Table Of Contents

SECTION 1: Exploration of Diverse Musical Material 2

RATIONALE 2
AOI 3: Oogway Ascends - Hans Zimmer | John Powell 3
AOI 3: Apsara Aali - Ajay Atul 6
AOI 1: State Anthem of the Russian Federation - Alexander Alexandrov 8
AOI 1: Sorrow Tears and Blood - Fela Kuti 10

SECTION 2: Statement on The Creating Exercise 13

SECTION 3: Statement on The Performed Adaptation 14

Bibliography 15

Appendices 20
Appendix A - Track List 20
Appendix B - “State Anthem of the Russian Federation” lyrics/vocals 21
Appendix C - “Apsara Aali” lyrics/vocals 22
Appendix D - Creating Exercise Score 23

1
 SECTION 1:
Exploration of Diverse Musical Material

RATIONALE:

Music wields the power to convey deep meaning and ideas, helping humanity express diverse
and contrasting, thoughts, feelings, and emotions. I will analyze four works from around the
world, showcasing how music can embody many moods for dramatic impact, movement, and
entertainment (AOI 3), and perspectives for socio-cultural and political expression (AOI 1).

AOI 3:

“Oogway Ascends” is a film score composed by Hans Zimmer and John Powell, utilizing
Chinese traditional techniques, featuring the Erhu for the movie “Kung Fu Panda”. It fits within
AOI-3 as it creates ‘dramatic effect’, during the passing of Oogway. As an international student
in Singapore, this movie is familiar, relating it to a local context.

“Apsara Aali,” (“The Celestial Nymph Has Arrived”) is a popular song composed by Ajay-Atul
for the Marathi film Natarang (“Performing Artist”). The song is a contemporary composition
that maintains traditional Marathi folk features. It connects with AOI 3 as the energetic and
lively dance form is intended for somewhat erotic entertainment. As a Marathi, this fits a
personal context as it is played on family road trips.

AOI 1:

The “State Anthem of the Russian Federation” (Russian National Anthem) was composed by
Alexander Vasilyevich Alexandrov in 1938. This Western-classical piece expresses the love for
one’s country, a national anthem, and thus relates to AOI-1. This piece has a global context as it
is unfamiliar and geographically distant.

Fela Kuti's "Sorrow, Tears, and Blood” is a statement against the oppressive government and
police violence in Nigeria during the 1970s (Jazz Music Archives), fitting well into AOI-1 as it is
a protest song. It is unfamiliar and of global context as I seldom hear or listen to African music in
Asia.

2
AOI 3: Oogway Ascends - Hans Zimmer | John Powell

“Oogway Ascends” is the theme (featuring an Erhu) composed for the animated movie set in
China, “Kung Fu Panda,” when the main character Po’s master’s master, is ascending to the
afterlife (New Lines Magazine). It portrays feelings of mourning and loss while balancing belief
and tranquility, creating dramatic effect (Pang). Both composers are award-winning German and
British film scorers (IMDb) (Trinity Laban).

“Oogway Ascends” begins with a lilting 2 bars of a D minor arpeggio played pizzicato on cellos
and basses over a D pedal note, setting a somber atmosphere and establishing the D minor
tonality (see upload 3, 1:30-1:32). The piece’s tempo is andante, 83 BPM.

The opening quiet quaver rhythm (see

Figure-1) remains throughout, while the
other strings build a rich homophonic texture
(see upload 3, 1:45, 1:53).

The first 4 bar progression alternates min-Maj

to convey a balance between sadness and hope
(Parkin) (see Figure 2) (see upload 3,
1:31-1:43).

The Erhu (Image-1) plays the main melody lyrically, utilizing vibrato (see
upload 3, 1:34-1:35) and pitch bending (see upload 3, 1:37-1:38) (underlined
Figure-3), encapsulating death’s fragility. The erhu is a “two-stringed bowed
musical instrument, more specifically a spike fiddle,” (AAA).

The melody begins with an ascending step followed by a major 6th leap,
word-painting the “ascends” in the title (see upload 3, 1:32-1:34). It also
includes descending phrases that juxtapose the ascending melodies/leaps,
accentuating the theme that sorrow is necessary to achieve peace (see Figure-3).
The descending phrases in the last 4 bars feature many thirds and are typical of
traditional Chinese music (Zhou) (see upload 3, 2:05-2:15).

3
The melody is in D minor pentatonic (see Scale 1, circled), while the accompaniment is diatonic.
Pentatonic scales, usually major, are most common in traditional Chinese music (Zhou). The two
circled notes in Figure-3—E (see upload 3, 1:46-1:47) and Bb (see upload 3, 2:02-2:03)—are the
only ones extending into D minor heptatonic (Scale-1, uncircled). Three main rhythmic patterns
(2 beats in length) are used throughout the piece (see Figure-3, boxed).

