In the viva voce, demonstrated an excellent understanding ... Studies - A... · ... demonstrated an...
115
Transcript of In the viva voce, demonstrated an excellent understanding ... Studies - A... · ... demonstrated an...
In the viva voce, demonstrated an excellent understanding of his research topic, and its
relevance to current issues. As in the essay itself, his use oftechnical vocabulary was accurate
and intelligent. He was able to explain his methods of research with confidence, and had
obviously carried out much reading and listening to arrive at the conclusions that he presents
within the EE. What was also evident in the viva voce, was I 's passion for the subject
under research: something which came across very clearly. His research question is clearly
stated and sharply focused; he was able to use the 4000 word limit to research the topic
effectively; however, this subject could be explored on a much deeper level if he had more
words to play with, for instance, he could have explored more pieces by each composer, or
examined more works by other composers. But he covers a lot of detail about the chosen works
in the body of his text, as far as 4000 words allows. I 's EE is detailed and clear to
understand: it explains the music using correct analytical language, and his explorations into
the historical background and significance ofthe topic are interesting and relevant.
-
Title: Music as a Method of Political Expression
Session: May 2015
Abstract
This World Studies extended essay addressed the use of music as a method of
political expression in a historic and contemporary context. Both contexts were
analysed historically and musically in order to address the question: To what extent
can music be used as a method of political expression against oppressive regimes? By ~G comparing and contrasting Shostakovich's compositions in response to Joseph
Stalin's regime from 1932-45 (historic) and Malek Jandali's in response to Bashar al
Assad's regime from 2000-Present (current), can it be determined whether there is a
direct musical response towards unjust regimes? This question was addressed by firstly,
hypothesizing the musical features that could be present in an extract from each composer:
Jandali's work Freedom (Qashoush Symphony) and Shostakovich's opening theme from
Symphony No. 4.
Shostakovich's works from 1932-43 were investigated within the context of
Russian politics and culture to portray the negative impact the Soviet government had on
these works. A chronological analysis of an extract by Shostakovich was then undertaken
to prove the hypothesized portrayal of his views towards the Stalin regime. Jandali's works
from 2011-2013 were investigated within the context of Syrian politics and culture to
examine both the inspirational and negative reactions to his works. A chronological
analysis of a symphonic work by Jandali was then conducted to reveal his views on the
crisis in Syria.
Furthermore, through comparing and contrasting the music and context of Jandali
and Shostakovich, an evaluation was made to show the extent to which music was used as a
means of political expression in these two states. Conclusively, by analyzing both music
and historic contexts, it aimed to offer evidence to validate the hypothesis. Moreover, the
investigation hoped to demonstrate how political expression has developed over time and
shaped the opinions of artists within oppressive regimes in a contemporary global scale.
Abstract Word Count: 298
Acknowledgments
Through the creation of this World Studies Essay, I would like to sincerely thank first and
foremost, my supervisor Ms. for teaching me the analytical skills to produce my
very own music analysis and for supporting me every step of the way. I would also like to
thank Ms. for inspiring me in a Theory of Knowledge class to attempt the topic of
this extended essay and as well, in the historical aspect of the essay. Additionally, Mr.
has helped me grasp the aspects of achieving excellence in a World Studies
essay. Finally, I thank Ms. and the manager and agent for Malek Jandali,
, for helping me gather many of my resources.
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111
Table of Contents
Abstract ............................................................................................................................... i
Acknowledgments ............................................................................................................... ii
Introduction ......................................................................................................................... I
Shostakovich Against Stalin ............................................................................................... 4
1. Lady Macbeth of the MtsenskDistrict .................................................................... 5
11. Symphony No. 4 ...................................................................................................... 6
iii. Symphony No. 4 Analysis ....................................................................................... 7
Malek Jandali Against Bashar-Al Assad ............................................................................ 30
1. J andali' s Compositions ........................................................................................... 3 I
11. Freedom Qashoush Symphony Analysis ................................................................ 32
An Evaluation and Conclusion ........................................................................................... 48
Appendices .......................................................................................................................... 5 I
1. Appendix I (Symphony No. 4 b y Shostakovich) .... ...................... ...................... ..... 5 I
11. Appendix 2 (Timeline on the instigation of the Syrian conflict) .... ................ ...... .. 78
m. Appendix 3 (Freedom Qashoush Symphony) ...... ..... ................ ...... ................ ....... 79
iv. Appendix 4 (Process Journal) .. .......... ............ .......... ............ .......... ............ .......... ... I 00
Works Cited .. ....... .... .................. ...................... ...................... ................ ..... ................. ..... .. 105
Introduction
From the rise of counter culture in the 1960s and 70s where John Lennon expressed
his views on feminism and African American Rights through music (Ward), to artists such
as Beyonce Knowles expressing her views on the 9/11 attacks (Beyonce Knowles');
political expression has evolved and embodied itself in every musical era as an issue of
global importance.
In the context of this essay, political expression is defined as the ability to voice
one's opinions about governmental stances through the medium of music (Schneer). It can
therefore be hypothesized that there is a direct link between expressionistic music and
political expression in oppressive regimes. The plan is to show the extent of this via
Shostakovich in Stalin's Soviet regime (historic) and Malek Jandali in Assad's regime in
Syria (current). Moreover, this study will further prove my hypothesis by interpreting the
ways in which music can be used as political expression against oppressive regimes using
the 10 parameters of music. This will be achieved by examining extracts from both
composers in order to prove my hypothesis and evaluate my results.
The main musical parameter that links the context of these two regimes to the
musical aspect is mood: the mood that both composers are believed to portray is an
oppressive, chaotic mood, reminiscent of the struggles in their respective countries.
Furthermore, the other 9 parameters will support this one by illustrating how other musical
features can be used to convey an oppressive mood.
This study hypothesizes that the following musical features will be present in
an extract of Shostakovich's Fourth Symphony and Jandali's Freedom (Qaslwush)
Symphony in order to illustrate an oppressive regime:
2
Disjunct contours Fast scalic runs
Melody Chromatic scales Ostinati Ornaments such as acciaccatura and appogg:iatura Irregular phrasing Intervallic structure displaying very dissonant intervals
Harmony Dissonance Minor keys
Syncopation
Rhythm Cross rhythm Triplets Rhythmic ostinatos Heavy articulation
Tempo Fast tem20- Piu Masso Slow tempo- Largo
Texture Dense and complex texture Antiphony to show arguing forces Homophony used at climaxes
Dark Full
Timbre AgITTessive Rich Resonant Nasal Piercing Forte fortissimo
Dynamics Crescendo Sforzando
Subito forte
Instrumentation Uncommon instruments Heavy use of brass instruments
Specific instructions for instruments
Orchestration Extensive percussive doublings
Unusual pairing of instruments
Unusual registers (especially in higher octaves)
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Stalin's rule resulted in the loss of an estimated 20 million lives during a heavily
controlled police state, dubbed the 'Great Purge' 1934-38 (Shatz 1 ). Nevertheless,
Shostakovich found a way to compose and thereby express his dissent through music.
