Philharmonic Orchestra with Enya. In
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Holopainen mainly wrote about mythological and fantasy themes, and often used references to "metaphysics and nature". Fantasy novels especially are a big influence on Nightwish's lyrics. Songs such as "Wishmaster," "Elvenpath," and "Wanderlust" make fairly clear references to fantasy novels, in this case the "Dragonlance" series and J. R. R. Tolkien's "The Lord of the Rings". "FantasMic" from "Wishmaster" is a direct tribute to Walt Disney and Disney animated films, which Holopainen has said are among his influences.<ref name="powermetal/00"></ref> "Dark Passion Play" featured the return to the fantasy theme with songs such as "Sahara", "Whoever Brings the Night" and "7
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against the evil forces as a Bildungsroman. In many books there is a knowing, mystical mentor or teacher. This character is often a formidable wizard or warrior, who provides the main character with advice and help. The progress of the story leads to the character learning the nature of the unknown forces against him or her, that they constitute a force with great power and malevolence. Good versus evil is a common theme in high fantasy, and the character of evil is often an important theme in a work of high fantasy, as in "The Lord of the Rings". Indeed,
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a rule of the Academy to not nominate sequel scores that reuse old themes, a rule that was undone specifically as to allow for the nomination of Return of the King. The latter film also won an Oscar statuette for Best Song, as well as the Golden Globe Award for Best Original Score and Best Original Song. Shore's music for "The Lord of the Rings" has become the most successful composition of his career and one of the most popular motion picture scores in history. Along with his Music of The Hobbit film series, the prequels to the Lord of
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"" (which was scored at a faster pace than the other two) and "" (with Shore also, unusually, providing an original score with new themes for the trailer, as well) with the final sessions taking place in Watford on 20 March 2004. Shore wrote the music effectively for the entire film length. In the finished film, some of the music was dialed out while other parts were looped or tracked and re-tracked, so overall about 90% of the finished film contains music. The music was performed primarily by the London Philharmonic Orchestra and three choirs: London Voices (for mixed and
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a download manager released by Turbine. "The Lord of the Rings Online" received wide universal acclaim thus far, as reviews continue to appear since the game's initial release. GameDaily awarded the game 9/10, praising its rich, fantasy-themed universe, well-integrated trait and title system, and a story that remains true to the works of Tolkien. Yahoo! Video Games wrote a review with few negative mentions, awarding the game a score of 4/5, while "Computer and Video Games" called the game an essential purchase for "Lord of the Rings" fans, scoring the game a 9.2/10. Eurogamer scored the game a 9.0/10, calling
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documentary "", in which he "sits down with his piano to highlight some of the masterful ways John Williams makes parallels between the original and prequel trilogy." On November 25, 2016, Howard Shore confirmed that Adams was working on a book that will cover the music of "The Hobbit" films. Adams and his wife live in Chicago. He is a percussionist. Doug Adams (music journalist) Doug Adams is a musician, author, lecturer, and educator. He is the author of "The Music of the Lord of the Rings Films", a book about the music in "The Lord of the Rings" films.
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taken ill. Shea dies sometime between the conclusion of "Elfstones" and the beginning of "The Wishsong of Shannara". A major theme of "The Sword of Shannara" revolves around Shea. Part of his quest, in addition to killing the Warlock Lord, includes finding a belief in himself, so that he will have confidence to go on. This is a search that every subsequent Brooks protagonist must undergo. Scholar Tom Shippey believed that Shea was too familiar to those who had read "The Lord of the Rings": he found that Shea and Flick were "analogues" for the hobbits of Tolkien's stories. Terry
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with the music production such as Enya. The Fellowship of the Ring The Two Towers The Return of the King Shore also created a suite for chamber orchestra and flute created for Sir James Galway. The Live to Projection concerts also feature variations of some of those suites as entr'acte music. "The Music of the Lord of the Rings Films" () is a book which was written by Doug Adams and released on 5 October 2010. The book contains a detailed look at the themes and leitmotives in the film's music. It also contains snippets of sheet music and illustrations.
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latter's Song, "I See Fire", was released as a single. The special edition contains one bonus track and twelve extended tracks. The soundtrack album for "The Battle of the Five Armies" was released on 8 December 2014. Both a Standard Edition and a Special Edition were released. The score was performed by the New Zealand Symphony Orchestra and Wellington University Gamelan Orchestra as it was for "The Desolation of Smaug". The London Voices and soprano Grace Davidson provided the vocal performances. For the song, Billy Boyd, who played Peregrin Took in "The Lord of the Rings", wrote and recorded the
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and the Scouring of the Shire in the Mirror of Galadriel, to Arwen Evenstar's choice of mortality. Professor Peter J. Kreeft identifies a theme of divine providence, that divine influence can determine fate. Gandalf says, for example, that a hidden power was at work when Bilbo found the One Ring as it was attempting to return to its master. While Prof. Kreeft observes that there is no one complete, concrete, visible Christ figure in The Lord of the Rings (such as Aslan in the Chronicles of Narnia series), he and author Jean Chausse have identified reflections of the figure of
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them shows snippets of the movies (whereas battle cutscenes use the game engine). Some mandatory missions represent important events. Between these the player must take enough nearby territories in skirmish battles, variations on the theme of building a base and killing everyone. Each territory provides a permanent increase of power points, the unit limit, and/or a multiplier for acquired resources. Units, their upgrades and purchased powers also persist between battles. The good campaign follows the story of the "Lord of the Rings" movies with an emphasis of traditional, scripted missions, from Moria to Lórien, the fight at Amon Hen, the
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"The Lord of the Rings" is contrasted sharply with the prominent role also given to choice and free will. Frodo's voluntary choice to bear the Ring to Mordor is seen to be an act central to the plot of the whole story. Also important is Frodo's willing offer of the Ring to Gandalf, Aragorn, and Galadriel, and their willing refusal of it, not to mention Frodo's final inability to summon the will to destroy it. Thus, free will as well as fate is seen to be a constant theme throughout the story: from Sam's vision of old Gaffer Gamgee's wheelbarrow
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the same translator. The translation project attracted great interest from both Tolkien fans and Swedish media in general. In 2007 Andersson published a book called "Översättarens anmärkningar" ("The translator's notes") based on his diary during the project. Ohlmarks' translations of "The Lord of the Rings": Andersson and Olsson's translations of "The Lord of the Rings": The various translations of "The Hobbit": Translation of The Lord of the Rings into Swedish The translations of "The Lord of the Rings" into Swedish have been the subject of controversy. Åke Ohlmarks (1911–1984) was a prolific translator, who during his career published Swedish versions
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usually share a mechanical or story driven theme. These releases are supplemented by 6 Adventure Packs for a total of 9 quests per cycle. The Saga Expansions follow the story of The Hobbit and The Lord of the Rings. The latter introduced a mode of play called Campaign mode allowing for some degree of permanence between the quests telling the story. Players can earn powerful "Boon" cards, which can be used in following quests, as well as "Burden" cards which make future quests more difficult. The Standalone Scenarios are one-off quests released without any player cards. Fantasy Flight Games usually
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English pirate from the 17th and 18th centuries, from whom the episode derives its name. Much of the décor and music in the episode is influenced by the "Pirates of the Caribbean" theme park ride and associated film franchise. Kevin wields a toy lightsaber, the Jedi weapon from the "Star Wars" films; this is also a reference to the sixth season episode "The Return of the Fellowship of the Ring to the Two Towers", in which he dresses as an Imperial stormtrooper while the rest of the boys are in "Lord of the Rings" attire. In its original American broadcast,
Fatbeard