Full Chord Progression:

The tonic chord is played only at the beginning, end, and once towards the end of each section.
There is an excessive use of the VI and V which contrasts with the minor key, highlighting how
the music of China “is built on a balance of ‘yin’ and ‘yang’” (Advantour). All other cadences
are either imperfect or plagal.

The piece features two prominent sections, A1 (see upload 3, 1:30-140) and A2 (see upload 3,
1:40-1:57). Section A2 keeps the same melody but uses heterophonic orchestration where the
dizi, guzheng, and some strings double the Erhu, with richer accompanying chords, marking the
climax (see upload 3, 1:44-1:53).

4
Another characteristic of traditional Chinese music found in this piece is the use of sequences
(circled Figure-4), usually in 2-bar phrases (underlined, Figure-4). The red and blue circled
sections are repeated a minor third above, and a major third below. Sole repetition is also utilized,
as in the purple and brown sections (see Figure-4).

5
AOI 3: Apsara Aali - Ajay Atul

“Apsara Aali” was composed for the film “Natarang” by the renowned brothers Ajay & Atul
Gogavale (stage name: Ajay Atul). The song serves as an appreciation of beauty highlighting the
femininity and allure of the female dancer (Wadale). The song, penned by Guru Thakur, includes
rich poetic lyrics. The song was sung by Bela Shende and Ajay Atul.

Apsara Aali begins with an ‘alarm’-like intro played on the Santoor (Image-2), followed by a
shortly rising then descending C# Phrygian Harmonic Major scale (see Figure-5) (see upload 3,
2:15-2:19). The scale sets the hypnotizing and exotic mood from the onset. It also sounds like a
“celestial sparkle” indicating the arrival of the dancer, “Apsara”.

E# and B# are enharmonic equivalents to F and C respectively, however, help display the relative
relationships.

The Santoor is a trapezoid-shaped hammered dulcimer

and is a traditional instrument of Jammu and Kashmir
(Yeware). It features 100 strings that are strung by a
mezrab (specially-shaped mallets) (Image-3). The santoor
is played on the lap. Most traditional Marathi music
contains a stringed instrument for the melody.

The song features a tanpura (Image-3) providing the

hypnotic drone, highlighting universal beauty (see upload
3, 2:20-2:21, 2:24-2:25). In this song it is used sparsely,
but generally, it is used extensively to accentuate the ‘sa’
and ‘pa’ of the song, tonic and dominant (Yeware).

6
Along with the tanpura, you can hear the daf (Image-4), an Arabic
instrument widely used in Maharashtra (see upload 3, 2:20-2:21)
(Yeware).

When the vocal enters, they take center stage, and the Santoor plays a
drone on the tonic, C#. The Ghungroo can also be heard thereafter, a
small bell-like chime heard in the background (see upload 3, 2:23-2:32)
used to add high-end in Marathi music. The vocal is conjunct and tends to start phrases on short
notes and end with longer ones (on the 3rd beat) (see Figure-6).

Being a more modern lavani, the song follows an alteration, ABC ADBC, of common song
structure ABC ABC DC (A-verse, B-prechorus, C-chorus, D-bridge). During the pre-chorus
instrumentation is nearly identical to the verse, with a slight increase in rhythmic and harmonic
complexity (see upload 3, 2:32-2:39).

With the chorus, the ‘hero’ of every Lavani comes, the dholki (see upload 3, 2:39-2:50)
(Yeware). The dholki is aggressive and fast-paced, encouraging listeners to move and dance
along (see upload 3, 2:50-2:55). Other percussive instruments such as the Chanda and Tasha can
be heard as well. The melodic phrases in the chorus are 3-bars long (see Figure-7). The chorus
repeats itself with the melody playing instrumentally.

The second verse, keeps the momentum going by utilizing a stripped-back version of the chorus
dholki, followed by the bridge where Ajay Atul is heard singing (see upload 3, 2:57-3:00).

7
AOI 1: State Anthem of the Russian Federation - Alexander Alexandrov

The "State Anthem of the Russian Federation," incorporates elements of Russian folk songs and
moving melodies, to demonstrate how music can foster a sense of belonging, power, sacrifice,
and patriotism within a listener. Alexandrov won the anthem contest hosted by Stalin
(Artamonova). Famous Soviet composers like Aram Khachaturian, Iona Tuskiya, and Dmitri
Shostakovich also participated (E. Fay 139, 316, 363).

Starting with an ascending perfect fourth (see upload 3, 0:02-0:04) (Figure-8)–akin to La

Marseillaise, Amazing Grace, and others–the orchestral anthem utilizes a strong opening, rivaled
only by the descending fifth. This leap from G to C (dominant to tonic) outlines the bass notes of
a perfect cadence, drawing the listener into the piece.