Since 2011, Syria has been going through a devastating civil war that has left her people
under the rule of an autocratic leader, Bashar al-Assad. However, Malek Jandali has
also found a way to demonstrate political expression through his music. The exploration
of political expression via multiple genres within the arts is crucial in understanding the
historical context of any nation. However, this study emphasizes the importance of
examining how music has been used as a powerful tool for expressing political opinion.
This investigation is developed using Stalinist U.S.S.R to demonstrate a historic context,
and the Syrian Civil War, which is an issue of contemporary global significance, that /
has attracted a global audience, illustrating the extent of political expression through
music in a current context. Therefore, this study will investigate: To what extent can
music be used as a method of political expression against oppressive regimes? By
comparing and contrasting Shostakovich's compositions in response to Joseph
Stalin's regime from 1932-45 (historic) and Malek Jandali's in response to Bashar
al-Assad's regime (current), can it be determined whether there is a direct musical
response towards unjust regimes?
Shostakovich Against Stalin
Dmitri Shostakovich was born in St. Petersburg in 1906 and died August 9th
197 5 in Moscow. He was best known for being a modernist composer because of his
controversial works, such as Lady Macbeth of the Mtsensk District, which was banned
for over 30 years after it had first been written (Staff). His works were attacked by the
Soviet press, dubbing him the, "anti people" musician (Pravda, "Ob opere Velikaia
druzhba"). Moreover, his works were dismissed as, "an intentionally discordant,
4
muddled flow of sound" (Pravda: Sumbur vmesto muzyki). Shostakovich was born at a {
time when the U.S.S.R was under the dictatorship of Joseph Stalin (1929 to 1953)
(History.com Staff). Stalin wanted to control every aspect of the Soviet sphere,
especially the arts. In his quest for a totalitarian state, Stalin wanted to portray a nation
that had no one that went against the government. This led to an exponential increase in
political prisoners and executions. However, despite these circumstances, Shostakovich
composed works with themes of grief and despair in times of total brutality (Symphony
No.4), and in times of war (Symphony No.8). Shostakovich demonstrated and described
through his works what he personally felt about the Soviet government, thus voicing
political expression through the medium of music.
From the 1930s, Stalin's government drew close attention to the cultural aspect
of society, dictating that artists must convey the government's interpretation of, "social
realism" (Fox 205). Stalin's cultural spokesman, Andrei Zhdanov, states in the 1934
announcement that, "the artistic portrayal should be combined with the ideological
remolding and education of the working people in the spirit of socialism". (C. Garrard
and J. Garrard 34 ). This dictates that with every form of art, the ideals of the Stalinist
regime should be imprinted. This new movement was one of many in the regime, known
as the 'Great Purge'. All aspects of life were controlled by the government, "the number
of arrests, deportations, imprisonments, and lives lost in these years is impossible to
measure; and attempts to do so have varied wildly" (Shatz 1). These policies were
adopted at the peak of Shostakovich's career and he soon discovered the effects of his
actions, as he did not conform to Stalin's image of, "social realism" with Lady Macbeth
of the Mtsensk District.
Lady Macbeth of the Mtsensk District
Shostakovich composed this opera between the years 1930-32, based on the
novel by Nikolai Liskov about the situation of women in the Soviet Union. Society in
the USSR was conservative in nature due to Stalin's government, yet the ending of the
opera shows a lady killing her husband. The plot, coupled with Shostakovich's music,
assured the opera's demise. In January 1936, Stalin went to see the production but left
before the opera ended (Stevens).
Two days later, the newspaper Pravda wrote an editorial on the opera titled
Muddle Instead of Music. The article expressed how, "singing was replaced by
shrieking ... The music quacks, hoots, growls and gasps to express the love scenes as
naturally as possible" (Ashley). As a result of this, Lady Macbeth vanished from
production and was not heard again until 1961.
Francis Maes book, "A History of Russian Music" offers valuable
interpretations on Russian history and music. He states that the combination of
Shostakovich's music and the characters in the opera influenced the Soviet government
to view this work as an, "anti-Stalinist manifesto" (351). Katernina Izmailova, a
character in Lady Macbeth, could therefore be seen as, "a symbol for the suffering
Soviet citizen" and the policeman as, "a caricature of Stalin himself' (351). This
particular opera was not received positively by the Soviet government due to its
controversial content. There is also value in using the newspaper Pravda as it was the,
5
"Communist Party's official mouthpiece", depicting the selective opinions of the Soviet
government. This was the first of Shostakovich's pieces to undergo censorship and
therefore, conveyed ideas through music, which opposed Stalin and the Soviet state
(Lady Macbeth von Mzensk).
Symphony No.4
After his devastation from the Soviet government's critique of Lady Macbeth,
Shostakovich knew that he could not afford another confrontation. With that, his 4th
Symphony is considered the most dramatic of all his symphonies. With its completion in
May 1936 and a scheduled world premiere by the Leningrad Orchestra on December
11th 1936, Shostakovich unexpectedly cancelled the concert (Robinson). Perhaps with
the social climate of the 'Great Plague' and how "he was transformed from the golden
boy of Soviet music into its whipping boy" according to Pravda, it is understandable
that he cancelled the symphony's premiere as a result of the pressure he was facing with
Pravda's critique of Lady Macbeth. It was only premiered 25 years later in the Great
Hall of the Moscow Conservatory on December 301\ 1961. This delayed premiere
illustrates how the policies and forcefulness of the government impacted Shostakovich
(Robinson).
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7
Sym phony No. 4 Analysis (full score in Appendix 1)
A dense homophonic texture begins the symphony with grace notes along with
crescendo and fortissimo dynamics, providing a shriek-like timbre in the upper wind
(b.1-3).
2 Piccoll
4 Flauti
.&Oboi
4 Clarh:ietti (B)
The contrast of timbres shown in the upper wind and then the lower wind and lower
strings emphasize the melodic ostinato that is being played by the lower strings and
wind instruments (b.6).
"1 ~ ~~ !!IHI~ll••&~r,llt:ll.-all-a W -2 Piccoli
4 Flautt
40110!
Clulaalto piccolo (la)
4 Clarhwltl (BJ
a Faaottl
C4ntrd11otto
4 Tromllo (B)
8 Coral (Fl
3 Tromllonl
Tlmpaai
T-ro
2 Plait!
Caasa
811ofono
Vlollal l
Violin! ll
Viole
Vloloacolll
C..,,trabaNI
I
~-!l!I! & I: lt&:11: f .. f'ltaNUf ..
tal! & e: ea.e f .. Hfl~
.......... .,.,,_- ...... _.-=.t...._ ...... "":-
.. ,ffi --- •-, .• ! . 1 ... r--,.. .. -I!'!_- ~-..· ..
,. -u ..--i..,--· L . ., 'm.1 ... ..-~ - ~~
:V.Yla.1~_:.. - -1· wvmJ ... -. ~--
.,~ ~ ...
. :lff}l•kfflL ~TIIQul . -: } I .
' • - ~ - ~
.. .IT
, .. .lll~c .. uo ·- •• , •• ie J,,a
'! ., ..
" I.., ~ :... -.,
lf:ll:11:&•;.!:-a-
f1 I!: •'It: a I!:-·
-!: • -· .. .
