Hickman concludes that the film brings us full circle back to Wagner, what
elements of early film music remain with a score such as this and what kind of departures from early
tradition has the score made. Please address aspects of Coplands description of film music as well as
stylistic traits of the early scores that you listened to/viewed.
2. In that the Shire and Middle Earth are otherworldly places, apply Butlers, anachronism, navigation and
expansion concepts to LotR. Does the Shore score find similar points of contact with Herrmanns effect
on Taxi Driver? Please provide examples from the film that support your argument.Hickman, Roger author. Reel Music : Exploring 100 Years of Film Music. First edition.. New York:
New York : W.W. Norton, 2006.
2. Copland, Aaron 1900-1990. What to Listen for in Music. Rev. ed.. New York: New York, McGraw-Hill,
1957.
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