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Sounds of the Singing Revolution: Alo Mattiisen,Popular Music, and the Estonian IndependenceMovement, 1987-1991Allison Brooks-ConradLawrence University, abrooks.conrad@gmail.com

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Recommended CitationBrooks-Conrad, Allison, "Sounds of the Singing Revolution: Alo Mattiisen, Popular Music, and the Estonian IndependenceMovement, 1987-1991" (2018). Lawrence University Honors Projects. 124.https://lux.lawrence.edu/luhp/124

SoundsoftheSingingRevolution:AloMattiisen,PopularMusic,andtheEstonianIndependenceMovement,1987-1991

AllisonBrooks-ConradApril30th,2018Musicology

Advisor:ProfessorEricaScheinberg

Acknowledgements

SpecialthankstomymotherforintroducingmetoEstoniaandforsharingmypassionforthisfascinatingBalticstate.Thankyoutobothofmyparentsfortheiradvice,support,andinterestinthisproject.ThankyoutoProfessorColetteBrautigamformakingthedigitalimagesofMingemÜlesMägedelethatIuseinthispaper.ThankyoutoMerikeKatt,directorofJõgevaMusicSchoolinJõgeva,Estonia,forgraciouslysharingherimagesofAloMattiisenwithmeandforhersupportofthisproject.Finally,thankyoutomyadvisor,ProfessorEricaScheinberg.Iamsogratefultoherforherwillingnesstotakeontheobscuretopicsthatinterestmeandforsupportingthisprojectfromthebeginning.Icannotimaginethisprojectwithoutherguidance,expertise,support,andenthusiasm.

1

UponarrivingintheEstoniancapitalTallinn,byferryfromHelsinki,Finland,

passengersmayfirstnoticethetall,pointedspiresinOldTown,thetraditional,

EasternOrthodoxoniondomesonAlexanderNevskyCathedral,orthesmallclusters

ofhighrisebuildings,someofwhichareunmistakablySovietintheirdesign.Asthe

ferrypullsintoTallinnBay,anenormousgreyandwhitebandshell,emerging

betweenthehillstothesouthwest,sooncomesintoview.Thoughnotpartofthe

iconicOldTownskyline,thebandshellandsurroundingfestivalgroundsplayedan

arguablymoreimportantroleindevelopingEstonianidentity.Throughoutthe

summerof1988,hundredsofthousandsofEstoniansgatheredatthesegrounds,

usuallyreservedformusicfestivals,tolistentopoliticalspeakers,singEstonian

songs,andpeacefullyprotesttheirhomeland’sstatusasaSovietstate.1Atone

particulareventonSeptember11,1988,calledEestimaaLaul1988,over300,000

EstonianscongregatedtohearspeakersfrompoliticalgroupsliketheEstonian

PopularFrontandtheEstonianHeritagesocietyandtolistentoperformancesby

prominentEstonianmusicians.2Thefestivalincludedoneparticularlyelectrifying

performanceofasetofthreesongsbyEstoniancomposerAloMattiisen,hisbandIn

Spe,andpopularEstoniansingerIvoLinna,accompaniedby300,000audience

memberssingingalong.3

1WalterClemens,Jr.BalticIndependenceandRussianEmpire(NewYork:St.Martin’sPress,1991),111.2Ibid.;HankJohnstonandAiliAarelaid-Tart,“Generations,Microcohorts,andLong-TermMobilization:TheEstonianNationalMovement,1940-1991,”SociologicalPerspectives43,no.4(Winter2000):690,JSTOR.3“EestimaaLaul1988,”video,2:17:22,July8,2014,https://www.youtube.com/watch?v=Uy6Trbfv4tc.OriginallyreleasedasEestimaaLaul1988,directedbyToomasLepp(1988,Tallinn:EestiInfofilmandLunaVistaProductions,2008),DVD.Thisvideoprovidesover3hoursofminimallyedited

2

Sincetheintroductionofperestroikaandglasnostpoliciesthreeyearsearlier,

EstoniahadledthewayastheBalticstateseachsoughtapathtoindependence

fromtheSovietUnion.4WhileallthreeBalticstatescountedmusicaspartoftheir

culturalidentities,aswellasoneoftheirorganizingtoolsduringtheirrespective

strugglesforindependence,Estoniawasthefirsttousemusicintestingthelimitsof

glasnostin1987,whichIwilldiscussinmoredetaillaterinthispaper.5Thecultural

elitewhoconstructedEstonia’snationalisminthemid-19thcenturyhademphasized

therolemusicwouldplayintheirnation,forgingadirectlinkbetweenEstonian

nationalismandmusic;overacenturylater,facedwithSovietoppression,Estonians

reliedonmusictocarrytheirmessage.Perhapsrelatedtothespecialrolemusic

playedintheEstoniansenseofnationalismwasthestate’sopenattitudetowards

popularmusicduringthe1980s,whichallowedforanEstonianpopularmusicscene

fullofexperimentalstyles,newinterpretationsofWesternmusic,andmusical

activism.ComposerAloMattiisenemergedasoneofthemostinfluentialmembers

oftheEstonianmusicsceneinthe1980s,notonlybydefiningEstonianpopular

musicasbeingpoliticalandactivist,butalsobyincorporatingexperimental

reinterpretationsoflargerWesternpopularmusictraditions.Ultimately,wecanuse

footageofEestimaaLaul1988.Thereareveryfewpublisheddescriptionsofthisparticularevent,sothisvideoservesasavaluablesourceforunderstandingtheformatandfunctionofEestimaaLaul1988.Moreimportantly,though,thedramaticimageof300,000Estonianssingingtogetherisbettercapturedthroughvideothanwrittensources,thoughIimaginethatneithertrulycomparestoactuallyexperiencingtheevent.4Clemens,BalticIndependenceandRussianEmpire,74-75.Gorbachev’sglasnostandperestroikapolicies,introducedin1985,proposedeconomicreforms(perestroika),accompaniedbynew,morelenientpoliciesregardingfreespeech(glasnost).5GuntisŠmidchens,ThePowerofSong:NonviolentNationalCultureintheBalticSingingRevolution(Seattle:UniversityofWashingtonPress,2014),237-238.

3

AloMattiisen’scontributionstotheEstonianmusicsceneofthe1980sasa

frameworkforinterpretingthevariousmusicalinfluencesshapingEstonianmusic

duringthatperiod,musicthatultimatelyplayedavitalroleinthecountry’sstruggle

forindependenceattheendofthedecade.

IndescribingMattiisen’sactiveroleintheEstonianindependence

movement,Ianalyzeacollectionofsongshewroteandpremieredin1988,called

theFiveFatherlandSongs.Inmanyways,thesongsthemselvesservedasacatalyst

forrevolutionandasaunifyingforcethatbroughtEstonianstogethertoprotestfor

independence.Despitethesongs’incrediblepopularityinEstonia,nopublished

musicologicalanalysisoftheFatherlandsongs—analysisthatdescribesthewaythe

musicsounds,thebroadermusicaltrendsorstylesitevokes,orthewaythe

audiencemighthaveunderstoodit—existsinEnglish.Inordertofullyunderstand

therolethesesongsplayedintheEstonianindependencemovement,aswellas

theirplaceinthebroadercontextofpopularmusicfromthelate1980s,andto

suggesttheirsignificancetoanEstonianaudience,Iprovidesuchananalysisinthis

paper.

4

Figure1.Estoniaandsurroundingcountries.(Wikimedia

Commonscontributors."File:BalticSeamap.png."WikimediaCommons,thefreemediarepository.AccessedApril22,2018.https://commons.wikimedia.org/w/index.php?title=File:Baltic

_Sea_map.png&oldid=122117203.)

ABriefHistoryofEstonianNationalismandMusic

SincetheMiddleAges,Estoniahasbeenanationorterritoryunder

occupationbyaforeignpower.Forcenturies,variousnationshavecontrolledthe

region,preventingnativeEstoniansfromlivingautonomously.6Inthe19thcentury,

EstoniawasunderRussiancontrolandGermansintheregion(fromprevious

occupations)heldalltheeconomicandpoliticalpower.7TheEstonianNational

Awakeningbegantoemergeagainstthisbackdrop.This19th-centuryswellof

6VelloA.Pettai,“Estonia,”inEstonia,Latvia,andLithuania:CountryStudies,ed.WalterR.Iwaskiw(Washington:FederalResearchDivision,LibraryofCongress,1996),12-14.7Ibid.,14-15.

5

nationalismwasaneffortonthepartofculturalelitestodefineEstonian

nationalismthroughthemusic,poetry,andliteraturetheycreated.Amongthepoets

whoinspirednationalistsentimentwiththeirworkareFriedrichReinhold

Kreutzwald,who,in1857,wrotethecountry’sfirstepicpoem,Kalevipoeg,depicting

anancientmythologicalEstonianleader;andLydiaKoidula,Estonia’sfirstfemale

poet,whoseRomanticandnationalistpoetryservesasthetextformanyofEstonia’s

nationalsongs.8

Estoniaalsohasarichfolkmusictradition,whichlikelyinspiredmembersof

thisculturalawakeningtoemphasizemusicasaformofnationalexpression.For

example,EstoniansonganthologiesandhymnalswritteninEstonianwere

publishedinthe1840s;choirsexclusivelyforethnicEstonianswerefoundedinthe

samedecade.9ThefirstEstoniansongfestivalfocusedonmasssinging,orLaulupidu,

tookplacein1869,tocelebratethe50thanniversaryoftheemancipationofEstonian

serfs.10Laulupiduhaveoccurredcontinuouslysince1869,evenduringSoviet

occupation.Thefestivalsinvolvetensofthousandsofparticipantsfromaroundthe

countrywhogatheratthefestivalgroundsinTallinntosingnationalistsongs

together.Estoniancomposersrespondedtothesenewmusicalculturalinstitutions,

likechoirsandsongfestivals,bywritingnationalistsongsabouttheirnewlyfound

Estonianpride.11

8Ibid.,36-37.9Šmidchens,ThePowerofSong,70.10Ibid.11AnoteaboutEstonianidentity:PerhapstheclearestindicationofEstonianidentityorethnicityislanguage.Estonianisadifficult,singularlanguageandisunrelatedtoLithuanian,Latvian,orRussian.The19th-centuryEstonianNationalAwakening,duringwhichculturaleliteEstoniansconstructedtheirvisionfor

6

InthewakeoftheBolshevikRevolutionin1917,Estonia,whichwasunder

Russiancontrolatthetime,begantoformallyorganizeforindependence,becoming

independentin1919.12Estoniaexistedasanindependentnationforonly20years,

beforebeingsecretlycededtotheSovietUnionaspartoftheMolotov-Ribbentrop

Pactin1939.13EstoniacontinuedtoexistunderSovietoccupation,astheEstonian

SovietSocialistRepublic,subjectedtointenseRussificationefforts,untilthefallof

theSovietUnionin1991.Aftertheintroductionofperestroikaandglasnostpolicies

in1985,Estonianssoonbegantotestjusthowfarthesenewpoliciesofpolitical

opennessextended.AftersuccessfullyprotestingSovietplanstostripminein

Estonia,environmentalists,scientists,andevenpoliticiansbegantothinkabout

protestingwithabiggergoalinmind:regainingtheirindependence.14

Themovementforindependence,whichbecameknownastheSinging

Revolution,didn’tgainmomentumuntilMay14,1988,atapopularEstonian

Estoniannationalism,alsomarkedtheemergenceofEstonian-languagepublications.DuringtheSovietoccupation,languagefurtheredthedividebetweenEstoniansandRussians,sinceRussianswhorelocatedtoEstoniaaspartofRussificationeffortsrarelylearnedtheEstonianlanguage.Furthermore,non-Russianimmigrants(peoplefromotherSovietstates)whomovedtoEstoniatypicallydidn’tlearnthelanguage,eveniftheystayedinthecountry,creatingevenmoreofadistinctionbetweenethnicEstoniansandeveryoneelse,notmerelyan“occupied”and“occupier”dichotomy.Thestate’sofficiallanguagewasRussianuntil1988,whentheEstonianparliamentvotedtochangetheofficiallanguagetoEstonian.Inotherwords,itseemsasthoughpeoplewhospokeorknewEstonianwereEstonian.SeeClemens,BalticIndependenceandRussianEmpire,17,105,131,151.12Pettai,“Estonia,”15-16.13RomualdMisiunasandReinTaagepera,TheBalticStates:YearsofDependence1940-1990(Berkeley:UniversityofCaliforniaPress,1993)15-16.ThesecretMolotov-RibbentropPact,signedin1939,establishedNaziGermanandSovietspheresofinfluenceinEasternEurope.Asaresult,EstoniawasannexedbytheSovietUnionwithoutthenation’sknowledgeorconsent.14Šmidchens,ThePowerofSong,237.

7

summermusicfestival,TartuMusicDays,whereAloMattiisen,hisbandInSpe,and

singerIvoLinnapremieredacollectionoffivenationalistsongscalledtheFive

FatherlandSongs.15Thesongs,whichcelebratedEstoniannationalpride,werea

greatsuccess,andthenextdayofthefestival,audiencemembersreturnedwithold

Estonianflags,thattheyhadn’tflownsinceEstonia’sbrieferaofindependencefifty

yearsearlier.16Becausethesongsweresowellreceived,Mattiisenandhisgroup

performedagaininthecapitalcityofTallinn,afewweekslater,toevenlarger

crowdsproudlydisplayingEstonianflags.Whenpolicetriedtointervene,thecrowd

moved,enmasse,tothenationalfestivalgroundsontheoutskirtsofTallinnand

joinedtogetherinsong.17

Figure2.ThenationalsongfestivalgroundsinTallinn,

EstoniainOctober,2016.PhotobyAllisonBrooks-Conrad.

Followingthesuccessofwhatbecameanimpromptu,nighttimesongfestival

thatspannedthreenights,Estoniansbegantoworkquicklytotakeadvantageofthe

15Ibid.,210.16Ibid.17Ibid.,209.

8

newmomentumoftheirmovement.Theybeganmobilizingintopoliticalparties,

formingaparliament,andmakingdemandsoftheSovietgovernment.18Thesong

festivalgroundsinTallinnbecameaninformalmeetingplaceandsymbolofthe

revolution,hostingnumerousconcertsandralliestogathersupportandinspirethe

massestobecomeinvolved.19TensionsbetweentheSovietsandEstonianspeaked

in1991,whenSoviettanksrolledintoEstoniaafterEstoniaofficiallydeclared

independenceinthewakeofthefailedcoupinMoscowaimedatremoving

Gorbachevfrompower.20WiththedissolutionoftheSovietUnion,Estoniafinally

gaineditsindependence,withoutasingleshotfired,unlikeeventsthatledto

independenceintheneighboringBalticstates.21ManyscholarsattributeEstonia’s

entirelypeacefulrevolutiontothecountry’sculturalandpoliticalunity,bolsteredby

theirnationalsingingtradition.Byrallyingaroundsong,ratherthansplittinginto

politicalfactions,EstonianswereabletofaceSovietforcesasaunitedfront.18Clemens,BalticIndependenceandRussianEmpire,133.19WarrenWaren,“TheoriesoftheSingingRevolution:AnHistoricalAnalysisoftheRoleofMusicintheEstonianIndependenceMovement,”InternationalReviewoftheAestheticsandSociologyofMusic43,no.2(December2012):447,JSTOR.20Ibid.,445-446.21TheLatvianandLithuanianindependencemovementsweresimilarlydrivenbymusic,butwithlesssuccess.UnlikeinEstonia,bothLatviaandLithuaniasufferedcasualtiesdespitetheirattemptsatmusical,non-violentprotest(Pettai,“Estonia,”11).Withoutdoinganin-depth,comparativestudy,however,itisdifficulttoknowwhytheEstonianindependencemovementwastheonlyonewithoutviolenceandcasualties.InLatvia,therockoperaLāčplēsis,orBearslayer,isgenerallycreditedwithsparkingrevolutioninthesamewaytheFatherlandsongsdidinEstonia(Šmidchens,ThePowerofSong,246).InLithuania,thebandAntis(understoodtomean“Anti-S”or“against-Soviet”)wroteandperformedmusicthatcelebratedLithuaniannationalismandformedthebasisfortheirrevolution(Šmidchens,ThePowerofSong,235).OnedistinguishingfactorbetweentherevolutionsinLatviaandLithuaniaandtherevolutioninEstonia,besidesthelossoflife,isthelackofacentralmeetingplace.WhilesomuchofEstonia’smovementunfoldedatthesongfestivalgrounds,aconnectiontoaphysicalplacedoesn’tseemtohavefactoredasprominentlyineithertheLatvianorLithuanianmovements.