-
f'"EE~ .,,
,.;;:-------
.., ---..-. .-~~ .,
D .._.
.. _,,. ., . 11-,.,. • ;Al
~1l·
ID -
- !11' r- ,..s.~~.-_
Jt>....!-••-._S,..>
.,,. ------
8
-
9
The combination of the trombone and trumpet's brassy timbres with the melody and the
heavy use of accents and the fortissimo dynamic creates an aggressive mood (b.7-10).
,.ALI->>>>~ > >>>>,,.. - ,... - .. :- :- .t' ~~~~?-~~>> >>>.,. IBI"! --- .. - -
4
•
Cor. • 4
• --.--& ->-> - --~··-:».~ >- > >-&.,~-=-- >>> > - >, -I , ... - ~-~--f'C. - ~
Descending chromaticism is used to undermine the harmonic language, suggest
dissonance to the phrase and continue the manic texture (b.11-12).
en.
T ...
C&Na ........... +-l.--~--_._~~~~
10
As the march-like rhythm continues, antiphony is used, emphasized by contrasting
timbres on both sides, creating a chaotic mood that intensifies as the texture becomes
denser (b.13-16).
PL
CL
cu,.
Pae-
Cor.
'I)..,.
CUI& 11r.::.,,;;...i ..... ~~~~~..L.~~~~~~~~--'~~~~~~~ ..... ~~~~~~~---
12
The climatic mood of the symphony continues as a result of the ascending scalic
contour, with the written-out mordant and high registers of the upper strings and upper
wind (b.17 and 18).
~i -
. a.t->>>~ .};. Plu.
... .. !! -1iii{ ~ i . £~ ;i :~ ;;;: :: • r1.
... • i: 1 . .z;; ~~ ;; ~~ e£e~ ~ti
... it ~e ti ~~ ~ ~ ~: ~~=--=-~~~ h~ .;; ... . ... ;; ll if :: ~ ~; ~-~:"•..!>>~~~ !!'" .h .. .
·o1 'r ~ :~ ~ :- ~~ ::~?I~- • .iii .
iii >>>:::.,. -~>~>?IJ ~. J!~ . a.%>> >> >> >>
II ~ r.&>,.. >> >> ,. > > ~ :., > .> ::--~?'~-JJ .. J!~ Cl.
..... > ,. Cl.b.
I •.o:- ;. ~;.· • :..> ~"'!..f'i.>>>>;;,,,> - > I -;. -;. ~!. I ... ~:!.1;:;..,..>>~ ,..._ - -Poe--
~-;. ;~ ·- ;~,~~::;; -~ ~ -- ~~ c-rac.
&% -
:, - -B .. ~Ji ..... >>-> I
t..9:_ ---- ->---
-E -- - - -------
Car. II O! ..~~----.:,... Ii!---·· L_J_ - -- - - - - -
J . -~ -·· I I _,
RI I~»> >>>"J:. >::..>!.- >:a.>'.'!'I
Tuite - - > > ,.. ,.. > > Ttap. , ...
I . - "' ., ~ ....
or Sii.
. lt t~ ;; :; :..>>>. .,~~~ iiiiii il fl
... .1 •. ~~~ . £ :: · ;;t :: ~ ; :~ ;;i !!;~-~-
... ~ :: = ~: ~:- : :-:- :"' .J0..:..~~:1 ~,
I I 9
I ; :;. -:.:;..1 .... s::: !'- ~.-;. r~ ~ ~ ~; : : t
- -
13
The fragmented melody, in conjunction with the melodic ostinato in the horns provide a
continuation of the intensity shown in previous phrases. Furthermore, the contrasting
conjunct contours and melodic ostinati reflect a very chaotic score (b.19-22).
.• JrJ ... >- > > »~i a:·!~ :!:l~~ =- ~ >; :... ;=::-.:-~:- ~ ~:-:-tte , ....
, ..
I.,
i !ill .. >> fll _ .... . il~ litf:i >~?:-~i~ ,., r ;;l'::.~i iiiri(HH ... ~~::r"""7i . .,IL a ii :t'~'!'~ > i >; >:; ::~~ >>~~
O\. :.!5 ... ;;;::.!:'.?: >i,..; ::.. t:::.:-:1 :a,. ~ _ ..... l~ .. r-. .. . ...... ~ r ~r?-· ~ J; >~» ?.. ... > ->,a~ =~
:n.. iii».>» ~> =-- i'.> > ·r~:i -- > -->?-?
Cl. plcc.
CL :ha. iii~;:-,~ ~ i .. » r,:-r:-~ ~ _ -»--~ .. . .
C.fac. ... . .,._ ... ·- I '
I "'! I ,... :-,•- - .. .. >-- .... -- >> ,.. ' • '-' I :=- _. - .._ > > ~ -. I > - .._ > =- > > ~ > .. .. > _, '
Cor. It'll >-·- - - - >-..:--::. >- .... - -- - - -· ' lfli __ _ § - - - I .... -- -- - ,_. - I 1. ~
' - I
- . ' '
.. t: l!: f: t: t ......... - - \ I . .. -Sii. ..
-- »."'1,~~=-;i~ >M,:--.. ..
..;: ::.,,::.. ~ .. ?" .. ':'".~ :1: ~~:-.. .. ; . >>,.. -- ~~!:-.. ---.Anhl .,
K -.... >
>
As the conclusion to the rather eccentric first section ends, the texture becomes
extremely dense with every instrument participating in this climatic phrase (b.24-31).
14
15
Moreover, in these climatic sections, cross rhythm is used to compliment the chaotic and
intense mood Shostakovich is trying to convey (b.28).
16
As the opening section comes to a close, the "linking" passage that is used throughout
this symphony portrays a "shriek-like" sound as a result of accents,fortissimo and
pizzicato strings. In the latter stages, this develops into an even greater effect with a
denser texture and more doublings (b.32 and then in b.196-197).
!U PIM.
: .... ~ h?' r r PL :-_. .... _ "'[,,.: ,,..
~
-a2~ :"'~::- !'.' ;::-
Olo. •E"'° , .. - ... ... ,_
_ ... _ ~ ;:- ~ ,,]: ..
- ,- ''> ·» - :,.;;--> ·--,.~-,..- >'>~ _,.._ ,t'::: ; ~II " .d. .. ,.. at?'" .ii-- .. ,...,... ,... . ,... . ...:._ .... .. . .IT ::-Tl'lle II - ,,.. ,..
... -. ,.. ....... ~ . .-.. ,... . l . .:. L~
.az,
CL
II ,.. ,. • > I ;.. 7,; ,...., --- ./IT - .. -> >>>> >=-->> ~=-->>
-- ~ ~ .... -"'>>> .. >>>"" ,>>>,...
Cor. J, ill ,.,...=---,.. ->>>> -
~ _,,..,.. ,..
I .... J. ill ,-.,..,..,.. >>>> -=-->>> ,,.. :a-_ ~~:.~>,,-~ 111 JIT " A " 'bal. i:: ~~ ~~~____!'" ,.. Li-- .
