Quote:
Frodo began to listen.
At first the beauty of the melodies and of the interwoven words in elven-tongues, even though he understood them little‘ held him in a spell, as soon as he began to attend to them. Almost it seemed that the words took shape, and visions of far lands and bright things that he had never yet imagined opened out before him; and the firelit hall became like a golden mist above seas of foam that sighed upon the margins of the world. Then the enchantment became more and more dreamlike, until he felt that an endless river of swelling gold and silver was flowing over him, too multitudinous for its pattern to be comprehended; it became part of the throbbing air about him, and it drenched and drowned him. Swiftly he sank under its shining weight into a deep realm of sleep.
There he wandered long in a dream of music that turned into running water
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I think that would be hard to find no matter how hard we looked.
However... I think there are other musical connections in Middle-Earth; the long, hard, sad journey tugs hard at us, and it is that, I think, that connects with Enya's "Exile". In that sense, and also in the sense that "Exile" is low on synth and high on celtic melody-- and I don't think in this case that the echo hurts either.
Enya has a few things I enjoy trmendously, and some other things that I enjoy much less. Most of the ones I really enjoy are not dissimilar to "Exile".
For me, it is not just any celtic music., but the haunting echo coming from across the hills, that tugs at Middle-Earth for me. And the tug is less from the artist than from the echo, and from the longing. Even Tchaikovsky has occasionally brought me to Middle-Earth... Swan Lake, Sleeping Beauty, and Nutcracker all have elvish moments in them. It's the longing.