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Although this treat was posted a good six months ago on TORn, I completely missed it, and mayhap you did too.  Lindele had managed (through some sort of audio magic) to extract the song from The Hobbit trailer, eliminating all talking and background noise, creating over 2 minutes of clear dwarf singing and orchestral glory!  You think you liked it before?  Just wait till you hear this!  It is available as an MP3 download (right click and “save link as”).

[I often have issues getting audio files such as this to play online without skips (QuickTime and my computer don’t see eye to eye for some reason), but once downloaded, it will play fine in Windows Media Player or a similar program.]

Update 6/21/12:  Thanks to The Queen, I was finally able to read an informative description of the Dwarves’ song on Doug Adams website.  Adams has written about the music of the Lord of the Rings films, and will be doing the same for The Hobbit, but for now he is sworn to secrecy, so it is up to others to fill in the gaps till then.  A poster named “Ewan” had some interesting things to say about the style of the song, and why it speaks to us:

Nice that the diegetic song appears to be by Shore, allowing extensive integration into the non-diegetic score in a way we didn’t see in LOTR.
The style of the song references gregorian chant and early organum (monkish vibratoless male voices, Stepwise melody, open and parallel 5ths). This conjures a sense of deep past in a European-inspired culture. Any religious connotations are avoided by the orchestral accompaniment, words, and similarities to more vernacular Celtic or Nordic folksong. (Note, for example the melodic similarities to Horner’s Braveheart love theme, which itself is a textbook study of Celtic sociomusical connotation.) Finally, the style is similar to elvish singing in it’s sense of mystique and remembrance of an ancient past in the fog of memory. Yet it is distanced from Shore’s elvish music by being completely diatonic, with no hints of eastern otherness. It is also hyper-masculine (through deep voices and repeated notes) as opposed to the more androgynous elvish singing heard in LOTR.

If, like me, you find this fascinating but mostly beyond comprehension, Ewan’s second post goes a long way to explain what it all means.