9

Wheneverviolenceseemedimminent,largegroupsofpeacefulanddedicated

EstonianscontinuallyoverwhelmedSoviettroopsandSovietsympathizers,simply

byoutnumberingthem.22

EstonianPopularMusicinthe1980s

Beforewritingsomeofthemostimportantsongsoftherevolution,Alo

Mattiisenwasjustoneofthemanyartistsshapingthe1980sEstonianpopular

musicscene.Inmanyrespects,thismusicscenewascharacteristicofthebroader

musicsceneintheSovietUnionduringthatera.MostpopularmusicintheSoviet

Unionexistedunderground,meaningmusicwascreatedanddistributedoutsideof

thelegal,state-runmusicproductionnetwork,andwasthereforenotsubjectedto

thestate’scontentandstylerequirements.23HeavilyinfluencedbyWesternmusical

stylesandidioms,Sovietundergroundscenesgrewanddevelopedintoavibrant

collectionofmusiciansandgenres,despitetheenvironmentofcensorship.24The

popularmusicthatwasstateapprovedwasreleasedthroughtheSovietUnion’s

giantrecordingproductioncompany,Melodiya.State-sanctionedmusic,alsocalled

22AfamousinstanceofthistacticoccurredonMay15,1990,when,inretaliationtotheEstoniandeclarationofindependenceonMay8,about2,000pro-Sovietdemonstrators(mostlyRussianslivinginEstonia)surroundedToompeaCastle,whichhousedtheEstonianParliament(abodythathadformedinanattempttolegitimizetheirindependencemovement).Fearingviolence,orevenacoupd’état,theparliamentmembersinsideToompeaCastlebroadcastamessageovertheradio,callingupontheEstonianpeopleforhelp.ThethousandswhoshowedupformedahumanbarricadetoblocktheRussianprotestors,overwhelmingthem.Theythenformed“acorridor”allowingthesurroundedpro-Sovietprotestorstopeacefullyexit(Clemens,BalticIndependenceandRussianEmpire,192).23ThomasCushman,NotesfromUnderground:RockMusicCountercultureinRussia(Albany:StateUniversityofNewYorkPress,1995),xi.24Ibid.,37.

10

“official”or“commercial,”wasgenerallyconsideredbythepublicas“pop”music;

undergroundmusic,(“unofficial”and“noncommercial”)wasconsideredas“rock”

music.25Becausetheirmusicwas“noncommercial”ornotforsale,rockmusiciansin

theSovietundergroundsceneconstructedanarrativewheretheirmusicwasnot

onlymoreauthenticthanofficialmusic,butaformofartisticpoetry.26

However,unlikethe“official”and“unofficial”musicmodelinmostofthe

SovietUnion,Estonia’spopularmusicscenewasnotablymoreprogressive,notonly

intermsofwhatwasconsidered“unofficial”music,butalsowithrespecttothe

“official”musicthatwasrecordedanddistributedthroughMelodiyaEstonia.27In

fact,WesternmusicalstylesoftenfoundtheirwayintotheSovietUnionandthe

undergroundscenethroughEstonia.28DuetotheirproximitytoFinland,Estonians

listenedtoFinnishradioandlearnedaboutWesternmusicaltrends.29Bythelate

25AlexandraGrabarchuk,“ClosetotheEdge:SovietProgressiveRockandGenreFormation,”Academia,accessedApril23,2018,http://www.academia.edu/26548581/CLOSE_TO_THE_EDGE_SOVIET_PROGRESSIVE_ROCK_AND_GENRE_FORMATION.AversionofthisarticlewaspublishedinProgRockinEurope:OverviewofaPersistentMusicalStyle,ed.PhilippeGonin(Dijon:ÉditionsuniversitairesdeDijon,2016);SeealsoCushman,NotesfromUnderground,124.Cushman,quotingArtemyTroitsky,explainsthat“Popmusicisconsideredtobemusicwhich‘iscreatedwiththesobercalculation…ofacommercialreward’”(128).26Cushman,NotesfromUnderground104.Sovietrockwasalsodecidedlyapolitical.CushmandescribeshowtheonlyinstancesofSovietundergroundrockmusicianswritingpoliticalmusicwaswhentheywrotemusicintendingto“fightthestatebyencasingthestateinamoregeneralcritiqueoftheexistencewhichthestateitselfhadwrought”(110).27ItseemsthatinEstonia,the“unofficial”musicscenewasnotanundergroundsceneformusicwritingandproduction,butrathercanbeunderstoodasWesternmusicthatwasnotdistributedbyMelodiyaEstonia.28SabrinaPetraRamet,SergeiZamascikov,andRobertBird,“TheSovietRockScene,”inRockingtheState:RockMusicandPoliticsinEasternEuropeandRussia,ed.SabrinaPetraRamet(Boulder:WestviewPress,1994),199.29Ibid.,200.

11

1980s,EstonianswerelisteningtobothunofficialWesternbandsandofficial

Estonianbands.SabrinaPetraRamet,inanessayonSovietRock,describesapollof

musicaltastes,takeninEstoniain1987.Includedinthetoptenbandsamongthe

EstonianspolledwereELO(ElectricLightOrchestra),ABBA,andtheBeatles.30Ivo

Linna’sRockHotel,ReinRannap’sRuja,andKaravan,eachofthemMelodiya-

sponsoredEstoniangroups,alsomadethelist.31Finnishradiochartsfromtheera

alsoofferaglimpseofwhatmusicEstonianswerepickingupfromacrosstheBaltic

sea.Chartsfrom1988pointtoafairlyequalmixofprominentFinnishmusicians

andgroupsfromWesternEuropeandtheUS,suchasKylieMinogue,Michael

Jackson,andBananarama.32Themostpopulargroup(orthegroupthatenjoyedthe

mostweekswiththehighestsellingsingleinFinland)isBritishduoPetShopBoys,

knownfortheirdanceable,synthpopmusicstyle.33

Inadditiontothe“unofficial”Westernmusicscene,therelativelyopen

attitudetowardsmusicinEstonia,especiallyfromMelodiyaEstonia,the

autonomousEstonianbranchoftheSovietstate-runrecordcompany,likelyalso

fosteredan“official”musicalscenethatwasdirectlyinfluencedbyWesternstyles.34

WhileitscorrespondinglabelinRussia,MelodiyaMoscow,wasknownforreleasing

30Ibid.,199.It’spossiblethatsomeEstonianswerelisteningtoblackmarketrecordingsbytheseartists,buttheywereprobablyalsohearingtheirmusicbroadcastonFinnishradio.31Ibid.32“Listofnumber-onesinglesof1988(Finland),”Wikipedia,lastmodifiedDecember10,2014,https://en.wikipedia.org/wiki/List_of_number-one_singles_of_1988_(Finland).OriginallypublishedinJakeNyman,Suomisoi4:Suurisuomalainenlistakirja(Helsinki:Tammi,2005),18.33Ibid.34TimothyW.Ryback,RockAroundtheBloc:AHistoryofRockMusicinEasternEuropeandtheSovietUnion(NewYork:OxfordUniversityPress,1990),214-215.

12

state-approvedmusicthatmetthestrictstandardsofstate-determined“taste

culture,”MelodiyaEstoniatookamoreliberalapproach.35Intheearly1980s,the

labelreleasedmusicbyavarietyofgroupsrepresentingavarietyofgenres,suchas

Karavan,asoft-rockgroup;therockabilly-stylecoverbandRockHotel,frontedby

IvoLinna,thecharismatic,popularEstoniansinger;andthefirstreleasefromErkki-

SvenTüür’sexperimentalprogrockgroup,InSpe.36Popmusiccompilations

releasedbyMelodiyaEstoniaduringthe1980salsoindicatesomeofthediversity

andvarietyinthe“official”musicscene,illustratingsomeofthewaysthatWestern

musicalstyleswereheardandincorporatedbyEstonianartists.Instudying“Eesti

Pop”musiccompilationsfromthe1980s,fourlargermusicaltrendsseemto

emerge:atraditional,western-sounding1980spopstyle,characterizedby

synthesizers,keyboards,andadanceablebeat;a1970slight-rockstyle,reminiscent

ofWesterngroupslikeBostonandtheEagles;arock-and-rollorrockabillystyle,

inspiredbyearlyBritishandAmericanpopularmusic;andaprogrock-likestyle,

markedbylong,experimental,instrumentaltracks.37

35Cushman,NotesfromUnderground,38.ThoughEstoniaexistedastheEstonianSovietSocialistRepublic,amemberstateoftheSovietUnion,theEstonianbranchofMelodiyawasapparentlygrantedquiteabitofautonomy.Melodiyaoperateddifferentlyineachmemberstate.Forexample,MelodiyaBelarusonlyapprovedartistswhoperformedinRussianandhadmuchstrictercensorshipandregulationsthanMelodiyaEstonia.SeeMariaPaulaSurvilla,“RockMusicinBelarus,”inRockingtheState,ed.Ramet,221.36Ryback,RockAroundtheBloc,215.Eventually,AloMattiisenwouldtakeoverfromErkki-SvenTüürtoleadInSpeafterTüürlefttostudycomposition.Tüürisnowafrequentlycommissionedandperformedavant-gardecomposer.See“Biography,”Erkki-SvenTüür,accessedApril15,2018,https://www.erkkisven.com/cv.37EestiPopVII,variousartists,MelodiyaC6024663009,1986,Spotify;EestiPopX,variousartists,MelodiyaC6028303003,1989,Spotify.

13

DespiteMelodiyaEstonia’sopenattitudetowardsmusicalexpressionandthe

influxofWesternmusicenteringthecountrythroughFinland,therewerestillsome

limitationsonEstonianmusicalmessagesandexpression.TheEstonianpunkscene,

forexample,hadalargefollowingandwasfamousforsarcastic,thinlyveiled

critiquesofMoscow.BecauseEstonianpunkwasmoreopenlycriticaloftheSoviet

government,punkartistsandpunkconcertswereoftenthetargetofSovietcensors

andlawenforcement,despitethefactmanyofthesebandswere“official”Melodiya

groups.38Perhapsthemoststoriedexampleofthiscontradictionbetween“official”

musicandstatecensorshipoccurredin1980,whenaconcertbyPropeller,ayoung

punkband,wasabruptlycancelledafewminutesafteritstarted.39Theaudience,

upsetaboutthecancellation,retaliatedbythrowingvegetablesattheauthorities,

whoconstruedtheeventasaviolentriotandbannedPropellerandtheirmusicas

punishment.40Whileothergroups,suchasInSpe,theprogrockgroupAloMattiisen

wouldeventuallylead,weretakingfulladvantageofEstonia’slargelyopen-minded

musicalsceneanddevelopingexperimentalmusicalstylesthatincorporated

Westerntrends,theywerelikelystillconsciousoftheunderlying,omnipresent

threatofSovietcensorship.

EstonianProgRockandMattiisen’sInSpe

Progressiverock,orprogrock,isacomplex,multi-facetedgenrethatcanbe

difficulttodefine.EthnomusicologistJayKeisterandmusicologistJeremySmith

38Ryback,RockAroundtheBloc,216.39Šmidchens,ThePowerofSong,221.40Ibid.,221-222.

14

offeronedefinition,emphasizinghowprogrockreliesonthe“introduc[tionof]

formalstructuresandinstrumentationofclassicalmusic,jazz,andworldmusicinto

rock,”resultinginLPalbumsthatare“complex,multi-movementworks.”41

Furthermore,accordingtomusicologistJohnPalmer’sdefinition,progrock

compositionsare“slightlylongertracks,”andinclude“experimentationwithstudio

technology,andincorporationof‘unusual’instruments.”42Progrockgroupshave

oftenincludedtraditionalrockbandinstrumentation,likeguitar,bass,keyboard,

anddrums,butalsohighlightedsynthesizersandnontraditionalrockinstruments.

Additionally,becauseprogrockrejectstraditionalpopularmusicstandardsfor

length,harmony,orinstrumentation,thegenreofferstheartistavastspacefor

experimentationandthelisteneranopportunitytoreflectandlisten

introspectively.43ThecharacteristicsdescribedbyPalmer,Keister,andSmithdonot

necessarilydescribeallprogrockgroups.Inanattempttooffermoreencompassing

definitions,musicologistChrisAndertonsuggeststhatcompositionsthat

incorporatediverseinstrumentationandincludelong,virtuosic,heavily

instrumentaltracksbereservedforthe“symphonic”progrocksubgenre.44

Borninmanywaysoutofthe19th-centuryRomanticismmovementinart,

literature,andmusic,progrock(specifically“symphonic”progrock)isenvisioned

bymanyofitsartistsasagenrethatplacesemphasisonartisticexpression,musical

41JayKeisterandJeremyL.Smith,“MusicalAmbition,CulturalAccreditationandtheNastySideofProgressiveRock,”PopularMusic27,no.3(October2008),433,JSTOR.42JohnPalmer,“Yes,‘Awaken,’andtheProgressiveRockStyle,”PopularMusic20,no.2(May2001),243,JSTOR.43ChrisAnderton,“Amany-headedbeast:progressiverockasEuropeanmeta-genre,”PopularMusic29,no.3(October2010):420,JSTOR.44Ibid.,419.

15

legacy,theroleoftheindividual,andothertraditionalRomanticideals.45Describing

“symphonic”progrock,musicologistJohnPalmeralsonotesthat“theimportance,

andoftenprimacy,ofinstrumentationisoneofthedefiningcharacteristicsof

progressiverock.”46Hegoesontoexplainthat“theincorporationofthematically

importantinstrumentalpassagesintosongsincreasedthelengthoftracksto

unforeseenproportions,”andthattheselongtracksresultedin“thechallengeto

createbothvarietyandunityinextended…tracks.”47Someprogrockgroups

respondedtothischallengebyproducingconceptalbums,oralbumsthat

functionedasaself-containednarrativethroughthecollectionoftracksontheLP.

Someconceptalbums,likeJethroTull’sThickasaBrick(1972)areonesingletrack

forthefulldurationofthealbum.Otherconceptalbumsarecomprisedofaseriesof

relatedtracksthatarelongenoughtoconveyanarrativeandoffertheopportunity

forintrospectivelistening,buttoolongforradioplay,likeKingCrimson’sInthe

CourtoftheCrimsonKing(1969),Yes’Fragile(1971),orGenesis’SellingEnglandby

thePound(1973).

Onecommontraitof“symphonic”progrockistheincorporationofclassical,

concert-hallmusic.Oneextremeexampleis“CansandBrahms,”atrackfromprog

rockgroupYes’albumFragile(1971).“CansandBrahms”issimplyanexcerptofthe

thirdmovementfromBrahms’SymphonyNo.4performedonasynthesizer.

Similarly,analbumbyEmerson,Lake,andPalmer,anotherprogrockgroup,isthe

band’sreinterpretationandretellingofModestMussorgsky’sPicturesatan

45Ibid.,424.46Palmer,“Yes,‘Awaken’,andtheprogressiverockstyle,”245.47Ibid.

