<P> Shore was chosen by the filmmakers when they found themselves temporarily - tracking parts of the footage to pieces from his existing scores . The films were also temp - tracked sparsely with pieces from the scores to Braveheart and Last of the Mohicans . Shore visited the set and met with the filmmakers and various people involved in the production including conceptual designers Alan Lee and John Howe (who would contribute to his Symphony and Doug Adams' book on the score), actors Elijah Wood, Sean Astin and Andy Serkis, screenwriter Philipha Boyens (who became Shore's principal librettist for the score) and others, and saw assembled footage of all three films . </P> <P> Shore agreed to take the project in early 2000 . He envionsed the scores to all three films as a through - composed cycle, a grand opera told in three parts, involving a large network of leitmotives, large choral and orchestral forces (including additional "bands" of instruments besides the main orchestra), frequent use of singing voices, both in choirs and through a wide ensemble of vocal soloists . </P> <P> The score uses a neo-romantic, 19 - century style and structure, derived from Shore's desire to have the music sounding antiquated, but he nevertheless married it to modern and at times avant - garde techniques including atonal sections, unusual instrumental choices and orchestral set - ups, aleatoric writing, sprechstimme voices and syncopated rhythms, as well as borrowing from eastern scales, medieval styles of music, contemporary film music idioms for specific setpieces, classical idioms for some of the music of the Shire, new - age and contemporary idioms for the end - credits songs, etc . However, he insisted on staying away from electronic or synthesized music . </P> <P> Shore orchestrated the music himself, and conducted all of the orchestral sessions and many of the choral and soloist sessions . In keeping with his operatic vision, Shore used the three scripts and the book itself to write themes even before having film reels to compose to . As a result, Shore spent nearly four years on the composition, compared to a period of 6--8 weeks per film, and a week or two of recording, as practiced by most film composers . For the recording process, which extended over four weeks per film, he composed the music in long suite - like pieces for the orchestra to go through during a day of playing, rather than short cues, lending greater cohesion to the music . Only a few minutes of 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 . </P>

What genre of music is lord of the rings
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