I ,.. >> ..... ........... ~ ... ,..
Cot>.
Taite ? ~~ ~ ~~~ ~:s ...... --~
~ ,..,.. ,..__,.. ~ ,..,..,.._ :,,,.
I> Tbop. !
r..cao I
> >1 _ _,,,.. ->1 ~ -~,....> ,.. I I I • f WI I f ..
Jltd ~~
I - - I I !I f
ir-tir IJ!A • p ,.. r~ * ' -. ?" " .,A
I .. _lil~ • .... t E'Z" r-.... ~ ~ ~~ ~ L !6i- • -- - A
.. ~
..... ,. .. .. • ,.. ,,... ... ,,.. - . - " - A
~ .. ... . ... ,. I' ,\relit :1J.. . - .. ~
., . - - .... ,.. ,... IJ .l ,... ..... ';91',. ,... :,.>::,. :.--·~,..,.. ,..
,..._nl
an.
.. 11 ... . ~ ~ ~ ,._
;:->, ;:-,. ;:-,.. i::-,. - - .. " - ..rr;~ ,... :.>>
i - ..... L...I .... ...... ..... I"'
The piece then transitions into a very scarce texture; it is, however, affective in building
up in texture from a string quartet to a full orchestra (b.35-120).
17
In this sparse texture, the bright string timbre is transformed to tum the mood
increasingly darker as a result of fragmentation and varied time signatures (b.61-73).
- , Jl.l Jl.-.4_ . ~ '" I ,,.
< . • ...... ·--~---
• lu. • - »la.
... ,1u. ,
Ill
~--. -- -., . ~
.,_, -i--.
-~
-
,.-.... -. -- ....
.~ - -i --
, _...
18
19
Additionally, the slight syncopation is used to add to the dense, dissonant phrases in
order to transition towards a more chaotic mood and thus, convey a hectic mood even
more so (b.148-149).
.., f ~ rt: : ~ ~ ~
&%,::,. ::,,. -~ - r 1 >
> :> - :,- ~ > ;,- """ ,.. C·h.g.
~-- ~-- .... .....
> - - "" ..... ~ :,,.,
"! ... - - - -> - - - ,...
.., .,... - - - - - ::,. ::,,. - ,_ Cor.
.,.. - - > - - .,;;, - - L:,,,
..... - -.. -
}
I loolt& .. ,eh. ell 'fblp. -· ~ ,,ffY#,, • .,
i:" f t ... •"" I t ... r ~ t t t r ff " t l'P I p I SU.
[
-...-... -""/, "-- .. -- --... ~. ,0 L 'Ji .. .. .. .. .~...b - ... .... .. t]) --
411 , r • 3: :,,. - . --. ·> =- - >
'""' > ::,,, - > .
r -
As the score builds up to the climax, reminiscent of the beginning, two lines of
counterpoint complement this, exemplifying this extreme intensity (b.122-125).
20
The use of chromaticism and dense homophony accentuate this mood, aided by the
dissonance (b.141-149).
21
22
As a result of the high pitch, ear-piercing timbre of the upper wind, accentuated by their
high register scales, accents and crescendos convey screeching screams (b.150-156).
A descending scalic contour is introduced, reminiscent of the opening theme but now
developed into a more dissonant phrase helped by the increased density of the
homophonic score. Furthermore, it becomes much more climatic due to more
instruments playing the reminiscence of the opening theme (b.160-181 ).
L".. .:=. ? > > > - ·~ ... . ::- ,> ~ .... & ::. ~ •"'" ----.. - - ,~ ~~ >,, ;?-~~~ > >>-> :!:'" >,-. ,.. :---- ..... ,. ... •> ,,.. > - - . -. ""'" .. ·-. . .,-.... .. __ - - ,,.. r-. Iii ., ;;;- - - - - - =--"'> ,. - - - - ,...,.. - ' - '!!"'
Cor. "! ., - "~> - - - ~=-- •?' :;_.. - --- "" ........ - - ,..
-.: J ....... I.,,' ,,-... ;;;::-,.. - - =--> .. ~ !!'-- "'"'""' - - -... ., - :::-... ~., ,;-> - - - - - - > --- - - - > - ._ -
I l .. : r -1!11111 -: li!!!i
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i if ,t .. ... • i :;, :,
.. f
Q
I l ~ f! ~
l 0 f" ~
... f
~
This theme is highlighted further with a combination of triplets and accents; more
instruments in the score with triplets further on provide a setting for the dark, oppressive
mood (b.167-168).
25
Additionally, trills and the specific orchestration of tremelo in the violins help create
more unease (b.163-175).
26
~ l
N ....J
28
,. --r-[!j Pl.._
.... ··-• -i::
., ,.J,'-. ....,
-: ~-... "i:·-
r, .. ··-. -... Cl.pie c ... -:r-
CL .... "(_
.. - - >
>::io-,_.,..
>>;..~ I
>>>-::>
IT , .. >~>»
v . - >:>
.. ,,..,... _.. > >
-, "'>"~;: >
Co r. -. ,.. ,.. -i ... ...
n1 I >>:a.-:>'
I T 11lle
:,.,>;.:. I
I ..... ll IE] J.., ~e,
".I • ~1!- l
., d
,.. :::i,r,, ;,,,:,,,
-::,., >=»'>
l
As Shostakovich feared for his lifo, he was, "slowly and painfully developing
musical ideas for the fifth symphony" (Volkov 145), capturing the ideals of social
realism Stalin was looking for. Even with the failure of Lady Macbeth and the
cancellation of the Fourth Symphony, Shostakovich still wanted to express, "in
symphonic form the fears, doubts, and desperate hope for survival that raged within
him." (145). The opinions of Solomon Volkov are valuable as he was an eyewitness to
the Stalinist era and a good friend of Shostakovich. However, his perspectives may have
some limitations since they are subjective and anti-Stalinist. Shostakovich's symphonic
tradition continued with his Eighth Symphony; one of Shostakovich's comrades, Isaak
Glikman called it, "his most tragic work" (Wilson 174). This piece was written in the
summer of 1943 and performed on the 4th of November by the U.S.S.R. Symphony
Orchestra, under the conductor Yevgeny Mravinsky. At the time, the U.S.S.R were part
of the Allied forces; this allowed composers the freedom to experiment with music
(Krebs 54). However, this did not last long and in May 1945, when the West had
declared victory from the German armed forces (V-E Day), the following year Stalin
appointed Andrei Zhdanov to reaffirm his polices of social realism and anti-western
sentiments (Schwarz 110). This change in Soviet attitudes offers clear evidence that the
arts in the U .S.S.R. were subject to the dictates of the government and their policies at
the time. Shostakovich was operating in a regime where freedom of expression was
greatly controlled; however, this would change with the death of Stalin.
Malek Jandali Against Bashar al-Assad
The tyranny of the Syrian president Bashar al-Assad (2000 - Present) has caused
a civil war in Syria that has cost more than 100,000 Syrians their lives (2011-Present)
(BBC News). A doctor from Damascus described the conflict between the forces that
support the President and oppose his rule, "like a terrifying nightmare that just keeps
going on and on ... you live everyday as if it's your last because you might die any
second" (BBC News).
