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R ome on May 15, and Italy's new president, year-old, Giorgio Napolitano is being sworn in. A procession of liveried soldiers march outside Quirinale Palace and 21 cannons are shot from Gianicolo Hill to herald the president's arrival. A few hundred yards away at the chic Piazza Venezia, a ceremony of a different kind is taking place involving another, equally decorated year-old: Ennio Morricone, the godfather of film music, is preparing to be interviewed.

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Nikola Grozdanovic. Labels that are frequently worn out when bandied about. This master of musical arrangement, sound mixing and avant-garde creativity turns a sprightly 87 today.

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With the addition of sound to cinema in the late s, associations between visual modes of expression and corresponding musical representation found in nineteenth-century opera were transferred from the stage to the screen. This included non-diegetic dramatic vocalization, better known within film-composer circles as the "Heavenly Chorus. In this paper I propose that composer Ennio Morricone was exposed to and influenced by the film music of Biblical epics, most notably the use of a "Heavenly Chorus," transferring the device, and also transforming it in the process, to a new genre, the Spaghetti Western—and in the case of this paper, specifically what has been termed the Dollars Trilogy.

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A Fistful of Dollars Italian : Per un pugno di dollarilit. Released in Italy in and then in the United States init initiated the popularity of the Spaghetti Western genre. All three films were later released in sequence in the United States incatapulting Eastwood into stardom.

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