16

Exhibition,followingthemovementsandstructureoftheoriginalversion.Insome

movements,thegroupsimplyperformsanarrangementoftheoriginalmusic,while

othermovementsarecompletedeparturefromtheoriginal.48Othergroups

developedtheirownmethodsforincorporatingothermusicalstylesandgenresinto

theirownuniquebrandofprogrock.

ProgrockoriginatedinGreatBritaininthelate1960s;groupslikeKing

Crimson,Yes,JethroTull,andGenesiswereallpartoftheinitialEnglishtradition.In

anattempttodiscussvariationsofprogrockthatdifferfromtheEnglishtradition,

Andertoncharacterizessubgenresbygeographicregion.HisdiscussionofItalian

andFrench-BelgiantraditionsmostcloselymirrorthetraditionsinEstonianprog

rock.Italianprogrock,accordingtoAnderton,oftencombinesclassicalmusic

traditionswithrock,usuallybycomposingintraditionalclassicalorbaroqueforms,

likeNewTrolls’1971album,ConcertoGrossoperINewTrolls.49Similarly,French

andBelgianprogrockgroupsoftencombinetraditionalcomponentsofclassical

ensembles,suchasstringandwoodwindsections,withcontinuouslypresent

electricbass.50

IntheSovietUnion,progrockexistedinagreyareabetween“official”and

“unofficial”music.MusicologistAlexandraGrabarchukarguesthattheSovietgenre

orstyleestradafunctionsasasortofSovietprogrockbecauseitfosteredasenseof

48FormoreonEmerson,Lake,andPalmer’sPicturesatanExhibition,seeEricHung,“HearingEmerson,Lake,andPalmerAnew:ProgressiveRockas‘MusicofAttractions,’”CurrentMusicology,no.79/80(2005):245-259,https://currentmusicology.columbia.edu/article/hearing-emerson-lake-and-palmer-anew-progressive-rock-as-music-of-attractions.49Anderton,“Amany-headedbeast,”427.50Ibid.,429.

17

musicalexperimentalismthatresultedinconceptalbums,experimental

instrumentation,andlongtracks.51However,asThomasCushmanpointsout,

estradawas“official”musicandinsomecircles,synonymouswithcommercialized

music.52Thegeneralunderstanding,asdiscussedintheprevioussection,wasthat

“official”musicwascommercialandinauthentic,asopposedto“unofficial”music,

whichwassupposedlytoodeeplyfelt,tooauthenticallyemotionalandintrospective,

andtoopoeticforacommercialmarket.However,acceptingGrabarchuk’sdefinition

ofestradaasaformofSovietprogrock,thegenremeetsrequirementsforbothsides

oftheSovietmusicaldichotomy.Whileestradawas“official”musicthatwas

recognizedandsupportedbythestate,asagenreitsharedmorecharacteristics

with“unofficial”music.Estradaalbumswereoftenconceptalbums(meaningthey

includedlongtracksintendedforcontemplativelistening),andestradatrackswere

oftenexperimentalininstrumentationandmusicaltechniques,suggestingthe

genre’ssimilaritiesto“unofficial”undergroundmusicandexplainingwhyitmight

haveseemedinappropriateforthe“official”musiccommercialmarket.

Beyondofferinganintriguingexampleofthemalleablegenredivisions

between“official”and“unofficial”music,estradaalsoservesasapossible

explanationforwhyMelodiyaEstoniareleasedprogrockalbumssuchasInSpe’s

TypewriterConcertoinDMajor.Progrock,whichisn’tdesignedforradiobroadcast,

probablywouldn’thavebeenamongthetypesofmusicEstoniansheardwhen

tuningintoFinnishradio.Butbecauseitwas“official”music,estradawouldhave

51Grabarchuk,“ClosetotheEdge.”52Cushman,NotesfromUnderground,127.

18

beeneasilyaccessibletoEstonianmusicianslikeMattiisen,influencingtheirideas

aboutexperimental,introspectivemusic.

Figure3.AyoungAloMattiisenatthepiano,

1978.PhotobyAivarMihkelson.CourtesyofJõgevaMusicSchool,Jõgeva,Estonia.

Mattiisen’scontributionstotheEstonianprogrockscenewerewiththeprog

rockgroupInSpe;hewouldeventuallycollaboratewiththemagainwhenwriting

theFiveFatherlandSongs.InSpewasoriginallyfoundedbyErkki-SvenTüür,who

envisionedthegroupasanEstonianversionofclassicproggroupslikeYes,King

Crimson,andGenesis.53AfterTüürleftInSpeintheearly1980s,ayoungMattiisen

tookoverthegroup’sartisticdirection,andTypewriterConcertoinDMajor(1985)

wastheirfirstreleasewithhim.54RecallingAnderton’sgeographicprogrock

subgenres,TypewriterConcertoinDMajorseemsespeciallyreminiscentofboththe

53Erkki-SvenTüür,“Biography.”54“InSpe,”SymphonicProg,ProgArchives,accessedSeptember27,2017,http://www.progarchives.com/artist.asp?id=166.TypewriterConcertowasInSpe’ssecondrelease.Thealbumdoesn’tsoundparticularlylikethegroupsTüürhopedtoemulate,likelybecauseMattiisenhadadifferentartisticvisionforthegroup.

19

ItalianandFranco-Belgianstyles.Perhapsthisalbum’smostobviousconnectionto

theItalianprogrocktraditionistitletrack’sclassicalform.Theconcertoitselfisin

fourmovements(titledAllegroVivace,Largo,Allegro,andFinale),presentingan

interestinghybridoftraditionalformandnontraditionalinstrumentation.In

additiontothetypicalrockinstruments(guitar,electricbass,percussion),Mattiisen

includesvarioussynthesizers,oftenimitatingastringsection.Themostatypical

instrument,ofcourse,isthetypewriter,whichfunctionsasthevirtuosicsoloist.The

typewriter’spartissometimesindialoguewiththe“accompaniment”(synth,bass,

drums),butsometimes,suchasinthesecondmovement,thetypewritersimply

providesdramaticflourishes,similartoanornamentedharpsichordrealization.

Sincethetypewritercan’tbemelodic,instrumentsofthe“orchestra”oftenprovide

themelody,whilethetypewriterfunctionspercussively.Thethirdmovement

includesacadenza-likesection,wherethetypewriterperformermakesfulluseofall

thepossiblesoundeffectsatypewriteriscapableofcreating.Theentireworkisin

fourmovements,andconcludeswithafinalsectionthatrevisitsearliermaterial,

reminiscentofa19th-cenutrycyclicsymphony,ormorecontemporaneously,likea

rockopera.55

OthertracksonthealbumaremorereminiscentofAnderton’sFrench-

Belgianhybridensemblestyle,butarealsowrittenintraditionalclassicalforms.For

example,RondoOfTheBrokenArm,thealbum’ssixthtrack,iscloselyrelatedto

TypewriterConcertoinDMajor,boththroughsimilaritiesintimbreandstyle,but

alsobecausethetrackisanotherexampleofnontraditionalinstrumentation(like55Onrockoperas,seeJessicaSternfeld,TheMegamusical(Bloomington:UniversityofIndianaPress,2006),27.

20

synthesizers)inatraditionalmusicalform(inthiscase,arondo).56Another

intriguingtrackonthealbumisthefinaltrack,titledDeparture.WhileInSpedoesn’t

haveastringsection,inDeparture,thesynthesizersarereminiscentofone.This

trackinparticularrecallsEstoniancomposerArvoPärt’s1977composition,Cantus

InMemoriamBenjaminBritten,duetotheseeminglynebulousformandthe

synthesizer’seffectivemimickingofthesweeping,yetstaticnatureofthestringsin

thePärtcomposition.ItisunknownwhetherMattiisen,incomposingDeparture,

wasintentionallyechoingthemostfamousEstoniancomposerorifhewasmerely

drawingonsimilarmusicalidioms.

Theremainingtracksonthealbumalsoseemtoexistinthesamesonicworld

asDeparture,wheresynthesizedstringscontributetoacontemplative,otherworldly

sound.Thealbumarguablyrepresentsthejoiningoftwodifferentprogrockveins:

therhythmic,driven,experimentalstylefromTypewriterConcertoandRondo,and

thevast,introspective,Pärt-esquestylefromtrackslikeDepartureorthefifthtrack,

FeelingofEternity.Perhapsahallmarkofhiscompositionalapproach,Mattiisen

drawsfrommultiplecomposingstylesinTypewriterConcertoinDMajor,

exemplifyinghismasteryofsomanydisparatemusicalidioms.LaterinthispaperI

willdiscusshowMattiisenincorporatessimilarlydiversemusicalidiomsinwriting

theFiveFatherlandSongs.TypewriterConcertowasoneoftheonlyreleasesby

MattiisenandInSpebeforetheFiveFatherlandSongsin1988;it’sunclearhow

activethegroupwasintheinterim,especiallygiventheotherprojectsMattiisen

wasinvolvedin.

56Itisunclearwhatthe“brokenarm”inthetrack’stitlerefersto.

21

EstonianPoliticalMusicAfterPerestroika

WiththeintroductionofMikhailGorbachev’sperestroikainitiativeinthe

1985anditsaccompanyingglasnostpolicythatreformedtheCommunistpartyand

allowedformembernationstobebothsomewhatmorevocalaboutpolicyand

involvedindomesticpolitics,Estoniansbegantheirfirststepstoward

independence.57Thepolicies,whichallowedforsomefreespeechandfreedomof

expression,wereinitiallydesignedtohelpmodernizetheSovieteconomyby

creatingmoreautonomousmemberstatesintheUnion.58Musicalgroups

throughouttheSovietUnionrespondedtoglasnostandperestroikadifferently.In

Russia,theintroductionandimplementationofthesenewprogramsforced

musicianstoemergefromtheunderground,intoamusicalmarketthattheyhad

littleexperiencewith.59Similarly,manywereskepticalofthissupposed“openness,”

anddidnotimmediatelyknowtheextenttowhichtheycouldexercisethesenew

artisticfreedoms.60

However,inEstonia,perhapsthankstothealreadyliberal-mindedmusical

scene,manymusicalgroupscontinuedtoflourish.Asmentionedearlier,thefirst

testofthenewglasnostpoliciesoccurredin1987,whenSovietleadersproposed

strip-miningphosphorusinnortheasternEstonia.Becausetheenvironment

presentedaseriousbutstill(atthattime)politicallyneutralissueforprotest,

Estonianssawthestrip-miningproposalasanopportunitytotesttheextentoftheir57Clemens,BalticIndependenceandRussianEmpire,75.58Ibid.,321.Clemensgoessofarastosaythat“Glasnostdidmoreforlocalnationalismthanforeconomicreform”(BalticIndependenceandRussianEmpire,321).59Cushman,NotesfromUnderground,219-220.60Ibid.

22

newrightstofreespeech.Sovietleadersrespondedwithmoderation,anda

compromisewasreached.HistoriansdatethebeginningoftheEstonianrevolution

tothisenvironmentalprotestbecause,confidentfromtheirsuccess,Estonians

beganseriouslycontemplatingmorepoliticalreforms.61

GivenMoscow’snew,somewhatrelaxedpositiononpoliticalspeech,

Estonianmusicalgroupsthathadpreviouslybeencovertlycriticalofthestateor

politicallyinvolvedcouldnowdosoopenly.Forexample,thepopularpunkband

Propeller,whohadalwaysseemedpoliticallymotivatedtotheiraudiences,became

moreovertlypoliticalintheperestroikaera.62Intheyearsfollowingperestroika,

musicalgroupswithmoreobviousorclearpoliticalmessagesbecamemainstream.

Forexample,thepunkbandJ.M.K.E.releasedtheiralbum,KülmaleMaalein1989,

whichincludedtrackslike“Tere,Perestroika,”or“Hello,Perestroika,”wherethe

groupcoupledsarcasticlyricswithdrivingpunkguitar,openlyexpressingtheir

disappointmentwiththecurrentgovernmentalsystem.Whatmadethissodifferent

fromearliermusicbyPropeller,forexample,wasthatJ.M.K.E.nowreferenced

specificpoliciesandpracticesbythegovernment,whenPropellerhadresortedto

metaphorstoveiltheirattacksandperformedvague,noncommittallyrics.63

ForMattiisen,thisnewmusicalopennessfosteredtheperfectopportunity

foranattemptatmusicalactivism.InthewakeofthoseearlyprotestsagainstSoviet

strip-mining,Mattiisenwrote“Eioleüksiükskimaa,”or“NotaSingleLandIsAlone”

61Šmidchens,ThePowerofSong,237.62Ryback,RockAroundtheBloc,215-216.63OnepopularPropellersonginvolvedfrontmanUrmasAlendersimplyyelling“No!”intothemicrophonefortheentiretyofthesong.SeeRyback,RockAroundtheBloc,215.

23

in1987andorganizedpopularmusiciansthroughoutEstoniatocometogetherto

recordit.64Clearlydrawingonthesuccessoftwohighlypublicizedcollaborations

thatmodeledcelebrityactivism,Band-Aid’s“DoTheyKnowIt’sChristmas”in1984

andMichaelJacksonandLionelRichie’s“WeAreTheWorld,”from1985,“Nota

SingleLandIsAlone”functionedlikeanEstonianversionofthesamemodel.65Each

artistperformingonthesongrepresentedadifferentregionofEstonia,concluding

withVirumaa,thesiteoftheproposedstrip-mining.66Thesong’slyricsdescribed

theimportanceofmaintainingthelandforthesakeoftheenvironmentandthe

peoplelivingthere.BalticscholarGuntisŠmidchensofferstheinterpretationthat,

byusingtheEstoniansuffix“-maa,”whichmeansland,butalsoconnotes

“fatherland”or“country,”thesongtakesonadditionalnationalistmeaning.67In

literallybringingtogetherrepresentativesfromeachregiontoperformasongasa

singlemusicalgroup,itbecamearepresentationoftheentirecountryunitingto

protestunfairtreatmentbytheSovietgovernment.

64Šmidchens,ThePowerofSong,237.65AftertheinitialsuccessoftheBandAidcollaborationintheUnitedKingdominthe1980s,thismusicalactivismgenrehasbecomewidespread.ImmediatelyfollowingthereleaseofUSAforAfrica’s“WeAreTheWorld,”theCanadiancounterpart,NorthernLights,releasedasongtoraiseawarenessaboutthesameEthiopianFaminecrisis.The1990ssaw“VoicesThatCare,”meanttoboostmoraleduringOperationDesertStorm.Morerecently,groupsaroundtheworldhaveusedtheformatintimesofdisaster,likemusiciansinMali,protestingjihadistviolenceintheircountry,orthemultiplesongsreleasedbygroupsofNativeAmericanmusiciansopposingtheDakotaAccessPipeline.ThegenrehasbecomesuchreliableresponsetocrisisthatitwasevenfamouslyparodiedontheAmericantelevisionshow30Rock(Season3,Episode22,titled“KidneyNow!,”releasedMay14,2009).Eachsonghasbeenaccompaniedbyasimilarvideo,highlightingthediversearrayofmusiciansandfollowsasimilarmusicalform,includingarepetitive,simple,andcatchychorusorrefrain.66Šmidchens,ThePowerofSong,237.67Ibid.,237-238.

24

Thesongwasreleasedwithanaccompanyingmusicvideo,wherethe

connectionsbetween“NotaSingleLandisAlone”andothermusicalactivist

collaborationsarethemostclear.Justlikeearlierexamples,thevideohighlights

eachoftheartistsandtheirdiversevocalandmusicalstyles.Similarto“WeAreThe

World”(USAforAfrica,1985),theartistsinvolvedeachrepresentarchetypal

popularmusicstyles,likepunkrockscreamers,femalepopdivas,effortfuland

masculinerockstars,andsmooth,softrockballadsingers.68Followingtheformat

originallypresentedbythe“DoTheyKnowIt’sChristmas”video(BandAid,1984),

thevideoincludesscenesfromthestudio,shotsoftheproducersatwork,andone

ortwomusiciansrecordingtheirpart.Thereareafewimagesofthesong’ssubject,

inthiscasethebeautifullandscapeinVirumaa.Thevideo,likeallothervideosfrom

thisgenre,endswiththeobligatorysceneofallthecollaboratingmusiciansfinally

appearingtogethertosingthefinalchorusofthesong,avisualrepresentationof

theircollaborationandunity,despitetheirmusicaldiversity.

