Abby Epplett, Historian

I was not sure what to write to go along with this animatic, which is the culmination of many months of work. I had originally begun an essay about the history of computer programs used to create my animatic. While the essay was certainly interesting, especially for technology geeks, it did not seem in line with my other essays in this series. I have decided instead to keep this essay as simple as possible and instead offer a brief summary of what I have learned so far. During my research of global histories and cultures, creating illustrations, and composing music, I have amassed a vast amount of knowledge and a wide-ranging skill set that I would not have thought possible at the beginning of the project. I have uncovered delightful stories and fun facts during this journey. For some highlights, I enjoyed learning about traditional clothing worn by Manchus, which partially inspired my depiction of Dunlending culture and took a MasterClass on voice acting presented by Nanc...

As promised last week, this portion of the animated musical does not appear in the original text, nor in any of its drafts. Thus far, I have used few creative licenses during my adaption. Costumes and architecture rely on historical designs and the original text. “The Introduction Song” and “The Want Song” were summaries of what appeared in the Prologue, Appendixes, and “Book I, Chapter 1, The Long-Expected Party”, while “One Ring” and “The Road Goes Ever On” were taken nearly verbatim from the book. The one difference is the more obvious nature of my framing device , which features Elanor Gardner Fairbairn reading and editing the book as she chooses what will appear in the Red Book of Westmarch . Some scenes from this hypothetical original manuscript will not make her cut.

In this essay accompanying my next instrumental, available at the end of the post, I am discussing the music of the three licensed versions of The Hobbit and The Lord of the Rings : the Rankin/Bass version, the Ralph Bakshi version, and the Peter Jackson version. From my understanding, while other versions exist, the Tolkien Estate did not approve them. While my own hypothetical animated musical likewise does not have approval, it also is not intended for commercial purposes, as detailed in my discussion on fair use back in the project introduction . Other musicians and performance groups who have written their own music or song cycles to be performed independently during a concert or on an album, rather than as a part of a musical score, will be discussed in a future essay.

“The Road Goes Ever On” and its variations appear throughout the dialogue portion of the text, from the first song sung by Bilbo during Book I, Chapter 1 “The Long-Expected Party” in The Fellowship of the Ring to the last song sung by Frodo during Book VI, Chapter 12 “The Grey Havens” in The Return of the King . This song expresses the spirit of adventure experienced by multiple characters along with the desire to return home in the end. The love of travel and love of home are nearly universal concepts but rarely expressed as creatively as in “The Road Theme”. Ancient and medieval people told the same stories in their oral histories and during pilgrimages, while modern musicians express their love of the road and homesickness through country and rock hits. I considered all these factors while composing this theme, which I will present at the end of this essay.

While musicals are driven by songs with lyrics, as previously described during “The Epigraph” , “The Introduction Song” , and “The Want Song” , instrumentals are equally important for setting the tone during dialogue scenes and moments where characters are silent. Music accompanied film even before the invention of the “talkie”, whether a live organist playing along with the action or a phonograph blasting the tune. In the modern era, film composers are among the best known music writers of their day with the most famous in English-language films including John Williams, Howard Shore, Danny Elfman, and Hans Zimmer. Like many industries, older white men dominate movie music, although recent film adaptations of stage musicals have begun to change this demographic.

After the Long-Expected Party — and in the case of the hypothetical animated musical, not long after “The Want Song” — Gandalf joined Bilbo in his house and demanded that his hobbit friend give up the One Ring. Bilbo initially reacted badly, as the ring had gained some control over him, but he eventually left the ring to his ‘nephew’, Frodo, along with most of his worldly possessions. Rings have appeared in fiction throughout world literature, spawning dozens of folkloric motifs and inspiring adaptations of ancient stories for stage and film.

After many weeks of anticipation, the next song in the animated musical is ready to debut. “The Want Song” is possibly the biggest musical number in the production in terms of length and number of singers. It functions as a foil to “The Introduction Song”, a literary device typically meaning a character who contrasts another character, but in this case, I used it to describe a song that contrasts another song. I have a degree in the field, so I can change words like that. While “The Introduction” juxtaposed a wordy solo by Frodo describing Middle-earth with the ‘rustic’ hobbits talking about their local community, “The Want Song” features solos by all of the major characters appearing in the scene along with a closing section from the wealthy hobbits talking about their desires. These two songs cover the complete range of attitudes about the Shire and its people. Going forward, most songs will be short solos or small groups, although several larger group numbers are slated for ...