The Syrian government has created a state that implements policies that act only
in the interests of the Ba 'ath party. They did this by only allowing the publication of
three newspapers in Syria from 1963-2003 all affiliated to the Ba 'ath party (HRW).
Through the evidence of the Syrian timeline displayed in Appendix 2, this portrays how /
the majority of Syrian people displayed discontent towards the Ba'ath party and how
this discontent resulted in harsh treatment for many.
Syrians such as Mazen Darwish, a journalist and president of the Syrian Center
for Media and Freedom of Expression, was arrested in January 2008 for reporting
violent clashes in Damascus (HRW). Additionally, the vast majority of citizens that
criticize the state have been tried under the State Security Court which is a court
depicted by Human Rights Watch, "with almost no procedural guarantees" (HRW). The
Syrian government is evidently a modem totalitarian state and with that, as evidenced
through Shostakovich, there are artists in authoritarian states that rebel.
Malek Jandali, a pianist and composer, experienced Assad's rule as a very
personal matter. Born in Homs, Syria but now living in Atlanta in the United States,
Jandali is known as, "The Voice of the Free Syrian Children" (Fine). As the world
watched the initiation of another Arab Spring by protests such as the 15 children who
were arrested and allegedly tortured in the city of Dara, as well as other incidents,
31
Jandali turned to music as a form of political expression. He says, 'I thought: what can I
do? How can I help? All I have is music' (Jalabi).
Jandali's compositions
Jandali's music was inspired by Assad's oppressive regime. He first composed,
"W atani Ana" (/ am my homeland). He received many negative reactions to this song,
for instance, his appearance at the annual convention of the American-Arab Anti-
Discrimination Committee (ADC) was cancelled, reportedly because he had planned to ' ')
~i<. 1,;J:. perform Watani Ana. In June 2011, it was performed at a protest in Lafayette Park.
Shortly after, Jandali experienced his first encounter with the regime's retaliation, when
security forces loyal to President Assad assaulted his parents, "they handcuffed and beat
my father and broke my mother's teeth. It was a clear message to shut me up". However,
this incident made him even more determined to compose music expressing his
opposition to the Syrian government. "You can capture the musician and cut his throat
or terrorize his family, but you cannot capture the music" (Jandali, The Interview).
Ya Allah (Oh, God), a work released in April 2013, depicts the oppression of the
Syrian people, and how through that, they tum to their god. This song mimics the echoes
of the Syrian streets and Jandali said the song, "was a way to translate their chant
through my orchestra and piano into a universal language" (Fine).
Another of Jandali's works: Freedom (Qashoush Symphony}, was inspired by
Ibrahim al-Qashoush. He was a symbol for rebel martyrdom: Qashoush was a poet, and
his anti-government chants were shouted by thousands in public protests. Unfortunately,
it resulted in him being found dead in the Orantes River in July 2011 and Syrian
government forces reportedly ripped his vocal chords out (Mroue ).
Freedom Qashoush Symphony Analysis (full score in Appendix 3)
The Symphony starts with a homophonic phrase and specific use of percussion
timbres (b.1-2 and b.3-4), which creates a grand, elaborate opening.
Triangolo
Piatti
Tamburo militaire
Gong Tatn·tam
Tam-tam -
32
Moreover, pauses are used to help build up suspense and intensity (b.3).
2 Flauti
20ooc
2 C.1arin<lti inB
2 Fagoui
4Comi
l ll
ittF Ill IV
2 Tro.nbe inn
l II
3Ttomboni eTuba
Ill
~a
a
.. ~ ...
~ A
Xylophor,c
"' ----Pi.ttti
--Tamburo militame
----..
-l ...
"
-l ...
Moderato CJ:IOO) al
-.~. I - I I .,,,__ ·---I ,-·,
,.., r, - "II -..;;,·-· .....
-
- -"II
K "I K "I - -.. 'I
Go~ .. ' 'I .. r [
"' "I - -
I
f - - • - d. -
I f;;;J
n
~
Tuba "II ~
- -"II
-
: -: -: - 'Jinn-ta
' -.. .. r : -
r;;;,
ft• •
rr.-1
33
Adding syncopation further develops the intense mood created in the opening (b.5-7).
The irregular phrasing, due to varying time signatures (b.1- 6), portrays a more manic
mood, which compliments the suspense depicted in the opening phrases.
2 CJarinem inB
Moderato (J= IUOJ
"fl Specific & dense use of dynamics are used to produce a climatic texture (b.11-14).
@
.... ,,. >> > >
v
34
35
The chromaticism (b.6 -11)
and sustained pedal notes (b.6 -12) both compliment the climatic texture.
An imitation of the rhythm of the melody with slight variations starts with just the viola,
then 2°d violin and then the 151 violin building up to a climatic homophonic texture (b.5-
12).
11'
Fragmented scalic contours (b.15-19), cross rhythm between semiquavers and triplets
(b.15-18), specific articulation with the culmination of staccatos and accents (b.22-23)
along with a dissonant intervallic structure of an augmented 4th (b.25-28) continue the
fraught mood.
Ill IV
X,I. -=--=---~ct ----===---= ------, ,.,_ .. ------t-----~---i-t------+f----~~----i-t-------~---~-<--~---t ... ---+t-- . --+f- .
T-""1. 1-------------·-+t----~-----+l----~-ll---~--1--~--~--t T~ - : • . : .: C·
<>c. tt---f------------+l----~+f------~------+l---~---1----------------+----~--1-f
I
J __ I
. . v ... ,
Lt' -;- .,.., ...,.. .:J. -i- ..L.. .'. ....... -1 _ f,..-
V-aill
36
Fl
Ob.
Cl
Tr.f!i cTu>a
® . o) .
' ., .. .,
; !.!! I!! 't :
.., _,...,
:l,, :5,,:l,,:l,, t ; s. "'; ~n ~ '!;
..,'?- ~p all!; ~~
....... '?-
i i e
- -
lllb~~~g~~~~~~~~~~~~~~~§~~§
Jandali also uses specific orchestration in the viola with use of tremelo to compliment
the manic mood by providing a trembling effect (b.32).
A
V-nil ., A
V-ni 11 .,
V-le
- I I
Ve. ·:,;
Cb.
37
38
The symphony moves into a very sparse texture with the introduction of the piano's new
timbre, contrasting with the opening. However, the motif accentuated in the beginning
slowly builds up with rhythmic ostinati using melodic oscillations in the violin, thereby
adding to the suspense of the build-up (b.61-b71).
Vau!~ I I 1~0'!::!' I ;'rql urruprr l&®f&::f~ Vml ~ ztft1tttLJ, a .g.g' ®4fG U O j •mw actpol1tlfru4 Moreover, a combination of fast, disjunct and scalic contours (b.78-83) in the piano
further increases tension.
39
The pizzicato in the double bass (b.80-85) complements the fast-moving, disjunct and
scalic contour in the piano, 1st violin and cello.
• - . }: ..~ .... /!II!• •• • ¥1ll!Jll • ........ it
1 · = -
~
P-no
. . ••• . --- \ v.nit .... .l ' \ JI
• -V,nill ... . .... ... .