ThemelodyisadepartureforMattiisencomparedtohiscompositionsforIn

Spe’sTypewriterConcertoinDMajor,whichhelpedestablishhimasaserious

memberoftheEstonianmusicscene.Instead,themellow,easy-to-sing,popanthem

styleisstrikinglysimilarto“WeAreTheWorld,”asbothsongswerefromthisnew

genremarkedbyartisticcollaborationforacause.Thesongwasintendedforlive

premiereatTartuMusicDays,asummerrockfestival,butwasleakedtoEstonian

68“Eioleüksiükskimaa,”AloMattiisenandvariousartists,video,5:35,January30,2007,https://www.youtube.com/watch?v=r75WMX1WFgk.Thereisnorecordofthistrackhavingbeenreleasedcommercially.

25

radioafewweeksbefore.69Sovietofficialsreactedtotheobviouslypoliticalnature

ofthesongbybanningitfromstateradio,butEstonianswerestillabletolistento

thesongonFinnishairwaves.70Sinceradioplaywaslimited,itssimple,catchy,

anthemicmelodywaskeytoensuringthatthesongwasmemorable.Althoughit’s

impossibletomeasuretheimpactofthesonginthestrip-miningprotests,Estonians

opposedtotheminingwereultimatelysuccessful,andthissmallerscaled

movementofferedamodelforincorporatingmusicalanthemsinEstonianprotests

intheyearstocome.

EstonianMusicandtheSingingRevolution:Mattiisen’sFiveFatherlandSongs

In1988,stillenergizedbytheirdefeatoftheSovietplanstostripminein

Virumaa,Estoniansbegantoorganize,mobilize,andexplorejusthowfartheycould

pushtheboundariesofthenewglasnostandperestroikapolicies.71Inthewakeof

hissuccesswith“NotaSingleLandisAlone,”Mattiisenwentfurtherwithhis

musicalactivism,pairingwithpoetJüriLeesmenttoreinterpretandreimagine

traditional19th-centuryNationalAwakeningpoemsandchoralsongsintoa

collectionofrocksongs,theFiveFatherlandSongs,thatcouldinspirethenation.72

EachoftheFatherlandsongsisbasedonasongfromthe19th-centuryNational

Awakeningandquotestheoriginalsong’smusicinsomeway.GuntisŠmidchens

describesthewayMattiiseninterweaves19th-centurymusicandartwith

69Šmidchens,ThePowerofSong,237.70Ibid.71JohnstonandAarelaid-Tart,“Generations,Microcohorts,andLong-TermMobilization,”689.72Šmidchens,ThePowerofSong,239.

26

contemporarycompositions,creatingaconnectionforEstoniansbetweenthe19th-

centurynationalistmovementandthe1988independencemovement.73Mattiisen

collaboratedonthesongswithIvoLinna,famousforhisworkwithRockHotel,a

rockabilly-inspiredensemblethatrosetofamebycoveringWesternsongsin

Estonian,andwiththevocalsextetKiigelaulukuuik.74TheFatherlandsongs

representastylisticdepartureforLinna,butMattiiseninsistedoncollaborating

withhimbecauseLinnawas,accordingtoLeesment,“Estonian-minded.”75The

songswerepremieredandperformedthroughoutthesummerofthe1988,duringa

surgeofnationalistsentiment.Thisperiodwasalsomarkedbytheemergenceof

variouspoliticalfactions,drivenbydifferentideologiesregardingthebestwayto

mobilize.76ThefivesongsservedtoinspireEstonianstouniteandworktogetherfor

independence,becomingahugesuccess,andthesoundtracktotheSinging

Revolution.

ThoughtheFiveFatherlandSongswerepremieredlivein1988atTartu

MusicDays,Ihaveanalyzedversionsfromthe1990commercialalbumrelease,

MingemÜlesMägedele,whichborrowsitstitlefromoneoftheFatherlandsongs.The

album,whichisessentiallyaconceptalbum,includesanintroductiontrackanda

73Ibid.74Ibid.,392.75Šmidchens,ThePowerofSong,255.ŠmidchensquotesLeesment,whoisquotedinHarriRinne,LaulevRevolutsioon:Eestirokipõlvkonnaime,trans.SanderLivak.(Tallinn:Varrak,2008).76JohnstonandAarelaid-Tart,“Generations,Microcohorts,andLong-TermMobilization,”689.

27

closingtrackthatfunctionsasacoda,inadditiontothefivesongs.77Perhapsmost

strikingtoalistenerhearingthesesongstodayforthefirsttimeishowdatedthey

sound,giventhattheensemblereliesheavilyonsynthesizers,percussion,and

distortedelectricguitar,typicalof1980spopularmusic.Therearestriking

resemblancesbetweentheFatherlandsongsandtracksbyBonJovi,EltonJohn,

Starship,andABBA;thiswillbediscussedinmoredetailbelow.

Perhapsthemostsalientcontextforunderstandingthesesongsistheprog

rockscenefromthe1970sand1980s,fromwhichMattiisenemergedasacomposer

andsongwriter.ComparedtosomeofhisreleaseswithInSpe,suchasTypewriter

ConcertoinDMajor,Mattiisen’sFiveFatherlandSongsseemaimedatamuchwider

audience.MusictheoristKevinHolm-Hudsonsuggestsapotentialprogrock

subgenre,“proglite,”asamainstreamgenrethatincorporateselementsofprogrock

compositions.78WhileHolm-Hudsonalmostdisparagesthiswatered-downprog

rockasmorepalatabletothemasses,thisgenremayserveasahelpfullensthrough

whichtoconsidertheFiveFatherlandSongs.Mattiisenincorporatesaspectsof

traditionalhardrock,likeelectricguitarsandbasses,pairedwithoneortwoprog

rock-specificelementstocreateaprog-inspiredgenre.79

ThemostcommonlyincorporatedelementofprogrockthatMattiisen

borrowsisaclassicalvocalstyle,characterizedbyvocalistssinginginharmony.

Othersimilarexamplesincludethevocalintroductionto“CarryOnWaywardSon”77Onecharacteristicoftheconceptalbumisthatitrequiresthelistenertolistentothealbumtracksinorder.Similarly,mostpublicperformancesoftheFiveFatherlandSongspresentedthesongsinthesameordertheyappearonthealbum.78KevinHolm-Hudson,“‘ComeSailAway’andtheCommodificationof‘ProgLite,’”AmericanMusic23,no.3(Autumn2005):377-378,JSTOR.79Ibid.

28

(1976),byKansas,wherethevocalsintheintroductionhelpsisolatethe

introductionfromtherestofthesong.80Perhapsthemostfamousexampleofthis

choralstyleisQueen’s“BohemianRhapsody”(1974),whichincorporatesoperatic

techniquesinawidevarietyofchoralstyles.81Thedifferentchoraltechniquesand

quotationsthatMattiisenincludesintheFatherlandsongsfunctiondifferentlythan

thechoralsectionsin“WaywardSon”or“BohemianRhapsody.”Theseearliersongs,

however,setaprecedentforincludingchoralorvocalharmonysectionsin

mainstreammusic,creatingthetraditioninwhichMattiisen’scompositionsare

rooted.

Inwhatfollows,IwillanalyzetheFiveFatherlandSongs,bothintermsofhow

theymaybeunderstoodinthecontextofpreexistingpopularmusictraditionsand

alsoinordertosuggesthowtheymighthavebeenheardandunderstoodbyan

Estonianaudiencein1988.Thetextofeachsongisanimportantcomponenttomy

analysis,sofulltext(intheoriginalEstonian)andEnglishtranslationsofeachofthe

Fatherlandsongsisincludedintheappendix.Scholarsoftenmentiontheimportant

rolethiscollectionofsongsplayedintheSingingRevolution,andthesesongsare

mentioned,alongwithMattiisen,inmostsourcesthatdiscusstherevolution.

However,noexistingpublishedscholarshipdescribestheactualsoundsofthemusic

orthemeaningthismusicwouldhaveheldfortheaudience,bothofwhichare

necessaryinordertofullyunderstandhowthesesongsmighthaveimpelledthe

revolution.80MitchellMorris,“KansasandthePropheticTone,”AmericanMusic18,no.1(Spring2000):20,JSTOR.81KenMcLeod,“BohemianRhapsodies:OperaticInfluencesonRockMusic,”PopularMusic20,no.2(May2001),192-194,JSTOR.

29

“TheMostBeautifulSongs”or“KaunimadLaulud”

ThefirstoftheFiveFatherlandSongs,“KaunimadLaulud,”or“TheMost

BeautifulSongs”getsitsnamefromasongoriginallycomposedbyFriedrichAugust

Saebelmannin1880.82TheoriginalsongdescribesthewayEstoniansexpress

nationalpridethroughsong,illustratingthelongstandingconnectionbetween

Estoniannationalismandmusic.InMattiisen’sversionofthesong,heopensby

quotingthefirstversefromtheSaebelmanncomposition:

Igivetoyouthemostbeautifulsongs,/Lovedbymyancestors,dearhomeland!/Myheartbeatsstronglyinmychest/WhenIsingtoyou,fatherland!83

Thequotedverseappearsinthesongexactlyasitsoundsintheoriginal,asana

capellaeightbarphrase,exceptMattiisenpairsitwithadrumbeatoneachbeat,

transformingthetraditionalchoralsongintoanupbeatmarch.Then,asamilitary-

styledrumrollmaintainsthemarchfeelingfromearlier,thekeyboardandfluteecho

avariationoftheoriginalchoralmelody.Pulsatingguitarsthenindicatethe

transitiontoamorecontemporaryrockstyle.

Sincethepercussionandsynthesizers,takingoverfromthechoral

introduction,quotetheoriginalcomposition,maintainingtheatmospherefromthe

opening,itseemslikethesongwillunfoldmuchinthesameveinasthepositiveand

upliftingcomposition.Whentheverse,avocalsolosungbyIvoLinna,finally

emergesinAminor,itcomesasabitofasurprise.Astheversetransitionstothe82“FriedrichAugustSaebelmann,”EstonianMusicInformationCenter,accessedNovember1,2017,http://www.emic.ee/?sisu=heliloojad&mid=32&id=82&lang=est&action=view&method=teosed.83TranslationfromŠmidchens,ThePowerofSong,240.

30

pre-chorus,though,themelodyshifts,buildingenergy.Perhapsmirroringthe

buildinganticipationasEstoniansbegintomobilizetowardsindependence,the

electricguitarenters,coupledwithharmonicintensification,beforearrivingatthe

chorus,suddenlyupliftinginCmajorandwithafullertexture,thankstothe

additionalvoicesthatjoinin.

Thesong’stextquotesandreinterpretsthetextfromtheoriginalsong.For

example,whentheversefirstbeginsinAminor,vocalistIvoLinna,singinginaslow

dottedrhythm,adoptsadark,mournful,andalmostforebodingtone.Thevocals,

almostaquasi-whisper,seematoddswiththequotationfromtheoriginalsong.

Mourningtheshort-livedEstoniannationfrom70yearsearlier,Linnasings

Themostbeautifulsongsremainedunsung,/Lostinendlessslogansandpledgesandflags,84

Thetextcontinues,highlightingtheviolence,economicpractices,andinefficient

infrastructurethathadcometocharacterizetheSovietoccupation.85Asthechorus

approaches,Linna’svocalssoundintentionallyeffortful,asifhe’sworkinghardto

controlthesuddenbuildinenergy.Atthechorushowever,markedbyakeychange

totherelativemajor,themoodseemstohaveshiftedentirely.Inanexcited,

declamatorystyle,Linnasingsthat

Themostbeautifulsongsarestillunsung,/Andalienationisstillundefeated./Thetorchesthathaveneveryetburned/Nowallmustigniteatbothends.

84Šmidchens,ThePowerofSong,240.Šmidchenscharacterizestherecurringthemeof“themostbeautifulsongsremainedunsung”asnationalEstoniancultureneverbeinggiventhechancetofullyemergeanddevelop,likelybecauseEstonians’lifeasanindependentnationwassoshort(239).85Šmidchens’translationoftheversereads:“Themostbeautifulwisheswerenotfulfilled,/Lostinharmfulsenselessnessandrublesandsloth”(ThePowerofSong,240).

31

Theearlierlament,that“themostbeautifulsongsremainunsung”becauseEstonian

nationalculturewasneverfullydevelopedbeforethecountrywasoccupiedyet

againin1939,isreimaginedasatriumphantchallenge.“Themostbeautifulsongs

arestillunsung,”andthechallengesEstoniahasfacedforthelastfewdecadesare

stillverypresent,butasthehopeful,declamatoryCmajorchorusasserts,nowisthe

timeforchange.

Šmidchensclaimsthat“Thetorchesthathaveneveryetburned/Nowall

mustigniteatbothends”isareferencetothe19th-centuryEstonianheroicepic

poem,Kalevipoeg.86Inthepoem,thehero,Kalevipoeg,usedtorchestoshow

Estonianshewascominghome.87Sincethesetorches“haveneveryetburned,”

Estoniansshouldn’twaitforamythicalfigure(oranyothersortofmiracle)tobring

themtoindependence;instead,theyneedtobringaboutchangethemselves.88The

energeticandupliftingmusicaccompanyingthismetaphorignitesthelistener,

makingrevolutionseemlikeanexcitingandachievablegoal.Operatingasa

triumphantcalltoaction,thechorusexudesconfidencethat“themostbeautiful

songs”willeventuallybesung.

NowhereonthealbumisMattiisen’sbackgroundinprogrockmoreevident

thaninthelonginstrumentalsolofollowingthesecondchorus.Themusicsounds

justasitdidafterthefirstchorus,wheretheenergycontinuedtobuild,suddenly86Šmidchens,ThePowerofSong,239.87Ibid.88Ibid.Alaterversepointedlysays“Whoeverbeggedforfreedomfromabove,/Feebleandpatheticishe./Whoeverquenchedthirst,unmindfulofdanger,/Clearsstonesfromtheroad!”furtherindicatingthatthemessageismeanttoemphasizetheimportanceofactionfromindividuals,ratherthanwaitingforsomemiracle(Šmidchens,ThePowerofSong,240).

32

releasingbeforetheverse.However,thistime,themoodshiftsimmediatelyasthe

steadypercussionslowsandthemusicbeginstofeelsuspendedintime.Thesteady

percussion,presentthroughouttheentiresong,isreplacedbyamuchslower,

sparserrhythmicpattern.Thekeyboardplayscontinuousbrokenchords,creatinga

vast,expansivefeelingandfunctioningasabackdroptoaslow,improvisatorysolo.

Afterleapingtoahigherregisterandsustaining,theelectricguitaremerges,

improvisingonasimilarmotif.Asthepercussionbeginstoplayfasterrhythmic

values,thesolobecomesmoremelodic,beforelaunchingintoanintensefinalbuild.

Theguitarseemstosearchforandrevolvearoundthetonicbeforefinallyarriving

backatCmajor,atwhichpointthechorusbeginsagain.Becausethisintrospective

instrumentalsolobeginsimmediatelyafterthechorusandthenendsimmediately

beforeareprisalofthechorus,thesolofunctionsasamomentsuspendedintime,

perhapsintendedtounderscorethetimelessnessofthetrackandtheassociations

withboththe19th-centurymovementandthecurrentstruggleforindependence.

TheinstrumentalsectionsoundsreminiscentofanotherInSpesong,“VallisMariae,”

fromMattiisen’sdebutalbumwithInSpe,TypewriterConcertoinDMajor,discussed

earlierinthispaper.