If you were a child in the late 19 th through early 20 th century in England, the Long-Expected Party would be an ideal celebration. For character references, consider the interests of the orphans in The Secret Garden by Frances Hodgson Burnett for the early part of the period, and the Pevensie children in The Chronicles of Narnia by C.S. Lewis for the later part of the period. The main difference between The Lord of the Rings and these other books is that Tolkien intended his work to be for adults but appropriate for children, perhaps allowing his older readers to reminisce about a happy childhood. Ever-youthful Bilbo may stand in for an energetic grandfather or uncle who was quick to tell jokes and generous with his gift giving. The party scene references fun and noisy things that hobbits and children like, including party toys, fireworks, and even an early railroad. This eclectic collection reminds historically minded readers that the Shire was inspired by late Victori...

From Eru Ilúvatar singing the universe into being to the vast range of songs found in The Hobbit and The Lord of the Rings , the fantasy world of Arda is shaped by music. Previous scholars have paid attention to the forms in which these songs appear, while musicians have written tunes for the lyrics. Less attention has been paid to the instruments that might play the songs if the timeline of Middle-earth aligned to that of the Real World, perhaps because I appear to be the only person focused on this concept. In past essays concerning music, I previously featured the Bywater Quintet, a set of five hobbit singers who voice the widely held opinions of the population. In this essay, I am focusing on a set of instruments played in my interpretation of the Shire, especially woodwinds, strings, and drums. In a future essay, I will discuss a slightly different set of instruments played in Buckland, including horns and bones or spoons.

Although I am a highly creative person, I have never been good at coming up with titles. Possibly my only other weakness is my ability to be succinct. “The Introduction Song” combines both of these weaknesses as a nearly eight-minute piece to introduce personalities of the Shire and the culture surrounding them. The animatic to come out in many weeks will further show the landscape and various styles of architecture in the area. When creating the basic concept of an introduction song, also known as an opening number, I drew from musicals of the Western canon, considered how this song might be characterized relative to others, constructed leitmotifs to be heard throughout the musical, and referred to other passages in The Lord of the Rings along with one reference outside of Tolkien’s work. I hope I have successfully adapted the opening scene of the epic by weaving together a complex piece made up of catchy showtunes containing lyrics that respected the original text.

While putting the final touches on last week’s post, I realized I had yet to discuss The Lord of the Rings in the context of national epics and then concluded that this was an ideal time to do so. Tolkien himself was interested in national epics, both studying and creating them. During the talk “Lost Tales and Found Myths” at the Christopher Tolkien Centenary Conference , Sonali Chunodkar mentioned Tolkien’s early attempt to create a national epic using the characters of Aelwine and Ing as creators of England, but he seemed to have realized this flavor of nationalism trended towards supporting colonialism and white supremacy, so he quickly dropped the idea.

Since the late medieval period, pubs have been a culturally and historically significant aspect of English life. Accordingly, the largest historical organizations in the region put forth great effort to catalogue and preserve such establishments. Historic England lists England’s Historic Pubs to commemorate businesses and their buildings that have shaped local identity, Historic UK has identified the oldest pubs and inns in England , while Heritage Pubs and Historic Pub Interiors recorded by The Campaign for Real Ale (CAMRA) gives a glimpse of how pub-going has changed over hundreds of years, and how some aspects have remained the same.

I have almost arrived at the dialogue portion of the books, but before I launch into the story, I will review the epigraph. The infamous poem, which begins with the line “Three Rings for the Elven-kings under the sky”, technically appears opposite the copyright page for each physical book in a three book set of The Lord of the Rings , after the Introduction by Peter S. Beagle but before the Forward by J.R.R. Tolkien . I don’t know why the book was set this way, as I would have placed the epigraph after the Prologue, but since the edition of the book I use was released the same year my parents were born, I was not around to set the publisher straight.

In my first essay after my winter holiday hiatus, I begin a new chapter to Lord of the Rings: The Animated Musical where I describe the process of research and producing a hypothetical adaptation of the bestselling book series by British linguist J.R.R. Tolkien. At last, I will begin presenting selections of dialogue and music to accommodate the concept art that I began creating in 2024. Composers commonly make demo recordings of their work using themselves or their friends as the performing artists, from “I’m in the Middle of a Muddle” for the 1950 Disney animation Cinderella sung by middle-aged male songwriters Mack David , Al Hoffman , and Jerry Livingston instead of a peppy young woman like the title character, or an early version of “How Far I’ll Go” for the 2016 Disney animation Moana sung by Broadway star Phillipa Soo , a close friend of its songwriter Lin-Manuel Miranda , since her voice perfectly matched the protagonist. But before I reveal my own demo reel, I ne...

In August 2024, I went on a five-day trip to Cape Cod, MA where I visited many museums and cultural organizations, along with quick history stops and trails. A last minute diversion brought me to Christmas Tree Shop Hyannis, an incredible example of avant-garde architecture built by a recently defunct company. I last visited Christmas Tree Shop Sagamore while coming home from a trip to Yarmouth in 2023 , and I may need to visit the remaining stores.