The Sonic Space of the Lord of the Rings trilogy: A study in the role of sound production in the soundtrack for the Lord of the Rings trilogy

Abstract

The role of sound production in film soundtracks has not been widely discussed and researched in the academic field of musicology. With this research I provide insights on the role of sound production in relation to the functions of music in the Lord of the Rings trilogy. To research and analyze this film score I used the sonic space model developed by Lelio Camilleri, which provides a way of analyzing sound production in recorded music, to analyze the sound production of the film score in the selected scenes. I also used the film/music analysis model by Emilio Audissino to analyze how the specific cinematic device of music functions in the Lord of the Rings and what the role of sound production is in this. The soundtrack for the Lord of the Rings trilogy employs a rather traditional style of film scoring, the sound production however plays a role on various levels in the soundtrack. Sound production is aimed to make film scores as audible and clear as possible to enhance their desired effect. The findings of this thesis also suggest that sound production however also plays a prominent role in film soundtracks and has specific functions on a narrative level.