Thechorus,becauseitissodifferentfromrestofthesong,combiningthe

uplifting,positiveatmospherefromtheoriginalcompositionwiththe

instrumentationandtimbrefromtherestofthecontemporarysong,providesan

exampleofyetanothermusicalstyle.ThechorusisreminiscentofaEuropopstyle,

includingspecificsimilaritiestoABBAhitslike“DancingQueen”(1974),“SOS”

(1975),and“Bang-A-Boomerang”(1975),suchastheexcited,youthfulenergy.More

33

specifically,though,both“TheMostBeautifulSongs”andtheseparticularABBA

tracksinvolvesimilarmelodiccontoursandasimilarvocaltimbre,thanksinpartto

thebackingvocalsexteton“TheMostBeautifulSongs,”whichsoundslikesomeof

themomentswhenallfourmembersofABBAsinginharmony.Whenlookingmore

closelyforsimilaritiesininstrumentaltimbre,perhapsStarship’s“WeBuiltThis

City”(1985)servesasausefulcomparison.89

Themoststrikingsimilaritybetweenthetwosongs,though,isrhythmic.In

hisarticlediscussingvariousrhythmicpatternsthatoperateashooksin1980s

popularmusic,musictheoristDonTrauthighlightsaparticularaccentpatternhook

in“WeBuiltThisCity.”90Theaccentpattern,whichTrautdescribesasa“<35>”

pattern,involvessyncopationsthatlandonthethirdeighth-noteofacommon-time

measure,dividingthemeasureintoagroupofthreeeighth-notesandfiveeighth-

notes.Inthechorusof“TheMostBeautifulSongs,”thesameaccentpatternoccurs,

thesyncopationsemphasizingthemelodichighpoint.BecauseMattiisenincluded

thisparticularsyncopationpattern(“<35>”),whichTrautarguesoccursand

operatesasahookinnumeroushitsfromthe1980s,hewaslikelyenvisioningitasa

hook,inanattempttomakethesongmemorableandcatchy.91

89FormoreonStarship,thefinalincarnationofthegroupthatwasoriginallyJeffersonAirplane,seePatrickBurke,“TearDowntheWalls:JeffersonAirplane,Race,andRevolutionaryRhetoricin1960sRock,”PopularMusic29,No.1(January2010):65,JSTOR.90DonTraut,“‘SimplyIrresistible’:recurringaccentpatternsashooksinmainstream1980smusic,”PopularMusic24,No.1(January2005):63,JSTOR.91Intheintroductionforeachverse,MattiisenemploysanotheroneofthehooksTrautdiscusses,or“<333322>,”whichoccursasafourbarphrase(Traut,“‘SimplyIrresistible,’”62).

34

“GoHighupAtoptheHills”or“Mingemülesmägedele”

ThesecondoftheFiveFatherlandSongs,“Mingemülesmägedele,”or“Go

HighupAtoptheHills,”isarebukeofRussificationeffortsonthepartoftheSoviet

government.Thesongdrawsfromapoemandsongofthesamename;thepoem,

originallybyMihkelVeske,isaclassicexampleof19th-centurynationalistpoetry

thatemergedaspartofEstonia’sNationalAwakeningandthesong,writtenbyKarl

AugustHermann,isanothertraditionalchoralcomposition.92Thisisoneoftheonly

trackswhereLeesmentisnotcredited,soitislikelythatMattiisenwrotethetext

himself.Šmidchensexplainsthatthe“Hills”inquestioninthissongarethree

settlementsorsuburbsofTallinn,productsofRussification,builtalmostexclusively

forRussianmigrants,referencedinthefirstverseas“Musta,Õis,orLasnaHill.”93

Mattiisenjuxtaposesthebeautifulhillsintheoriginalsongwiththesenewhills,

whichhavecometorepresenttheenemyintheEstonianstruggleforindependence.

Thesongopenswithaninstrumentalintroductionthatfeelssimultaneously

stableandincontinuousmotion.Thebasslineisaseriesofleapsoutliningthetonic

triad,butbecausetheharmonydoesn’treallychange,thebassisoperatingalmost

likeapedal,creatingasenseofstasisbeforetheversebegins.Themusicis

percussive,withstaccatochordsandcontinuousbackbeat,immediatelycreatinga

senseofcombativeness.Thesynthesizerchords,ofteninpairsoftwoconsecutive

chords,recurasamotifthroughoutthesong.Whetherintentionalornot,thesong

soundsremarkablysimilartoBonJovi’s“Livin’OnAPrayer”(1986),andeven

reminiscentoftheir“YouGiveLoveABadName”(1984).92Šmidchens,ThePowerofSong,240.93Ibid.

35

AccordingtomusicologistRobertWalser,BonJovi’smusic(especially“Livin’

OnAPrayer”)isclearlyinfluencedbyheavymetalmusic,butalsoincorporates

elementsofrockandpopmusic,makingitpalatabletoawideaudience.94Walser

specificallypointsto“theemphasisonsustain,intensity,andpower”asthe

distinctlymetalaspectsofBonJovi’smusic,someofwhicharereflectedin“GoHigh

upAtoptheHills.”95Theclosestrelationshipiswiththebassline,whichissimilarly

activeandfollowsasimilarchordprogression,onewhichfostersasenseofconstant

motion,butwithoutanyrealdirection.Thesynthesizers,constantpercussion,and

distortedguitarsalsohaveasimilartimbre.Linna’sloud,effortfulvocalsalsoclosely

mirrorBonJovi’s,imbuingthesongwiththissenseofintense,hardwork.

Thebasslineisveryactiveduringtheverse,butasthesongbuildstothe

chorus,thebassswitchestosustainedtones,whichascendstepwise,seemingly

resolvingbeforeleapingdownalargeinterval,asifmimickingtheactof“go[ing]

highatopthehills”and“shout[ing]itloudlytothevalley.”Linna’svocalstyleis

noticeablymorestrainedandangrythanintheprevioussong,asifhe’stakingthe

chorustexttoheartinhisperformance:

Shoutitloudlytothevalley/Withallyourstrength./Shoutitloudlytothevalley:/LasnaHillmuststopnow!/Shoutitloudlytothevalley:/Stopitnow!96

Aftereachdeclarationto“Stopitnow!,”twochordsinquicksuccessionquicklykill

themusic,theensuingsilenceechoingthe“stop.”

94RobertWalser,RunningwiththeDevil:Power,Gender,andMadnessinHeavyMetalMusic(Middleton:WesleyanUniversityPress,1993),120-121.95Ibid.,121.96TranslationfromŠmidchens,ThePowerofSong,241-2.

36

Inthefinalverseofthesong,MattiisencharacterizestheRussianimmigrants

as“migrants,”representingthe“other”andessentially,theenemy.97Thelastverse,

ratherthanfocusingontheinfluxofRussiansasagovernmentpolicy(asinthe

earlierverses,whereRussificationisdiscussedinabstractterms,merelyasaforce

“wounding”the“spirit”ofEstonians),thetextisamorepointedcritiqueofthe

Russiansthemselves.“Look,it’sallcompletelyforeign—/Isthisreallyhometo

you?”interrogatesthetext,addressingRussians.“Throughthedimanddrafty

streets,/themigrantwandersaimlessly./Lookintohisemptyeyes,/Hedoesn’t

feelorknoworsee.”Therealdanger,itseems,isnotthatRussiansarebuildingdrab

suburbsordominatingtheEstonianeconomy,butthattheylackthesame

connectiontothelandthatisinherentinallethnicEstonians.Mostexpressionsof

Estoniannationalismaredeeplyrootedinnatureimageryandalsodescribewhatit

meanstobeEstonian.Whileperhapsunnecessaryforsuchahomogenousculture

andcountry,mostexpressionsofEstoniannationalismaren’texclusionary,and

don’temphasizewhatmakessomeonenotEstonian,orwhatexcludesthemfrom

beingEstonian.Inthiscontext,“GoHighupAtoptheHills”isadeparturefromother

Estoniannationalistmusic,butperhapsitalsoindicatesthefrustrationandanger

Estoniansfelt,especiallyafteralmost50yearsofSovietoccupation.98

Perhapsthemostfascinatingpartofthesongiswhenthepercussive,hectic

musicseemstoclearandsettle,allowingforabriefchoralinterlude.Withangelic

97Šmidchens,ThePowerofSong,241.98Šmidchensalsosuggeststhat,inthewakeofthesuccessfulanti-stripminingcampaignin1987(with“NotaSingleLandisAlone”),Estonianswereeagerformoremusicalpoliticalactivism,soit’spossibleMattiisenenvisionedthissongasawaytodirectlyprotestRussificationpolicy(ThePowerofSong,240-241).

37

voices,theEstonianChamberChoirsingsaversefromtheoriginalsong,“Ilusoled,

isamaa”byKarlAugustHermannandMihkelVeske:

Gohighupatopthehills,/Tothewaftingbreathofwind./Gazebelowintothevalley/Pastthesplendoroftheflowers.

Thetextthatthechoirsingsrecallstheuplifting,Romantic,nationalistimageryfrom

the19th-centuryNationalAwakening.Thischoralinterludeisinterestingfora

numberofreasons,includingthefactthatit’ssungbytheEstonianChamberChoir,

whowerefeaturedonlyononetrack,asopposedtoKiigelaulukuuik,thevocalsextet

thatsingsbackupvocalsthroughoutthealbum.99It’spossiblethiswasmerelya

logisticaldecision,sincethispassagewouldhaverequiredclassicallytrained

vocalists.Morelikely,though,recordingafullchamberchoir,probablyinahall,

ratherthanavocalsextetinastudio,providedaneffectMattiisendesired.The

interludeemergesasthemusicslowlydissipates,almostlikefogsettlingtoreveala

hilltop.Additionally,thechoirsoundsasifthey’resingingfromadistance,almostas

ifthey’remeanttorepresentthe19th-centuryNationalAwakeningasanidealor

goalformoderndayEstonians,thoughbarelyattainable(ortangible)inthecontext

ofSovietcontrol.BecauseEstonianidentityissocloselytiedtochoralmusic,having

anelitechoirsinganationalistsongfromtheNationalAwakeningasachoral

interludeperhapsisintendedtoofferanechooftheultimateexpressionofEstonian

cultureandidentity.

99ItislikelythattheEstonianPhilharmonicChamberChoirweremistakenlycreditedastheEstonianChamberChoir(orEestiKammerkoor)onthealbum,sinceIcanfindnoevidenceofan“EstonianChamberChoir,”andtheEstonianPhilharmonicChamberChoirwasactiveatthistime.See“EstonianPhilharmonicChamberChoir,”TheChoir,EstonianPhilharmonicChamberChoir,accessedApril22,2018,https://www.epcc.ee/en/the-choir.

38

ThetexttothisinterludedescribesthebeautifulEstonianhillsandvalleys;

again,anidealizedvisionofwhathadbecomesuburbanRussiansettlements.The

brief,orevenfleetingnatureofthequotationcouldrepresenthowquicklythisideal

Estonian-nesswilldisappeariftheSovietgovernmentcontinuesitsintense

Russificationpolicy,orhowquicklythebeautifulcountrysidewillbeturnedinto

apartmentblocks.Mattiisenseemstobeindicatingthattheveryhillsreferencedin

thechoralsectionarethesamehillsbeingturnedintoRussianhousing,distorting

notonlythephysicalland,butalsotheEstonianmusicsocloselytiedtotheland.

Theaffectofthischoralinterludeisalmostdreamlikeinnature,functioning

asanescapefromthetumultuous,uncertainpresentdescribedintherestofthe

song.ReturningtoRobertWalser’sanalysisofBonJovi,Walseralsodescribesthe

wayBonJovicontinuallyaimsfora“transcendentmoment”in“Livin’OnAPrayer,”

thatisfinallyachievedduringthefinaliterationoftheiconicchorus,the

accompanyingshiftfromminortomajor,andthehalf-stepmodulation.100Walser

characterizestheeffectasallowingthelistenerto“escapethemurkthathas

containedussincethebeginningofthesong.”101Thiscontextmightserveasyet

anotherwaytounderstandthechoralinterludein“GoHighupAtoptheHills.”Allof

theaccompanimentdropsoutsothatjustthechoirissinging,inmajor,contrasting

withtheminorkeyfromtherestofthesong,perhapsservingasanother

“transcendentmoment,”meanttoillustrateagoalachieved,likereturningtothe

independentnationdescribedbythechoir.Whilethe“transcendentmoment”in

“Livin’OnAPrayer”soundstotallydifferentandisachievedthroughdifferent100Walser,RunningwiththeDevil,121.101Ibid.,122.

39

musicaleffectsthanthemomentin“GoHighupAtoptheHills,”thetwofunctionin

similarwaysbyofferingashorttasteofthemusicalsublime.Thechoralquotationis

pureandbeautiful,andbothdescribesandrepresentsEstoniannationalism,

creatinganemotionalexperienceforanEstonianlistener.Byincludingthe

quotation,Mattiisenisunderscoringtheseriousnessofthemusicbyincorporating

anexampleinamorepresentational,traditionalgenrethatrequiresafamiliarity

withEstoniannationalistsentimenttofullyunderstand.

“You,untilDeath”or“Sindsurmani”

ThethirdoftheFatherlandsongs,“Sindsurmani,”or“You,untilDeath,”

quotesEstoniannationalistpoetLydiaKoidula,whowasmostwellknownforher

poem“Muisamaaonminuarm,”or“MyFatherlandismyBeloved,”whichprovided

thetextforEstonia’snationalsongofthesamename.102Thesongalsoquotesan

earlierarrangementbyAleksanderKunileid,acomposerfromKoidula’sera,who

rosetofamewithhisarrangementof“MyFatherlandismyBeloved.”103Thesong

wasrevisedbyEstonianconductorGustavErnesaksin1944,andfamouslysungat

songfestivals,despitebeingcensored.104Thesongcametoserveasanunofficial

EstoniananthemduringtheSovietoccupation.Mattiisenwasnodoubtawareofthe

roleKoidula’spoetryalreadyplayedinEstoniannationalismwhenhechoseto

quoteit.

102Ibid.,242.103Ibid.,81.104Ibid.,166-167

40

“You,untilDeath”isanimmediatelyrecognizabledeparturefromthe

precedingtwotracks.Thesongopensasasoftrockballad,withsparse

instrumentation,recallingsongslikeEltonJohn’s“Don’tLettheSunGoDownon

Me”(1974),“EmptyGarden(HeyHeyJohnny)”(1982),orevenREOSpeedwagon’s

“Can’tFightThisFeeling”(1984).MusicologistSimonFrith,indescribingElton

John’smusic,characterizestherockballadashaving“easymelodiclines,…rising

pitchtounleashemotion,…[a]lyricalsenseofexpansiveself-pity”coupledwith

“rock-baseddynamism(intermsofrhythmandamplification).”105Hegoesonto

describeJohn’svocalsas“hesitant,”“introverted,”and“intimate,”whichcouldalso

describeLinna’svocalstylein“You,untilDeath.”106

AsLinnaenters,singingthefirstlinesofthepoem

UntilmydeathIshallholdyou/Asmybelovedone,/MyblossomingEstonianpath,/Myfragrantfatherland!

Themusicseemsintrospectiveandnostalgicforthetimeandplacethepoem

evokes.107Thesongfollowsapredictableform,witheachverse,quoteddirectly

fromthepoem,followedbyarefrainwherethevocalistasksifnationalsentiment

fromthe19th-centuryNationalAwakeningcanstillexistinthiscontemporary

context.108Therefrainendsonahopefulnote,saying“Nowadays,justlikebackthen,

/Cloverbloomsandaspensquake,”drawingonwhathasremainedconstant:the

country’snaturalbeauty.

105SimonFrith,“PopMusic,”inTheCambridgeCompaniontoPopandRock,ed.SimonFrith,WillStraw,andJohnStreet(Cambridge:CambridgeUniversityPress,2001),93.106Ibid.107TranslationfromŠmidchens,ThePowerofSong,242-243.108Ibid.