Figure-9 shows the national choir's rendition. This large tonic chord (by orchestra) before the
ascending fourth guides the population to the correct key (see upload 3, 0:00-0:02). The anthem
features a rich homophonic texture (Figure-9), with fleshed-out triads and occasional 7ths,
usually on the dominant chord. Most chords are from the root scale, with exceptions borrowing
from the minor counterpart. The structure is strophic, with the verse and chorus repeating the
same melody and chord progression, making it easier to recite, a key aspect of any national
anthem (see upload 3, 0:00-0:45).

8
The first melodic phrase features constant ascending fourths and descending fifths, beginning
with an anacrusis into bar one (see upload 3, 0:02-0:10). These repeated perfect intervals
(Figure-10) create a resonant and powerful start to the anthem. Additionally, each bar's first note
descends (tonic to dominant by bar 4), and is a crotchet, emphasizing the downbeat and giving
the piece a march-like, grand, hymn-like fee, reinforcing pride with a hint of nostalgia.

There are two main rhythmic motifs present throughout the piece (See Figure-12, Figure-11) (see
upload 3, 0:00-0:45). The pattern highlighted in red acts as a question to be followed by the next
pattern (see Figure-1). It sounds like a march-like snare pattern, the simple rhythms are common
to anthems.

Figure-12 (Transcribed by Author)

Chord Progression:

Interestingly, the anthem experiences ‘mood swings,’ with some 4-bar progressions being
entirely minor or major, unlike other anthems, such as the US's, which rely on major chords. The
iii (minor mediant) chord is associated with teary and nostalgic memories of the past, alluding to
the sacrifices of combatants during the country’s challenging past, reinforced by the ii (minor
supertonic) chord. In the first 4 bars, he moves from I to iii to IV, building a teary-tension to
resolve with a plagal IV to I cadence (see upload 3, 0:02-0:10). He also uses alterations of the ii
chord for the next 3 bars, an unusual yet effective tonal choice, leading to a dramatic V to I
perfect cadence that begins the second verse.

9
AOI 1: Sorrow Tears and Blood - Fela Kuti

While the Russian National Anthem portrayed political trust

and pride, “Sorrow Tears and Blood” delves into Kuti’s
politically-imposed anguish and sorrow, in response to the
1000 soldiers who raided his residence (Kalakuta) beat and
raped many, and threw his 77-year-old mother off the
second floor (felakuti.com)

This Afrobeat song was released in 1977 under Kuti’s own

Kalakuta Records, as his old label was too afraid to release
it.

Fela Kuti (Image-5) is well-known for pioneering the

Afrobeat genre influenced by West African rhythms,
highlife, jazz, funk, and psychedelic rock (The Music
Origins Project).

The piece is in the key of Eb major with a 101 BPM, and has a swing on the 16th note as
indicated in the image below. The song predominantly uses the major pentatonic scale of Eb.

The song begins with Electric Guitar and Bass Guitar motifs (see Figure-13) alongside Kuti's
grunting noises, aiming to emulate a revving engine (see upload 3, 0:45-0:49). The guitar riffs
will play as an ostinato until the end, as is a common feature in Afrobeat music. These
engine-like noises establish a mood indicating that all the “Sorrow Tears and Blood” come after
a police siren. The two guitar patterns maintain a lively and active pace. They are conjunct,
providing minimal harmony while creating a polyphonic texture.

Another characteristic of Afrobeat is the syncopated and dense percussion patterns (see
Figure-14).

10
The maracas provide a steady pulse while the congas provide rhythmic interest in some off beats
mirroring the suddenness of political violence (see Figure-14).

Over the piece, the brass section develops the most. While other sections remain largely
unchanged, a saxophone is added in the second chorus, followed by more brass in the final.
Chords begin to emerge towards the end, but they are more jazzy and funky rather than distinct
chord progressions (see upload 3, 1:16-1:30).

The lyrics and the rhythm of the

voices are also interesting
characteristics of Afrobeat. They
are syncopated, with a lot of call
and response between the choir and
Kuti (in chorus-2, the choir’s
unified “eh-oh” followed by Kuti’s
“Everbody, run run run”),
accentuating how police violence is
a community-wide issue (see
Figure-15) (see upload 3,
0:49-0:56).

11
During the pre-chorus, the absence of call and response with Kuti, suggests Kuti is warning
everybody, while they listen closely (see Figure-16, Bar 1-4) (see upload 3, 0:56-1:01). He
repeats the same melodic idea as the chorus, increasing memorability. This kind of repetition is
very common in Afrobeat, especially in vocals. They tend to sing a theme and variation of
melodic ideas through slight modifications of pitch or rhythm depending on the words being
said.