\ rh ... JI - - - - .,.,...-----------':...:'-------
v.1< -.1.J .. ~ JI 1 C1' J
Ve. - ·- 1- JI pi:t. . I
Cb. --~~·-
40
The texture changes to become more antiphonal which develops the opening motif of the
manic mood (b.86-88).
Fl.
Ob.
Cl.
"""·
Car.
I II
Ill IV
I II
Tr-ni c1',
lll
Timp.
Xyl.
0. T . -t.
o.c.
p .. no
V-nit
V-lc
Ve.
Cb.
® A
., ..
...
.,
.».
.lL»
[ i--
.. l ~
.. l ~
.. c,
.. c,
=
=
...... -'L
-,
-.. ;.: ;: -:,;;-.,, .... $, ·~ ;t-$.- :s,.
- - :':»o:':»o:':»o·:!'>o ,...
,..,..,.. :,,. -
:
.>;$.,.-:5--$,,3=°>:::;., ........ S, > '
~ ~~ ~~~:;i,.~~ ~ :-.&~~
' l_
\ \ ....
' --\ .... I \
\
J \
... I r ...
I \ I-, 1
' \ , ' \
I
\
' . >i.'11"' :r-~
.... 4'S- ... :II' ,.._ >-
"'""" --.,. ;;:."l!'-,._i,; ::s..-~ ..
I -~
~ -
41
Accentuating this are two different melodic counterpoints and fragmented doublings
(b.108-111) depicting a chaotic texture (b.91-96).
@ A "~ =
f1.
"' I .......
I= JI ---::o. A
Ob. ., -JI A•
Cl.
"' v .. !:1:.- .. ·- ,_ ~- -· . - - -- ~ .,.........__
Fag. . JI
.. - ..---.--_;_....-..>> I -
II
I .. . - . Cot. ::: f .. " >>~> .. ~~
Ill JV .. . ........ ii.I·"'-- _., .
::: f A• ..... !'""'! I .....
Tr·b<
"' y • , ... ~.·· .... ~·-f. ,;;.;
~f~ - I! - -- ~~::~ >>
I II
" Tr-ni
.. f .... cTuba f
Ill
Timp. . .. .. .. .. -- .. JI
·-Xyl. . ., - I JI
42
.. c«.
v
"' '*' I .,, ... I I
IV v
r ...
_.,_ x,,.
,.~
I~ PG -t ·1 -r t- - - - --!---.-+---; I . . . I . .
G ,-T,<
I. G<:_
------1--;______- ___; __ ~ ---+-- -+- ----- ; v
""'
11. -· ,--- > ,- >
-. ... ,
~ I~ j.j, j.j.:s:;: : .. J.s, J, j. f ;, SJ.j.S,IJ.tf Ii . ~ u . J. j. 1- i f j.j. >i, "i. i -~ j.i,S.y•J..t •
"'·" IO' ,.,. $.it;;' J. s. ;:. :l.:s."it :t,. 't S.S. S..,"JJ;:f.. .. .. , .. ;--=-~tt '-T 'JI: ·-=----rs.~ 1-: • • I
C>. .,,
43
Furthermore, there is an unusual high 'ear piercing" timbre in the flute (b. l 00-103). @ ~ -~ _§!) I ~ ··1
n ~ ~ ~ ~ c~·t:·§0 --e= =====~ "' IM t ,#qf.4 I i, ---- -- ----== I- l;j~j I ---r l ,.
"~r- - Ir --,~f Melodic ostinatos are present in both violin I, violin II and viola (b. l 06), all depicting
the manic mood from the beginning of the symphony.
Pauses are used to add more effect to each phrase as the piece nears its climax (b.115-
116).
A ~ Fl. .,
sf - ... ... ... ,. ., S-:1.:1, S-
,. " r,;, ~ - -CL .,
sf - . . . • . ~~~ ~
I "'"'!!!. It
44
More doubling is also used to build up texture and suspense. This is accompanied by
syncopation to further portray a hectic score (b.123-125).
- ... . ~ -
•h . .. . ~
,. ;;;:,: ... . -.
,-
f ii
w·- I
~
. -- - - -... ...
. -- ""-- -· ;r
,. __ .,. .. , .. ,. fH ;,::
"' ,n i"
" I -V.ml
"' !lpiz,. -
" ~ l,- ' - -
""" V-lc
J/1 ii"'" js.$. om,
Ve.
I J/1 JH JH
The texture becomes extremely homophonic (b.127) @
In order to emphasize that the section leading to the end of the piece is even more manic
than the rest, Jandali uses exaggerated dynamics (b.148) in the piano.
In the final bars, Jandali has a most ostentatious finish with melodic sequences (b 159-
160) above a syncopated accompaniment (b.158-160).
" • • L .I.... .• • ·•- ,,.ai!t!:1tt!:lfe
., ·- .. .. ---.-- • • . I
' L- I.... "- •- -•- (f. l!a-al!il! A j ' Ob. ., ..
j j s • I • • -"-- .. ~-·-· --•11tt!:l="f: A" • •
Cl • .., Iii•#•-..- • • • s
I
Timp - --- 8
" -. .., .. .... - ""' - - - - - - --8
0 --Tr-l
P·ltl H ' ff - - ..,. - -l. ff - - - ·- - - -- ~mk' U., W LI LJ L..b.,I' L........J u L.I L.J.I L...J ,_
T-romi
G ,-
45
46
The symphony ends with a reminiscence of the opening melodic phrase; contrastingly, it
has developed into an even more dense homophonic texture with added grace notes in
the upper wind (b.161-162).
If
f
When Jandali is asked about what it is like to be an artist under Hafez al-Assad
and his son Bashar, he expresses the regime as a "dictatorship" and says, "Artists in
Syria are always being controlled to try to support the agenda of dictators" (Jandali, The
Interview: Malek Jandali). This harks back to Stalin's implementation of social realism.
Jandali's beliefs are evident in his compositions as well as in his project, The Voice of
the Free Syrian Children. The aim of this project is, "to help the most vulnerable of
victims and be the voice of those who cannot speak for themselves" (Fine). Compared
47
to Shostakovich, Jandali conveys his opinions about the Assad government with
vehemence, as evidenced in his interviews and his project, The Voice of the Free Syrian
Children. However, the musical analysis discovers a much less oppressive mood. This /
difference in approach depicts how political expression cannot be controlled as
effectively in the post-technological era compared with living in an early 201h Century
dictatorship.
Shostakovich and Jandali: An Evaluation and Conclusion
The analysis of both pieces shows strong links in all parameters that convey a
strong, negative tone. This is evidenced through both pieces displaying all the
hypothesized musical features as well as being built up and developed into the
oppressive, manic atmospheres that embody both of their social and political contexts.