41

Beforethefinalverse,themusicisenergizedbytheentranceofsteadier

percussionandelectricguitar.Theensemble’ssuddengrowthemphasizesthe

importanceofthefinalverse.Thisverseoffersareminderthatthe19th-century

NationalAwakeningwasnotwithoutdifficulty.Quotingfromtheoriginalpoem:

Butyet,inyoureyes/Ioftenfindyourtears?/Tohope,ohMyEstonia,/Thattimesarechangingnow!

ThoughtheFatherlandsongsreferencethe19th-centuryNationalAwakeningasan

idealmovement,andagoalorexampleforthecurrentmovementforindependence,

thefinalverserecallsthepainandsufferingEstoniansenduredbeforetheyfirst

becameindependentin1919.Again,thisfinalverseisfollowedbyamodernday

response:

Canthesamewordsandtheirtune/Holdusalltogether?/Nowadays,justlikebackthen,/Whatcomesfromthesoulreachesasoul.

Questioningagaintherolethis19th-centuryvisionofnationalismcanplayinthe

currentstruggle,thefinalchoruspointstotheenduringnationalismintheheartsof

thepeople,andthebeliefthatthosewhotrulybelieveinanindependentEstonia

willhearandinternalizeKoidula’smessage.Thefinalchorusdoesn’tendonthe

tonic,leavingthemessageopen-endedandquestioning;onlytheensuingmonths

andyearswillanswerthequestionposedbyeachiterationofthechorus.109The

musicfinallyresolvesthroughaninstrumentaloutro,andthesongends.

WhileLinnaisfeaturedineachoftheFiveFatherlandSongs,inthisparticular

song,he’spairedwithoneofthefemalevocalistsfromthesextetwhoechoeshis109Bothatthetimeofthepremiere(1988)andatthetimeofthecommercialalbum’srelease(1990),Estonianshadnotyetachievedindependence,sothequestionsposedin“You,untilDeath”werenotmerelyrhetorical.

42

vocallinestartinginthefirstchorus.110Whilenotaduet,therelationshipbetween

thetwovoicesismoremeaningfulthanjustaleadvocalistwithbackupvocals.

Perhapsthefemalevoice,singingonlythechoruses(“Canthesesamewords,and

theirtune/Holdusalltogether?”),ismeanttorecallKoidulaherself.Havingwritten

thetexttotheunofficialnationalanthemandexistingasaprominentfemalepoet

amongcountlessmen,she’sanintriguingandpopularfigureinEstonianhistory.

Thefemalevocals,representingKoidula,andLinna’smalevocals,quiteclearly

representingthecontemporarycommentary,seemtocometogetherinthechorus,

asifbothEstoniansfromthepriornationalistmovementandfromthecurrent

movementarequestioningtogetherthepossibilitiesfortheirnation.

Fallinginthemiddleofthefivesongs,“You,untilDeath”iscalmandsteady,

especiallywhencomparedtothetracksdirectlyprecedingandfollowingit.

Throughoutthesong,there’saslow,subtlebuild,markedbyslightincreasesinthe

ensemblewitheachverse.Thefirstverseisaccompaniedbyasparseensemble

essentiallyplayingjustthechordchangesonthedownbeatofeachbar,sometimes

withlittleembellishment.Theensemblebecomesabitfullerduringthesecond

verse,includingtheintroductionofasimplepercussionostinato.Thebuildismost

clearafterthesecondchorus,whentheensemblesuddenlyswellsintoashort

instrumentalbreak.Lastingjustthedurationofaverse,aguitarsoloimproviseson

theoriginalmelodywithfullensembleaccompaniment.Asthethirdandfinalverse

begins,thisnew,fullerensembleprovidesasenseofenergyandassertiveness,most

clearlyfeltinthepulsatingguitarline.Theensembledropsback,returningtothe110ThemembersofKiigelaulukuuikfeaturedontheFatherlandsongsarecreditedonlyas“EnsembleKiigelaulukuuik,”butinclude3femalevoicesand3malevoices.

43

earlierminimaltextureforthefinalchorus,almostasifcastingdoubtonthe

energetictonefromthefinalverse.Coupledwiththeuncertainfinalcadence,this

songisn’tmeanttobesolelyuplifting,butinsteadtocallintoquestiontheefficacyof

theirmovement.

“GuardingtheFatherland’sBeauty”or“Isamaailuhoieldes”

Thefourthsong,“Isamaailuhoieldes,”or“GuardingtheFatherland’sBeauty,”

quotesanotherearlysongbyKarlAugustHermann,whichusestextfromFriedrich

Kreutzwald’sepicnationalistpoem,Kalevipoeg.111Themusic,whichincludesheavy

metalelectricguitars,isinacompletelydifferentstylefromtheothersongs.Inhis

monographonheavymetalmusic,RobertWalserdescribesthedistortedelectric

guitar’stimbreas“themostimportantauralsoundofheavymetal.”112Additionally,

thedistortedguitarconnotespower,asithasaseemingly“unflaggingcapacityfor

emission.”113Theresultingeffectisacontinuouslypowerful,inexhaustiblesound,

whichemphasizesthedefensivetoneofthelyricsandtherepetitive,complicated

call-and-responseverses.

Thebassline,whichismoreactivethaninothersongs,playsslightlyoffthe

beat.Pairedwithascendingflourishesintheelectricguitars,thiscontributestoa

senseofroiling,continuousforwardmotion.Themusicsoundsangrierandmore

urgentthaninothersongs,emphasizingthedefensivenatureofthetext.Thesong111Šmidchens,ThePowerofSong,243.112Walser,RunningwiththeDevil,41.113Ibid.,42.Walsermentionsthattheonlyotherinstrumentwiththesameabilityistheorgan,oritsmodern-daycounterpart,thesynthesizer,whichplaysperhapsanequally(ifnotmore)prominentroleastheelectricguitarontheFiveFatherlandSongs.

44

callsforEstoniansto“guardthefatherland’sbeauty,”andopensbyquotingthefirst

lineoftheHermannsong:“Guardingthebeautifulfatherland,fightingagainstthe

enemy,”beforechanting“Remember,remember,remember,remember!”114This

openingeventuallytransformsintoarefrain,soHermann’smusicplaysarole

throughoutthesong.

ThemusicincorporatestheDorianscale,givingitadistinctlymodalsound,

reminiscentofmedievalorpre-tonalmusic.Giventheheavymetaltimbreofthe

song,thesemedievalistassociationscanbeunderstoodinthecontextofmedievalist

themesinvariousheavymetalsubgenres,likepaganorfolkmetal,bothofwhich

originatedinNorthernEurope.115Giventhetextofthesong,originallyderivedfrom

Kalevipoeg,Kreutzwald’sepicpoemaboutanancientEstonianwarrior,it’sclear

that,despitethecontemporarytimbres,thesongisintendedtoevokeasenseof

antiquity,connectingthecontemporarystruggletoamorehistoricalcontext.

Theverseiscall-and-responseinform,invitingaudienceparticipation.

Writteninan8-syllablemeter,traditionallyassociatedwithEstonianfolkmusic,the

songcouldbeinterpretedasamoderndayreimaginingofafolkritual.116The

participatoryelementsareuniquetothissong,notoccurringintheotherFatherland

songs.Thecall-and-responseformatinviteswidespreadparticipationfromalarge

audience,especiallybecauseitcreatesaninclusiveenvironmentwhileofferinga

114TranslationfromŠmidchens,ThePowerofSong,8-10.115DeenaWeinstein,“PaganMetal,”inPopPagans:PaganismandPopularMusic,ed.DonnaWestonandAndyBennett(London:Routledge,2014),59-60.Thesetwosubgenres(paganandfolkmetal)arealsocloselyrelatedtoVikingmetal,anothermedievalistnorthernEuropeanheavymetalsubgenre.116Šmidchens,ThePowerofSong,9,243.

45

low-stakeswaytojoinin.117Yetcomparedwithotherparticipatorycall-and-

responsesongs,“GuardingtheFatherland’sBeauty”isnoteasytosingalongwith.

Thesyllabicpatternfeelsunsettledwiththemusicalaccompaniment,theentire

songfeelspropelledforwardandunstable,thanksinparttothesyncopatedbass

lineandthequicktempo.Also,theDorianmodegeneratesapitchcollectionthatthe

audiencemightbelessfamiliarwith.Itispossiblethat,sincethesongreliesona

traditionalsyllabicpattern,typicalofEstonianfolkmusic,thepatternandtempo

wouldn’tnecessarilyseemasdauntingtoanEstonianaudienceasitmighttonon-

Estonianlisteners.

“GuardingtheFatherland’sBeauty”isalsotheonlysongintheFive

FatherlandSongsthatdoesn’tincludesomesortofinstrumentalbreak.Someofthe

otherbreaks,likethosein“TheMostBeautifulSongs”or“GoHighupAtoptheHills,”

seemtoofferanopportunitywithinthesongforreflectionormeditationonthe

song’stextorcontext.Perhapsinlackinganinstrumentalbreak,coupledwiththe

ensemble’sunrelentingforwardmotion,Mattiisenisnotlookingtoprovidespaceto

contemplate.Instead,theresponseshouldbemoreimmediateandvisceral,perhaps

indicatedbythequickrepetitionofeachlineofeachverse;thequestionsatplayin

thissongarenotloftyorphilosophical,buttangibleandrealistic.Byinviting

audienceparticipation,Mattiisenisencouragingtheaudience,astheysingabout

defendingtheirhomeland,tobelievethattheycantakeamoreactiverolein

securingtheirnation’sfuturewell-being,especiallysincethecircumstancesthatled

117Onparticipatorymusic,seeThomasTurino,MusicasSocialLife:ThePoliticsofParticipation(Chicago:TheUniversityofChicagoPress,2008),48.

46

toSovietoccupation(thesecretMolotov-RibbentropPact)werecompletelybeyond

Estonians’control.

Thetextisalsoimportant,sinceitessentiallyofferstheaudience

(metaphorical)directionsforhowtoachieveindependence.“Ifyoutrulytrust

yourself,”thefirstversestarts,beforelistingalltheotherpartiestotrust(“wise

people,”“thepoweroftheancients,”or“thesistersandthebrothers”)“Thenyou’ll

getabetterlife.”Similarly,thesecondandthirdverseswarntheaudienceof

potentialpitfallsthatcouldleadtotherevolution’sfailure,includingreferencesto

thelong,brutalhistoryofserfdomnativeEstoniansweresubjectedtoduringthe

MiddleAges.

Thetextofthefinalverseofthesongdoesn’tsharethesamedefensivetone.

Instead,thetextreturnstosomeofthetraditionalimagesandmotifsfromthe

Romanticnationalistpoetryfromthe19thcentury.Thetextremindslistenersto

trust“familyfarmsteads,”“truthfulteachings,objectivejustice,”andtoembracethe

well-knownnaturalsurroundings,or“thebirchgroveofyourbirthplace/Andthe

swallow-birdinthebluesky.”Thesongendsafterthefinalverse,withthereminder

that“Couragewillbepowerful,/Andyou’llgetabetterlife.”“Guardingthe

Fatherland’sBeauty”issoeffectiveasaparticipatorycall-and-responsebecauseit

offersanopportunityfortheaudiencetosingtogether,recallingtogethera

traditionalfolkstyle,aboutwhatwillandwillnotservetheirgoalof“abetterlife,”

possibleonlyinanindependentEstonia.Whilethissongwasobviouslywrittenwith

participationinmind,giventhecallandresponseform,itisn’tactuallyparticipatory

inthewayitexistsonthealbum.ThebackupsingersfromKiigelaulukuuikarethe

47

onlyonesrespondingtoLinna’scallssothattheentireinteractionbetweenthetwo

partsispreservedasahigh-fidelityrecording,instead.118Thealbumwasreleasedin

1990,twoyearsafterthesongswerepremiered.Iwilldiscusstheimplicationsof

thestudiorecordinglaterinthispaper,butit’sworthnotingthatperhapsthe

recordingof“GuardingtheFatherland’sBeauty”ismeanttorecreatethewayit

wouldhavesoundedwithafullaudiencesingingalong.

“IamEstonian”or“Eestlaneolenjaeestlaseksjään”

ThefifthandfinalFatherlandsong,“Eestlaneolenjaeestlaseksjään,”or“Iam

Estonian,”wasprobablythemostpopular,becomingformanyEstoniansan

immediatelyrecognizableindexfortheentirerevolution.119Thissong,like

“GuardingtheFatherland’sBeauty”and“GoHighupAtoptheHills,”drawsonan

earliersongbyHermann.120Thesongislikeaslowballad,andthetempoallows

Linnatofullypronounceandemphasizeeachword,asifthefigurativeweightofthe

messageofthetextistakingaphysicaltollonhim.RatherthanSimonFrith’s

characterizationofballadvocals(as“hesitant”and“introverted”),Linnasounds

assertiveandconfident.121

118Turino,MusicasSocialLife,67.119InMusicasSocialLife,Turinodefines“index”as“Asignthatcomestostandforsomethingelsebecausesignandobjectareexperiencedtogether,usuallyrepeatedly”(236).Inotherwords,thissongrecallstheSingingRevolutionformanyEstonians,asevidencedbyadescriptionbyŠmidchens(ThePowerofSong,10).120AloMattiisen,MingemÜlesMägedele,EnsembleInSpewithIvoLinna,Kiigelaulukuuik,andEstonianChamberChoir,MelodijaStereoC6030245005,1990,LP.121Frith,PopMusic,93.EltonJohn’s1985song“Nikita”mightserveasacontemporaryexamplethatemployedsimilarsynthesizersandvocalstyles,

48

Itmightmakemoresensetolooktorockoperasormegamusicalsforcontext

whentryingtounderstand“IamEstonian.”Inhermonographonmegamusicals,the

firsttobepublishedonthetopic,musicologistJessicaSternfelddescribes

megamusicalsas“serious,”characterizingthemusicbythetypically“broad

emotionsandgenericlyrics.”122Furthermore,Sternfeldgoesontocharacterizethe

rockoperaasasubgenreofthemegamusical,specificallyduetotheinfluenceof

rockmusicstylesandharmonies.123Takingthisdefinitionfurthertoincludetypical

rockmusicinstrumentsandtimbres,“IamEstonian”pairsthesemusicalaspectsof

rockoperawiththelyricalcharacteristicsofmegamusicals.Insomeways,itmakes

sensethatMattiisen’scompositionswereinfluencedbyrockopera,asthe

combinationoftheatricalandoperaticstylesandcontemporaryrockmusicisvery

muchintheveinofprogrockcomposition.AstheFiveFatherlandSongswere

creditedwithsparkingrevolutionandpromotingnationalistsentimentsinEstonia,

ananalogousworkinBalticneighborLatviawasarockoperafrom1988called

LāčplēsisorBearslayer.Thisrockoperarecounteda“nationalepic”poem,similarto

Kalevipoeg,aboutanancientLatvianwarriorwhodefeatedhisenemieswith

nonviolenttactics.124While“IamEstonian”isasinglesong,notanentirerockopera,

thesharedcharacteristicswithrockoperaofferausefulperspectivetounderstand

thismusic.125

resultinginareminiscenttimbre,buttheconnectionsbetweenthetwosongsarenotverystrong.122Sternfeld,TheMegamusical,78.123Ibid.,93.124Šmidchens,ThePowerofSong,248.125It’sentirelypossiblythatMattiisenwasveryfamiliarwithrockoperaswhenhewrote“IamEstonian,”furtherlegitimizinghowappropriateitistoanalyzethesong

49

Thesongopenswithexpansivesynthesizerchordsinterspersedwith

melodicembellishment,makingforastatelybutstaticentrance,beforethe

instrumentationisscaledbackuntilonlyLinnaandaccompanimentremain.The

verseisalmostsomber:

Athousandtimesoverandagain,/Athousandyearsofrising,notafinalflight;/Torenounceyourownnation/Islikesellingyourselfintoslavery.126

WhilesingingabouthowlongEstonianshaveexistedundervariousoccupations,

Linna’svocalsarecalmandmeasured,notangry,withanalmostweary,wistful

quality.Theslightestinstrumentalbuildintothechorusseemstoimbuestheentire

songwithmoreenergy,asafullchorusdeclares

IamandI’llstayEstonian;IwascreatedEstonian./ProudandgoodtobeEstonian,freelikeourforefathers./Yes:freelikeourforefathers.

inarockoperacontext.AndrewLloydWebber’sJesusChristSuperstar,oneofthefirstrockoperas,wasextremelypopularintheSovietUnioninthe1980sandwasknowntohaveinfluencedandinspiredSovietmusicians.RametdescribesafterJesusChristSuperstarwasbannedintheSovietUnion,groupswouldstagetheirownproductions,thefirstbeingintheBalticStates,inVilnius,Lithuania(“TheSovietRockScene,”183-84).Cushman,discussingtheethnographicinterviewsheconductedamongmembersoftheformerSovietundergroundrockscene,remarkedthat“itisdifficulttofindamusicianwhodoesnotknow[JesusChristSuperstar’s]lyricsbyheart”(NotesfromUnderground,43).Grabarchukmentionsthattherockopera’sappealwasthatitwaswesternandChristian,makingit“doublydangerous”(Grabarchuk,“ClosetotheEdge”).Finally,musicologistPeterSchmelz,inhischapteraboutmusic,politics,andtheANSsynthesizer,quotesaninterviewwithSovietelectronicmusiccomposerEduardArtem’yevandRussianmusicologistMargaritaKatunyan:“Webber’sopera[sic]JesusChristSuperstardemonstratedhowonecoulddecideeternalthemesonthebasisofademocraticlanguageappealingtothemasses,nottotheintellectbuttotheheart.Isawthatrockmusicianswerecapableofsolvinglarge-scalemusicalproblems.”SeeSchmelz,“FromScriabintoPinkFloyd:TheANSSynthesizerandthePoliticsofSovietMusicbetweenThawandStagnation,”inSoundCommitments:Avant-gardeMusicandtheSixties,ed.RobertAdlington,(NewYork:OxfordUniversityPress,2009),267.126TranslationfromŠmidchens,ThePowerofSong,10.

