Word of the Day: Ainulindalë – the Music of the Ainur. It was a main theme in the first chapter of The Silmarillion, as it was directed by the one Ilúvatar – beginning the cycle with a “cosmogonical myth.” It sets the stone for the creation story.
Made first by Ilúvatar, who made the Ainur, the “Holy Ones,” first, declaring a mighty theme and directing the music, which is Ainulindalë (The Silmarillion). Ilúvatar tells the Ainur that they will make a “Great Music,” which led to the voices of the Ainur creating a sound together – with “harps and lutes, and pipes and trumpets, and viols and organs,” and later, “countless choirs singing with words,” all together forming the Theme of Ilúvatar.
The Ainur have never done this before! But they were promised that a music that’s greater will be made before Ilúvatar after the end of days.
However, Melkor came into the picture as the Theme of Ilúvatar progressed, in order to do anything that was “not in accord with the theme of Ilúvatar” for power and glory for himself. Melkor went off on his own to seek the Imperishable Flame, but he couldn’t find it as it was with Ilúvatar.
Ilúvatar continued directing the Ainur in Ainulindalë, though they found another music, which went off on its own as Melkor did, but not in a good way. It had its own unity, which was loud, and vain, and endlessly repeated; and it had little harmony, but rather a clamorous unison,” and sought to drown the beautiful music, the Theme of Ilúvatar. But they eventually were woven together, until the Music ceased after Ilúvatar arose a third time. Melkor was ashamed eventually left.
Then, the Ainur was shown a vision by Ilúvatar. This was the third theme, in which the Ainur couldn’t understand. Then they saw the Children of Ilúvatar, who came with the theme. Later, it was introduced Ulmo and Manwë, the chief servants of the intentions of Ilúvatar.