This volume includes an introductory study placing the collaboration of Fellini and Rota on La Dolce Vita in context and illustrating the compositional process, taking into account the intermediary phase of the short scores. Facsimile reproductions of a rich cross-section of sources, each accompanied by critical commentary, form a major part of this book. Non-musical documents such as letters between Rota and publishers concerning the alleged plagiarism of Kurt Weill as well as press cuttings make it possible to reconstruct some episodes in the composition and reception of Rota's music. Notebooks containing Rota's first verbal and musical annotations concerning La Dolce Vita and manuscripts comprising the definitive version of the score, are accompanied by cases of re-orchestration, re-elaborations of single episodes and piano reductions which will shed new light on the reception of Rota's music independently of the Fellini film.