50

Themusicissimpleandtheharmonyisstraightforward,markedbyaseriesof

suspensionsthatinfusethesimplechordprogressionwithasenseofpoignancy.

Withsuchanunembellishedchorus,thepowerofsingingsuchdefiantandconfident

statementsaboutwhatitmeanstobeEstonianisamplified.Theslowandsimple

musicalsomakesiteasierforlistenerstojoininandsingalong,evenifthesongisn’t

intendedtobeexplicitlyparticipatory.

Theinstrumentalsectioninthissongismoresubduedthanintheotherfour

songs,wheretheinstrumentalbreakshavebeenanopportunityforactive,virtuosic

instrumentalsolos.In“IamEstonian,”theinstrumentalbreakisjustanother

iterationofthechorusmelody,butinsteadofvocalists,theinstrumentsmimicthe

soundofhumming.Inattemptingtoemulatevocalization,perhapsMattiisenis

hopingtoemphasizetheconnectionbetweenwhatitmeanstobeEstonianandthe

importantrolevocalmusicplays.Whilenotnecessarilyofferingthesame,

characteristicallyprogrockbackdropforcontemplation(liketheinstrumental

sectionin“TheMostBeautifulSongs”),thisinstrumentalbreakisstrikinginhow

differentitis.Becauseitmerelyrepeatsthechorus,butwithoutanywords,perhaps

itprovidesaspaceforreflection,butconfinedtotheideaspresentedinthesong.It’s

possiblethatMattiisenintendedthesectiontobeasentimentalmomentfor

reflectiononbeingEstonianandEstonianpride,assuggestedbythelyrics.This

wouldallowindividualstofeelamorepersonalconnectiontothesong,thesong’s

nationalistthemes,andthemovementitself.

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LivePerformance

IfthefinalthreeFatherlandsongs(“You,untilDeath,”“Guardingthe

Fatherland’sBeauty,”and“IAmEstonian”)mayseemmusicallysimplerthanthe

firsttwo(“TheMostBeautifulSongs”and“GoHighupAtoptheHills”),thiswas

possiblybydesign.Allfivesongswereoriginallywrittenforliveperformance,in

frontofmassiveaudiences,atTartuMusicDays1988.127Throughout1988,aseries

oflargefestivalswereheldinTallinnatthesongfestivalgroundswiththeintention

ofunitingthevariouspoliticalfactionspursuingindependence.128Atoneofthese

festivals,EestimaaLaul1988,heldonSeptember11th,1988,awidearrayofartists

performed,includingIvoLinnawithhisbandRockHotel,formerpunkbandfront

manUrmasAlender,thistimeonacousticguitar,andamasschoirthatperformeda

collectionofpopulartraditionalchoralworksbeforeanaudienceof300,000

Estonians.129Theperformanceswereinterspersedwithspeakersfromsomeofthe

differentpoliticalparties,includingtheEstonianHeritageSocietyandPopularFront

ofEstonia.130

Towardstheendofthefestival,InSpe,Kiigelaulukuuik,andMattiisenall

tookthestagebeforeintroducingIvoLinna.Whilemostmusicalperformanceswere

limitedtoonesongorpiece,Mattiisen,LinnaandInSpeperformedthelastthree

Fatherlandsongsinsuccession.Videooftheeventshowsthecrowdsingingand

swayingalongenthusiastically,especiallywith“GuardingtheFatherland’sBeauty”127Šmidchens,ThePowerofSong,239.128Waren,“TheoriesoftheSingingRevolution,”446.129“EestimaaLaul1988,”video,2:54:54;Clemens,BalticIndependenceandRussianEmpire,111.130JohnstonandAarelaid-Tart,“Generations,Microcohorts,andLong-TermMobilization,”690.

52

and“IAmEstonian.”131Thoughit’spossibleMattiisendidn’tanticipatethe

Fatherlandsongs’success,thesimplemelodiesandhummablevocallinescertainly

lendthemselvestosingingbylargechoir.Forexample,because“IAmEstonian”is

sungataslowtempo,withattentiongiventoeachword,amassivegroupcould

easilysingalong,regardlessofmusicalability.Similarly,giventhepredictable,

simpleforminboth“IAmEstonian”and“You,untilDeath,”itwouldhavebeeneasy

foraudiencememberstojoininanddropoutatwill.“GuardingtheFatherland’s

Beauty,”withitscall-and-responseform,wasdesignedandcomposedforlarge

groupparticipation.PerhapsoneofthemostmovingmomentsfromEestimaaLaul

1988wasduring“IAmEstonian;”wheretherewouldhavebeenaninstrumental

break,Mattiiseninsteadbegandirectingthemassivecrowdtosingtherefrain,a

capella.132Thistypeofmassparticipationwasmadefeasiblebytheeasilysungvocal

lineandslowtempo.

SinceallfiveofthesongswereearlierpremieredatTartuMusicDaysinMay

1988,“TheMostBeautifulSongs”and“GoHighupAtoptheHills”wereperformed

liveatsomepoint,thoughnotatEestimaaLaul1988.It’sunclearifthesetwosongs

weren’tperformedatEestimaaLaul1988becausetheyelicitedalessenthusiastic

audienceresponse,beingmorecomplicatedandofferingfeweropportunitiesfor

participation,orifMattiisenpurposefullycomposedsomeoftheFatherlandsongsto

131“EestimaaLaul1988,”video,2:17:22.Afterthesongs’initialsuccessfollowingtheirpremiereinMay1988,theywereperformedwidelythatsummer.ByEestimaaLaul1988,whichtookplaceinSeptember,theaudiencewouldhavelikelyheardthesongsbefore.However,eveniftheydidn’talreadyknowthesongs,“GuardingtheFatherland’sBeauty”and“IamEstonian”aresimpleandrepetitiveenoughthataudiencemembersstillcouldhavejoinedin.132Ibid.,2:31:48.

53

beparticipatorynationalistanthemsandsometobepresentationalsongs,where

thebandusedthesongtospeaktoorinformtheaudience.Intheforminwhichthey

appearonthealbum,“TheMostBeautifulSongs”and“GoHighupAtoptheHills”are

fullofimagery,quotations,andmusicalmaterialtobeanalyzedandexistfullyinthe

sameprogrockveininwhichMattiisenfirstrosetofame.Thesetwosongsdon’t

transferwelltoaliveperformance.Thelogisticsaloneofincludingachoirforthe

choralinterludein“GoHighupAtoptheHills”wouldhavemadeperformanceofthe

songsintheiralbumformnearlyimpossible.

BecauseMattiisenborrowsfromsomanymusicalstyles,genres,and

practices,ethnomusicologistandgenretheoristFabianHoltwouldprobably

characterizetheFatherlandsongsas“musicbetweengenres.”133Whilethe

Fatherlandsongsareclearlyrootedinprogrocktraditions,itmayseemsurprising

that300,000Estonianswouldallsingalongwithmusicfromagenrethatis,by

design,notparticularlyaccessible.134Whendiscussingliveperformancesofthe

Fatherlandsongs,itmakesmoresensetothinkaboutsongsseparatelyfromtheir

progrockcontext.EvenHolm-Hudson’sframeworkof“prog-lite,”whichoffersa

usefulperspectiveforlisteningtoandanalyzingtheFatherlandsongs,doesn’toffer

enoughofaframeworkforunderstandingthesongsinliveperformanceandtheir

utilityintherevolution.

133FabianHolt,GenreinPopularMusic(Chicago:TheUniversityofChicagoPress,2007),180.134Whileprogrockwasperformedinarenas,thegenre’sintellectualismandemphasisonintrospectivelisteningstandoutasthetwobiggestobstaclestoaccessible,participatoryarenarock-styleperformances.

54

However,borrowingoneofHolt’stheoriesongenreformation,namelythat

“[g]enreboundariesarecontingentuponthesocialspacesinwhichtheyemergeand

uponculturalpractice,notjustmusicalpractice,”mighthelpusunderstandhow

thesesongsfunctionedinliveperformance.135Indeterminingthesocialspacethe

Fatherlandsongsemergedfrom,themostimportantspacewouldundoubtedlybe

thelargeperformancevenuesandmassiveaudiences(asmentionedearlier,atleast

threeoftheFiveFatherlandSongswereobviouslywrittenforacrowd).Inhis

monographonpunkandarenarock,musicologistSteveWaksmandescribesElias

Canetti’stheoryon“thecrowd.”Waksman,summarizingCanetti,claimsthat

“[Canetti]suggeststhatthecrowdistheculturallocationinwhichtheindividual

feelsmostpowerfullyconnectedtothecollective,tothepointwherehegivesup

someoftheboundariesthatdefinehisindividuality.”136Describingthecrowdas

havinga“senseofunifiedaction,”Waksmancontinuesbyexplainingthatsucha

crowdis“apotentialthreattosocialorder,foranassembledcrowdofparticular

forcemaychoosetolivebyitsownrulesratherthanthosegoverningthesocietyat

large.”137

WaksmanalsodescribesasimilartheorybyjournalistEllenWillisas

extendingCanetti’stheoryof“‘crowdsandpower’to‘crowdsandfreedom’.”138

135Holt,GenreinPopularMusic,14.Becausegenreexiststocreatelisteneroraudienceexpectationsformusic,byanalyzingtheFiveFatherlandSongsinthecontextofgenreformation,wecanbetterunderstandtheexpectationsfortheseparticularsongsandhowthoseexpectationsshapedthewaythesongsfunctionedinliveperformance.136SteveWaksman,ThisAin’tTheSummerofLove:ConflictandCrossoverinHeavyMetalandPunk(Berkeley:TheUniversityofCaliforniaPress,2009),23.137Ibid.138Ibid.

55

Willisargues,asquotedbyWaksman,that“thepowerofrock‘n’rollasamusical

andsocialforcehasalwaysbeenintimatelyconnectedwiththeparadoxical

possibilitiesofmassfreedomorcollectiveindividuality.”139Willis’notionof

“collectiveindividuality”ismorerelevanttodefiningthesocialspacefromwhich

theFatherlandsongsgenreemerged.Forexample,inthisparticularperformanceof

“IamEstonian”atEestimaaLaul1988,300,000peoplesangtogether,inunison(as

thecollective),abouttheirindividualidentities(thattheyalsoallhaveincommon).

Inotherwords,“thecrowd”issuchaneffectivesocialspacefortheFatherlandgenre

becauseitoffersaspacewhereindividualsareunifiedandthereforeamplified.In

doingso,theyshedotheraspectsoftheiridentitiesthatdon’tunitethemandallow

theiridentitiesincommonbringthemtogether.

WhenidentifyingculturalpracticesfromwhichtheFiveFatherlandSongs

emerged,ofcourseEstonia’straditionofcommunalsingingisthemostobvious.

Estonians’emphasisonsingingnationalsongsalsofostersanenvironmentwhere

individualswouldrecognizethe19th-centurynationalistcompositionsandpoetry

thatMattiisenincorporatesintoeachoftheFatherlandsongs.Thetraditionofmass

singingfestivalsalsocreatedaprecedentfor“thecrowd”toexistinamusical

setting.Asmentionedearlier,priortotheFatherlandsongs’premiere,theEstonian

popularmusicscenehadalreadyencouragedaculturalpracticeofexperimentalism

andopennesstoothermusicalstyles,onlyfurtheremphasizedbyMelodiya

Estonia’ssupportforgroupslikeInSpe.

139Ibid.,24.

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Finally,thethirdpartofHolt’sequationfordesignatinggenre,musical

practice,relatestothewayMattiisenblendsclassiccomponentsofprogrockwith

aspectsofotherpopularmusic.Asdiscussedpreviously,someofthepopularmusic

practicesMattiisenincorporatesincludeEuropop-stylevocalharmonies;hardrock

bass-lines;intense,sustainedguitars;“momentsoftranscendence”;andelementsof

folkmetal.140Healsocomposedsongsindistinctpopularstyles,likesoft-rock

balladsandrockoperas.Accompanyingthesepopularmusicmomentsareallofthe

waysMattiisenstillwritesinaprogrockidiom.Byincludingopeningandclosing

trackstocreateaconceptalbumandincorporatingquotationsfromtraditional

choralrepertoire,MattiiseniswritinginthesameveinasprogrockgroupslikeYes

andGenesis,whomaderecordingsalmosttwodecadesearlier.

ReturningtoHolt’sassertionthatgenreisformedby“socialspace,”“cultural

practice,”and“musicalpractice,”theFatherlandsongsarecertainlyanexampleof

musicwrittenforaspecificplaceandculture.Furthermore,theFatherlandsongs

aresoeffective,notonlybecausetheyareauniqueproductofadistinctlyEstonian

spaceandculture,butalsobecauseMattiisenwassofamiliarwiththenuancesof

theEstoniancrowdandmusicalculture.Hewasabletoexpertlyintegratemusical

practicestoplaytothestrengthsofboth.

140Walser,RunningwiththeDevil,120-122.

57

Figure4.IlmarKruusamäe,AloMattiisen,photographic

painting,1998.CourtesyofJõgevaMusicSchool,Jõgeva,Estonia.