There are many links between these pieces that are demonstrated across all of the
other nine parameters, all depicting how the hectic climate of their composer's personal
torment is shown in a musical way. This is first depicted through the use of homophony,
-------which is used at the very beginning and in climatic sections in both pieces to create
intensity. Moreover, in both pieces there are contrasting sections that use time to build
up a dense homophony. Additionally, this homophony is combined with disjunct
contours, fast scalic runs, heavy use of accents and chromaticism in the melody in order
to create chaos. However, Shostakovich provides far more elaborate uses of texture
while Jandali conveys it more subtely by comparison. For example, there is only a slight
use of antiphonal texture in Freedom Qashoush while Shostakovich portrays a more
elaborate antiphony. Additionally, the homophonic texture in Shostakovich is much
denser in comparison to Jandali's work.
Each composer employed specific timbres of many instruments such as the high-
pitched shriek of a flute and the destructive dark tone of the lower brass, which
accentuates the mood. The orchestration fulfills a critical role in bringing out each
timbre with techniques such as ornamentation and tremelo. Overall, Shostakovich used
the hypothesized musical features more elaborately than Jandali. Shostakovich displayed
the overarching message of a chaotic, oppressive regime more clearly in the extract, than
48
in Jandali's symphony. Additionally, this can be proven through comparing both
contexts.
49
Shostakovich lived in a time where a totalitarian state controlled all aspects of
society. He was forced to join the U.S.S.R. Union of Composers in order to continue
music in the Soviet Union (Fox 206). Jandali, however, was not subject to these extreme
contingencies, due to living in the United States and bringing his parents to safety from
the clutches of the Ba 'ath party, albeit after their torture (Jandali, The Interview). This
allowed him the freedom of expression to voice his anger and concern over the crisis in
Syria while Shostakovich had to employ subtle methods through his music. This helps to
explain the greater emphasis in Shostakovich's work compared to Jandali's with respect
to these particular musical features.
The time period also contributes in an evaluation of these contexts. Due to the
current nature of the Syrian crisis, hindsight is necessary to analyze the actions of
Assad's government while historians can look back and examine the nature of Stalin's
government. Moreover, the 21 51 Century allows political expression to be heard with
much less oppression than in the time of Stalin, due to the growth of human rights and
objective journalism, encouraged by the United Nations (UN). In Stalin's early rule, the
newly formed League of Nations (1920), the predecessor of the UN, was more
concerned with collective security and less so with supporting dissent (Ellis).
Additionally, as a result of social media and the technological revolution,
Jandali's work may not be as rigorous as Shostakovich's music. Furthermore,
Shostakovich composed more works that were not analyzed in this investigation and this
variable may or may not compromise the hypothesis. Moreover, the link between music
and history is an assumption backed up with evidence, but an assumption nonetheless. It
50
can therefore be argued that Shostakovich's work may display an oppressive mood due
to his emotional state rather than being influenced by an oppressive political climate.
There is historical and contemporary evidence to support the hypothesis that
music is used as a method of political expression. More importantly, with the example
of Jandali, it shows that composers around the world use their musical expertise to
convey political expression in the contemporary political context. However, they may
depict it less expressively than composers from Shostakovich's era, perhaps due to the
use of social media rather than the ten parameters of music. Nevertheless, this
continuing practice still distinguishes music as a medium of global significance.
f;.>( (Q., \\ ('.,, .J-e., ._\ w-,u <»"'":'
c)>si t<r"- • (.,rs'N
' (J., y\1\£. Irv' o'-1) \ ~ (A," I.IV'",;,
\)'-" ~· ~cc o« .. ~( (""
Appendices
Appendix 1: Shostakovich, Dmitri. "4. Symphony Op.43." 4. Symphony Op.43 Pocket Score. Moscow: Boosey & Hawkes Music
Publisher Ltd, 30 December 1961.
DMITRI SCHOSTAKOWITSCH
4. SYMPHONIE OP. 43 TASCHENPARTTTVR I POCKET SCORE
Boosey & Hawkes Music Publishers Ltd., London (Anglo-Soviet Music Press)
for du, Uniud Kingdom and the Brituh C~oJth <=ept Canada) and the Republic of Ireland
Le Chant du Monde, Paris pour la France. la &lgique. le u«embourg, l'Andorre
et les Pa:µ francopiwnes de l'Afri,p,e
Edition Fazer, Helsinki for f'inland
G. Ricordi & C., Milano per /'Italia
G. Schirmer Inc., New York for U.S.A., Canada and Mexico
Universal Edition A.G., Wien fur Osterreich
Zen-On Music Company Ltd .• Tokyo for Japan
Musikverlag Hans Sikorski, Bamburg fur DeWSchlanJ, Di1nemarl<,, Griechernand, Island, /sl'ael, Niederlll1uk,
Norwegen, Portugal, Schweden, Sdrweit. Spanien und Tflrkei
51
BESETZUNG/OROIBSTRA
2 Flauti piccoli 4 Flauti 40boi (N=Cor. ingl.) Clarinetto piccolo (Es) 4 Clarinettt (B; A). Clarinetto basso (B) 3 Fagotti
. Contrafagotto
***
4Trombe(B) 8 Corni (FJ 3Tromboni 2Tube
***
3 Timpani I 3Tim~ill Triangolo Cas~etti Tamouro di legno Tamburo Piatto I ( colla bacchetta) Piatti II { modo ordinano) Cassa Tam·tam
***
Campanelli Silofono Celesta 2Arpe
***
Violini I Violini II Viole Violoncelli Contrabassi
52
2 Piccoli
4 FlnU
4 Obol
Cla:riaeuo piccolo (J;o}
4 Clarlmltl (Bl
Clarinetto basso
Col\t:ralaaouo
4 Tromb• (B)
8 Coral (J')
Timp111I
T1mbvro
2 Phttl Cusa
SUolono
VlollDI I
Vlol111I II
Viole
Symphonie Nr. 4 7
I Allecret1o poco aoiento J,••
© 1962 by Musikverlag Hans Sikorski, Hamburg
H.S. 2218
Dmitri Schostakowitsch, op. 43 Dmitri Shostakovich, Op. 43
(lJ
53
::c: !:fl N
Ii;
I (i l i i s.' ' i • i l e p 2
If c, !" ~ J
CX)
Vl ~
9
Fl.
O),
CL
~-
Off,
ftmp.~~~~~~~~~~~~~~~~~~ Tft -Ill.
Afthl
H.S. 2218
55
56
10
H.S.2218
57
11
H.S.2218
58
12
.. ...... ". ji,
.. .. .. .. fl, .. fl, .. .. .... ,.~~ .. ..... .ar =-- ~~~~;it::;:;~ .. .IT ..r ::rr:t::
"' ; ;/ ...... : ;: : ;: ;: ; : : : ; : ;::::::::-. •• : : : ;: :-.,
" ~:~ . - - . - - - - - . ... - -
.. ~ r1-~:-:-:-:-r :"'~f"r-=-~!"::-
"' . --~ ...... - - ·--:-;.. .. - .. ,.. - - ... ... ~ - -- -· -------~ -·-
Cl. "'. " - ....... - . -- - - ... - ,.. ---·---- > - > -- • - ..... •
.. "
.... ... ... ~ ?': : - - ... ... Jt.: - ... ,.. ... ,.. ..... r. l:'
i - - - - ... ~ .. ; - - - ... ... ...... l:'
I .. .,,. .. ... ... ... .... - - - .. ... ~-----.. ,eN •. ..,. ...... ., ":: .. ,...-::;:::,,.. ......-:::=,.