The chorus-1 (see Figure-16, Bar 5-10) includes the title “Sorrow Tears and Blood” and the tag
“Them Regular Trademark” which the choir shouts after every line, suggesting violence as
police normalcy (see upload 3, 1:02-1:14).

12
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18
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 Appendices

Appendix A - Track List

Upload 2

0:00 - 1:03 Creating Exercise

1:04 - 2:05 Stimulus for Performed Adaptation

2:06 - 3:59 Performed Adaptation

Upload 3

0:00 - 0:45 State Anthem of the Russian Federation

0:45 - 1:30 Sorrow Tears and Blood

1:30 - 2:15 Oogway Ascends

2:15 - 3:00 Apsara Aali

20
Appendix B - “State Anthem of the Russian Federation” lyrics/vocals
(Pentreath)

Original Russian: English Translation:

Russia is our sacred state,

Rossiya – svyashchennaya nasha derzhava.
Russia is our beloved country.
Rossiya – lyubimaya nasha strana.
A mighty will, great glory -
Moguchaya volya, velikaya slava –
Your dignity for all time!
Tvoio dostoyanye na vse vremena!

Be glorified, our free Fatherland,

Slav'sya, Otechestvo nashe svobodnoye
The age-old union of fraternal peoples,
Bratsikh narodov soyuz vekovoi
Ancestor-given wisdom of the people!
Predkami dannaya mudrost' narodnaya!
Be glorified, country! We are proud of you!
Slav'sya, strana! My gordimsya toboi!

From the southern seas to the polar edge

Ot yuzhnyh morei do polyarnogo kraya
Our forests and fields are spread out.
Raskinulis' nashi lesa i polya.
You are the only one in the world! You are
Odna ty na svete! Odna ty takaya –
the only one -
Khranimaya Bogom rodnaya zemlya!
the native land so kept by God!
Slav'sya, Otechestvo nashe svobodnoye
Be glorified, our free Fatherland,
Bratsikh narodov soyuz vekovoi
The age-old union of fraternal peoples,
Predkami dannaya mudrost' narodnaya!
Ancestor-given wisdom of the people!
Slav'sya, strana! My gordimsya toboi!
Be glorified, country! We are proud of you!
Shirokii prostor dlya mechty i dlya zhizni.
A wide scope for dreams and for life
Gryadushchiye nam otkryvayut goda.
The coming years open to us.
Nam silu daiot nasha vernost' Otchizne.
We are given strength by our fidelity to the
Tak bylo, tak yest' i tak budet vsegda!
Fatherland.
So it was, so it is and it will always be so!
Slav'sya, Otechestvo nashe svobodnoye
Bratsikh narodov soyuz vekovoi
Be glorified, our free Fatherland,
Predkami dannaya mudrost' narodnaya!
The age-old union of fraternal peoples,
Slav'sya, strana! My gordimsya toboi!
Ancestor-given wisdom of the people!
Be glorified, country! We are proud of you!

21
Appendix C - “Apsara Aali” lyrics/vocals

Verse:
Komal kaaya ki moh maya Apsara aali Punava chandana nhali
My soft skin is enchanting Here comes the nymph bathed in moonlight

Punava chandana nhale Verse 2:

I’m bathed in moonlight Chhabidaar surat dekhani, janu hirkani, naar
gulzar
Sonyaat sazale roopyat bhijle My face is so beautiful, I’m a priceless
Bedecked in gold, drenched in silver diamond, I’m a rose in full bloom.

Ratnaprabha tanu nyaale saangate umar kanchuki bhapudi mukhi

I have worn the shimmer of rubies. My blouse (kanchuki), the silent sufferer

Prechorus: sosate bhaar

Hee natali thatali complains about the heavy burden it has to
I’m dressed up bear

Jashi umatali chandani rang mahaali shelati khunaavi kati

Looking like moonlight has descended on my tiny waistline beckons you
the stage
tashi hanuvati, nayan talwar
Mee youvan bijli as does my chin, and my lethal eyes
I’m a thunderbolt
Bridge:
paahun thizli Indrasabha bhavatali hee rati madu bharli, daji
that has struck the entire court of Indra she’s the intoxicating goddess of love, dear
sir
Chrous:
Apsara aali Indrapuri tun khaali thinagi shingarachi
Here comes the nymph, straight from the she’s the very spark of passion
heavens
kasturi darvalali, daji, chook hi varyachi
Pasarli laali ratnaprabha tanu nyaali the fact that her fragrance has intoxicated
Her presence has lit up the earth the air is the wind’s fault, not hers.

Ti hasali gaali chandani rang mahaali Prechorus

Her moonlit smile has brightened the stage Chorus

22