";'. .. ·~ .......=.
.. ....... -... ".:. ....... .. ~--- -···· - .. - ...
- l '. "j ; ,.. ... ... .. -- - - - ... ...... l:'
.I. .
r .?: ; ... ... ... --111
I lcoU• httll. Cl Ti.,. " IJ ...... • . ' ( ..
; .,, ......
" SU.
.. .~~ ... -~~ ~"'-~~ a.>~_. :::t. l"ltf ; . ; ; : :- ; ; !"
>t~"':'--... ;Tr;; r r r . ?"'~~ .... .-r.~~~ >""',:--..... ;:;;;::-:-; ..
1'*-:,,,i~ ~,,_:,--,.... ... - ">--.. ':llo,.>~ ......
- ---. - - - -- -·--~--
....... - .. ... ... ,> ?: :I:"
... ~ ... l:-. . ,.. ,.. ~~
... ... ,.. .. H.S. 2218
59
13
, ....
CJ.
,.....~~~~~~~~~~~~~~~~~~~~~ -eo..& 1-~~~~~~~~~~~-+-~~~~~~~~~~~ ..... ~~~~~~~4-.-~~~~~~--l 'H.
SIL
-H.S. 2218
60
14
,.~ Plee.
1: ... ~ ~~ i: ~
PL 11":.a~ ~l!- ~ ~
I ~ ~ I
.:l:' I 01'. IV muu. II:, C. •--LI
,.. 1.6 I I Cl.plec.
l"'..z,.. ~.:- ~ .:- d I
11: ... _
' .:- .:- ~·-,·~ ,~ ~ ~=:::d;,k'lr t t
CL
... ~ -'l'.-:---k s s
"""· :,. .IIT-,-L .. ... - • I
,. - :,. > "" .... - ,.r: .. r I I
:~?->>:a..> .rxnntt _L ~~ . :,,,.. I. • - - - 1 I -,: ~
:~~~>>=-::... ~--=- > > - ..... , Cor. -~..,..... >.>> > ==-- I I
';.11' ~::-..?' I I I
... I I I
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Appendix 2: BBC News. Syria: The story of the conflict. 14 3 2014. 14 4 2014 <http://www.bbc.com/news/world-middle-east-26116868>.
By July 2011, thousands of protestors were taking to the streets
All across the country, people were demonstrating for the resignation of Assad, who they felt to be oppressing the Syrian people.
By July 2013, the UN reported that 100,000 people had been killed.
The conflict began in March 2011 in the southern city of Deraa.
Teenagers who painted revolutionary slogans on a school wall were arrested and tortured.
This triggered a series of protests where demonstrators demanded the resignation of PresidentAssad but were met with open fire by security forces.
The conflict reached the capital of Damascus and the second city of Aleppo in 2012.
The opposition of the government began to seek arms in order to silence security forces in their respective regions.
This instigated a civil war: opposition forces battled against government forces to control cities, towns and the countryside.
78
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Appendix 4: Process Journal
1:29 PM on Mar 4, 2014
I have successfully devised a research question and am currently undergoing research on
the historical background in order to find the connection between Shostakovich and
Stalin's Regime
1 :40 PM on Mar 4, 2014
The most important step now, I think, is to start looking for your 4 pieces. Try to get
ones that show range of instrumentation, for example a full orchestra piece and a solo
song for both the public and private genres.
10:52 AM on Mar 14, 2014
Through extensive research I have realized that my topic is more suited towards a world
studies with the added subjects of history and politics. My tentative research question is
By using the paradigm of Shostakovich's private and public compositions in
determining whether these works were a direct musical response towards Stalin's
regime, can this entail that music can be used as a way of upheaval against oppressive
regimes and whether it can be instigated in the current political atmosphere?
100
11 :48 AM on Mar 15, 2014
My next step to solidify the world studies aspect of it being of "contemporary global
significance", I must look at current bands that rebel against oppressive regimes.
Surprisingly, the band "the Pussy Riot" is based in Russia and they were held in
contempt because of their music and were oppressed by the government as a result of
this
3:15 PM on Mar 31, 2014
I have realized that Malek Jandali is a perfect match in order to convey the message that
music can be used as a method of political expression because of it being the same genre
and the fact that Syria is still under the oppressive ruling of Assad. This will therefore
strengthen the world studies link of it being of a current global significance.
7:08 PM on Apr 2 , 2014
My current research question is - To what extent can music be used as a method of
political expression against oppressive regimes historically and in the current political
atmosphere by comparing and contrasting Shostakovich's compositions in Stalin' s
regime (historic) and Malek Jandali in Assad's regime (current) in determining whether
there is a direct musical response towards oppressive regimes?
101
102
11:52 AM on May 15, 2014
The next step is to find what makes Stalin's and Jandali's pieces and symbol of their
respective political regimes by hypothesizing it through the 10 parameters of music
11 :53 AM on May 15, 2014
I have successfully contacted Malek J andali's agent and will give her interview questions
to ask him, which is the best source for primary research for this EE
11:54 AM on May 15, 2014
I have finished the context for Malek Jandali as well as the introduction for the EE and I
am now set to write the context for Shostakovich
11:24 AM on May 16, 2014
It would be a good plan now to come up with a list of questions to ask Malek Jandali.
4:43 AM on May 19, 2014
I have decided to close the parameters of the EE by only analyzing Shostakovich's life / ,,~
and works from 1932 to 1945 in order to be more detailed with four key works (Lady v'
Macbeth of the Mtsensk District, Symphony No.4, Symphony No.7 and Symphony
No.9) instead ofbeing vague with many more works.
8:18 AM on May 19, 2014
I think that that is a very good plan. I was concerned about the amount of musical
material you were proposing to examine, so this is a good development to concentrate
your study.
3:20 PM on May 26, 2014
I have sent the questions to Jandali's agent and have also found most of the scores to
start analyzing Shostakovich's works
5:19 PM on Jul 16, 2014
I have chosen 1 work by each composer, Freedom Qashoush Symphony by Malek
Jandali and Symphony No.4 by Shostakovich.
7:08 PM on Sep 11, 2014
Through correcting both historical and musical analysis, I am now going to focus more
on emphasizing the world studies aspect of my EE in order to fulfil the criteria. I sadly
did not get a response for the interview questions I had sent for Jandali to answer.
103
10:24 AM on Sep 25, 2014
Everything is going according to plan. I am pleased with the way you have linked the
EE more comprehensively with the issue of global significance. Make sure that you re
read the requirements of the World Studies abstract and that you meet all the criteria, for
example, the reference to the investigation and the methods you used should be in the
past tense.
7:13 PM on Sep 28, 2014
I have gone through the criteria for the World Studies Extended Essay and have also
corrected the abstract of the essay. I will now read the essay holistically one more time
and send it in.
7:44 PM on Sep 28, 2014
All is good. Congratulations on a job well done.
104
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106
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107
Staff, Ravi. Artist biography. 2012. May 2014
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108