TheConceptAlbum:MingemÜlesMägedele(1990)

Thealbumitselfdeservesinterpretationandanalysis.Releasedin1990,two

yearsafterthelivepremiereoftheFatherlandsongs,thealbumcouldserveasa

souveniroftheexcitingsummerwhenthesongswerefirstperformed.Perhaps

moreimportantly,thealbumisevidenceoftheintenseperiodofnationalawakening

andmobilizationin1988.Ifthisconceptalbumisessentiallyareproductioninthe

studiooftheliveperformancesoftheFiveFatherlandSongsthroughout1988,then

wecanunderstandthealbumasanattempttocapturethesoundsoftheSinging

Revolution,makingitpossibletolistentotheminadifferenttimeandplace.141This

ideaisunderscoredbythealbum’sshortlinernotebyEstoniancomposerPeeter

Vähi,includedinEstonianandEnglish,whereheexplainshowthealbumshouldbe

141MusicologistMarkKatzdefinesthesequalitiesofrecordedmusicas“portability”and“repeatability.”SeeKatz,CapturingSound:HowTechnologyhasChangedMusic,revisededition(BerkeleyandLosAngeles:UniversityofCaliforniaPress,2010),17-18,29.

58

understood.“Itisrelativelyhardforanon-Estoniantounderstandthemeaningof

thepresentrecord,”writesVähi,“Ifyouneitherunderstandthelyrics,recognizethe

citationsofearliermusic,now[sic]knowthebackground,thesepiecesmayseemto

bepopsongsthathavecomeoutabittoolatefortheirtime.”142Vähiassertsthat

thesesongsexistbestwhenunderstoodinthecontextoftheirinitialreleaseand

performance.HegoesontoexplainthebasicbackgroundoftheSingingRevolution,

beforeclosingwithathoughtabouttherolethealbumplays.“ThemusicofAlo

Mattiisenreallyislikeadocumentthathasfixedthecontinuityofself-

consciousness;itisawholeblendofthevenerableworksofEstonianclassicsand

thepresentday.”143VerifyingŠmidchens’theoryabouttheFiveFatherlandSongs

(thattheycreatea“musicalbridge”betweenthe19th-centuryNationalAwakening

andthe1988struggleforindependence),Vähiiswritingin1990aboutthesuccess

ofthesesongswithoutyetknowingthesuccessoftherevolution.144Estoniadidn’t

achieveindependenceuntil1991;thisalbumdocumentstheuniqueandpowerful

waymusicandnationalismcametogethertoenergizeandunitethepeople,perhaps

especiallyintheeventthattherevolutionwasunsuccessful.

142PeeterVähi,linernotestoMingemÜlesMägedele,AloMattiisen,MelodijaC6030245005,LP,1990.Notethatthelinernotesincludethetypo“nowknowthebackground,”ratherthan“norknowthebackground.”143Ibid.144Šmidchens,ThePowerofSong,239.

59

Figure5.Thefrontandbackcoverofthe1990studioreleaseofMingemÜles

Mägedele.Notetheportraitsonthebackcover:inadditiontoimagesofMattiisenandLeesment,therearealsoportraitsofthe19th-centurypoetsandcomposers

Mattiisenquotes.Byplacingtheirimagesalongsidetheir19th-centurycounterparts,thecoverartistissuggestingthatMattiisenandLeesmentareamongthenextgenerationofEstoniannationalistcomposers.(Mattiisen,Alo.MingemÜles

Mägedele.IvoLinna,InSpe,Kiigelaulukuuik.MelodijaC6030245005,1990,LP.)

Viewingthisalbumasanattempttodocumentthemomentwhen,inthe

summerof1988,allofEstoniaseemedtounite,helpsusunderstandandinterpret

thefirstandlasttracksonthealbum.Theopeningtrack,titled“Suvi1988,”or

“Summer1988,”isashortinstrumentalopeningfollowedbyaspokenword

recitation.ThetrackiscreditedtoAloMattiisenandHeinzValk,theEstonian

activistandjournalistwhooriginallycoinedtheterm“SingingRevolution,”in

1988.145AtamehornfanfareseemstoannouncethebeginningofValk’srecitation,

whichservesalmostasapreludetotherestofthealbum.Valkislikelyrecitinghis

essay,“LaulevRevolutsioon,”publishedJune17th,1988,wherehefirstdescribesthe

unfoldingeventsasa“singingrevolution.”146Ashefinishestheessay,sublime

stringsandsynthesizerscontinuallyresolveinthebackground,inastylesimilarto

145Ibid.,244.146Ibid.Withoutaccesstotheoriginaltext,it’simpossibletoknowwithcertaintyifValkisquoting“LaulevRevolutsioon,”buttherearecertainphrasesinhisrecitationthatalsoappearedintheoriginalessay.

60

famousEstoniancomposerArvoPärt’stintinnabuli.Ashefinishes,theensemble

swellsintoahugeanthemicclimax,asifannouncingthebeginningoftheFatherland

songs.

Equallyfascinatingisthewaythealbumcloses.After“IamEstonian,”ana

capellavocalgroupbeginstoharmonizebeforeLinnaenterswithaslow,closing

song.Themusicseemsstylisticallylikealullaby,withhushedvoicesandagentle

melody,andvaguelyrecalls“AllThroughtheNight,”atraditionalWelshlullaby.The

lullabyseemsanappropriatenotetoparton,sincetheFatherlandsongswereso

popularduringtheimpromptunighttimesongfestivalsin1988.Thegentlepeaceis

soonbrokenthough,withintermittentdeclarations,beforereturningtothelullaby

texturefromearlier.Theentiresongisacapella,beforeseamlesslytransitioning

intoasparseinstrumentalsection,whichlikeahocket,involvesthreevoicesplaying

simplerhythmsandmelodies,interlockingwithoneanother.Finally,thefull

ensemblejoinsin,playingthesamelullabymelodyfrombefore.Themusicsounds

likethebuildattheendof“Summer1988,”asifbookendingthealbumwiththese

largeinstrumentalsections.Afterabriefreturntothehocket-stylesectionfrom

earlier(thoughthistimeincludingtheflute),themusicslowlywindsdownuntil

onlythekeyboardremains.Theslow,subtle,fade-outendingmaybeacommentary

ontheunfinishednatureoftherevolutionatthetimeofthealbum’srelease,ora

reflectionofEstonianfearsthattheenergyandmobilizationfrom1988might

eventuallyfadewithnorealresults.Itdoesseemespeciallypoignant,though,that

thelastinstrumentsoundingasthealbumclosesisthekeyboard,whichis

Mattiisen’sinstrument.It’sasifhe’sholdingontothemusic,thealbum,andthe

61

Fatherlandsongs,untiltheverylastpossiblesecond.Listeningtoday,this

interpretationisespeciallypoignant,giventhatMattiisendiedatage35in1996,not

evenfiveyearsintoEstonia’sneweraasanindependentnation.

Figure6.AloMattiisen’spianoandcompositionmanuscripts,memorializedintheclassroom

wherehefirsttookmusiclessonsatJõgevaMusicSchool,2011.PhotobyAivarMihkelson.

CourtesyofJõgevaMusicSchool,Jõgeva,Estonia.

Conclusion

AloMattiisenwasabelovedcomposer,asuccessfulmusician,andan

effectiveactivistwhohadageniusforbringingpeopletogether.HisFiveFatherland

SongsfosteredanenvironmentofEstonianunity,promotingEstoniannationalist

sentimentwhilealsoencouragingEstonianstouniteasonemovementwithone

goal.Onamorepracticallevel,though,collaborationwasattheheartofeachof

Mattiisen’smusicalprojects.Heorganizedartistsfromaroundthecountryto

performandproduceanactivist,musicalcollaborationtoproteststrip-mining.

Similarly,hebroughtEstonianpoetJüriLeesement,rockstarIvoLinna,and

numerouscontemporaryartiststogetherwithbeloved19th-centuryEstonian

62

composersandpoetstowriteandperformtheFiveFatherlandSongs.Mattiiseneven

steppedintoleadInSpewhenErkki-SvenTüürleftthegroup.

InwritingtheFiveFatherlandSongs,Mattiisenmanagedtoincorporate

elementsofeachprominent1980sEstonianpopularmusicgenre,like80s-stylepop

music,70s-stylehardrock,andprogrock.Hegoesbeyondthesegenrestoinclude

traditionalchoralstyles,aspectsoffolkmusic,andheavymetal.Inrepresentingall

differentmusicalstyles,tastes,andgenresinhiscollectionofsongs,he’sensuring

thatthere’saparticularmusicalmomentforeachmemberoftheaudienceto

identifywith.Additionally,indrawingsoheavilyfrompopularmusicalstyles,he’s

writinginanalreadyestablishedmusicaltradition,makingeachofhissongsfeel

instantlyfamiliar.Andhe’swritingintenselynationalmusicthatdescribesloftyand

Romanticnationalistideals,butinanaccessible,popularstyle.

GiventheEstoniansongfestivalandmasschoirsingingtradition,Mattiisen

likelywrotetheFiveFatherlandSongsanticipatingalargeaudience.Inwritingarena

rockanthems,he’sensuredthattheFatherlandsongsdoliveonaspartofthese

large-scaleEstonianmusicfestivalsandpoliticalmeetings.Furthermore,by

includingthesepopular,well-knownsongsinpoliticalmeetingslikeEestimaaLaul

1988,themusicoffersanopportunityforhundredsofthousandsofEstoniansto

singtogetherabouttheirnationalpride,eitherinspiredbyordespitethespeaker.

Asevidencedbythenameofthelargepoliticalmeeting(EestimaaLaultranslates

roughlytoEstoniaSings),membersoftheSingingRevolutionengagedinthe

importantunifyingrolemusicplayed,especiallytheFatherlandsongs.

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Eventoday,EstoniansrecognizeMattiisen’simportantcontributionstothe

SingingRevolution.Thecountryisdottedwithlargeandsmallmonumentstohim

andhismusic.Forexample,theclassroomwherehefirstlearnedtoplaythepiano

attheJõgevaMusicSchool,inJõgeva,Estoniaisnowamemorialtohim,featuring

hiscompositionmanuscriptsandhispersonalpiano.147Perhapsthemost

appropriatememorial,though,isthewaytheFiveFatherlandSongsarestillwidely

performedtoday.DifferentFatherlandsongsareprogrammedatsongfestivals

everyyear,includingthenationalLaulupidufestivalatthesongfestivalgroundsin

Tallinn.MassivechoirsperformMattiisen’smusicalongsidepiecesbythe19th-

centurycomposersheborrowedfromwhilewritingtheFatherlandsongs.148

EstoniansstillusetheFiveFatherlandSongstocelebratetheircultureandidentity,

thirtyyearsafterthesongswerepremiered.

Inanalyzingmusic,nationalism,andpolitics,Mattiisen’sFiveFatherland

Songsofferarevelatorycasestudy.TheFatherlandsongsrepresentalarge,

organizedgroupefforttocreateandperformsongsthatpresentedideasabout

Estoniannationalism.Oftenindiscussingmusicandrevolution,wetendtodescribe

musicasadisembodied,personifiedforce,withmagicalabilitiestomaketheworld

abetterplace.TheSingingRevolution,forexample,isoftenminimizedtoan

impossiblescenariowhereEstonianssangthemselvesfree.Realistically,itisn’t

147MerikeKatt,directorofJõgevaMusicSchool,emailtoauthor,April26,2018.148ForexamplesofcontemporaryperformancesofAloMattiisen’swork,see“AloMattiisen,‘Sindsurmani’/Laulupidu2014,”AarneSaluveer,director,video,11:55,July6,2014,https://www.youtube.com/watch?v=PADZOsjdpS4;seealso“AloMattiisen‘Isamaailuhoieldes,’”ValterSoosalu,director,IvoLinna,RobertLinna,Indra-MirrellZeinet,andJoosepToomeste,soloists,video,5:37,July2,2017,https://www.youtube.com/watch?v=0qalDlQsOSg.

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possibleformusicalonetochangepoliticalbordersorregimes.However,that

doesn’tmeanthatmusicdoesn’tplayapowerfulroleinpoliticalrevolution.Alo

Mattiisen’smusicalcontributionstotheEstonianSingingRevolutionexemplifythe

waymusicitselfmaybepowerless,butinthehandsofanindividual(likeMattiisen),

itcanbeusedtomotivateandunifypeopletowardsagreatergoal.Musicactsasa

componentofrevolutiononlywhencoupledwithhumanswhomakeaconscious

efforttoengagemusic’sunifyingability.ThepoweroftheSingingRevolutionlies

notwiththecompositionsandperformersthatcharacterizedthemovement,but

withthewayEstoniansconsciouslycametogetherthroughmusictoconstructthat

revolution.

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WorksCited“AloMattiisen‘Isamaailuhoieldes.’”ValterSoosalu,director,IvoLinna,Robert

Linna,Indra-MirrellZeinet,andJoosepToomeste,soloists.Video,5:37.July2,2017.https://www.youtube.com/watch?v=0qalDlQsOSg.

“AloMattiisen,‘Sindsurmani’/Laulupidu2014.”AarneSaluveer,director.Video,

11:55.July6,2014.https://www.youtube.com/watch?v=PADZOsjdpS4.Anderton,Chris.“Amany-headedbeast:progressiverockasEuropeanmeta-genre.”

PopularMusic29,no.3(October2010),417-435.JSTOR.Burke,Patrick.“TearDowntheWalls:JeffersonAirplane,Race,andRevolutionary

Rhetoricin1960sRock.”PopularMusic29,no.1(January2010):61-79.JSTOR.

Clemens,WalterC.BalticIndependenceandRussianEmpire.NewYork:St.Martin’s

Press,1991.Cushman,Thomas.NotesfromUnderground:RockMusicCountercultureinRussia.

Albany:SUNYPress,1995.“EestimaaLaul1988.”Video,2:54:54.July8,2014.

https://www.youtube.com/watch?v=Uy6Trbfv4tc.Originallyreleasedas:Lepp,Toomas,dir.EestimaaLaul1988,1988;Tallin:EestiInfofilmandLunaVistaProductions,2008.DVD.

“Eioleüksiükskimaa.”AloMattiisenandvariousartists.Video,5:35.January30,

2007.https://www.youtube.com/watch?v=r75WMX1WFgk.Erkki-SvenTüür.“Biography.”AccessedApril15,2018.

https://www.erkkisven.com/cv.

EstonianPhilharmonicChamberChoir.“EstonianPhilharmonicChamberChoir.”TheChoir.AccessedApril22,2018.https://www.epcc.ee/en/the-choir.

EstonianMusicInformationCenter.“FriedrichAugustSaebelmann.”Accessed

November1,2017.http://www.emic.ee/?sisu=heliloojad&mid=32&id=82&lang=est&action=view&method=teosed.

Frith,Simon.“PopMusic.”InTheCambridgeCompaniontoPopandRock,editedbySimonFrith,WillStraw,andJohnStreet,93-108.Cambridge:CambridgeUniversityPress,2001.

66

Grabarchuk,Alexandra.“ClosetotheEdge:SovietProgressiveRockandGenreFormation.”Academia.AccessedApril23,2018.http://www.academia.edu/26548581/CLOSE_TO_THE_EDGE_SOVIET_PROGRESSIVE_ROCK_AND_GENRE_FORMATION.

Holm-Hudson,Kevin.“‘ComeSailAway’andtheCommodificationof‘ProgLite’.”

AmericanMusic23,no.3(Autumn2005):377-394.JSTOR.

Holt,Fabian.GenreinPopularMusic.Chicago:TheUniversityofChicagoPress,2007.

Hung,Eric.“HearingEmerson,Lake,andPalmerAnew:ProgressiveRockas‘MusicofAttractions’.”CurrentMusicology,no.79/80(2005):245-259.https://currentmusicology.columbia.edu/article/hearing-emerson-lake-and-palmer-anew-progressive-rock-as-music-of-attractions.

Johnston,HankandAiliAarelaid-Tart.“Generations,Microcohorts,andLong-Term

Mobilization:TheEstonianNationalMovement,1940-1991.”SociologicalPerspectives43,no.4(Winter2000):671-698.JSTOR.

Katz,Mark.CapturingSound:HowTechnologyhasChangedMusic,revisededition.

BerkeleyandLosAngeles:UniversityofCaliforniaPress,2010.

Keister,JayandJeremyL.Smith.“MusicalAmbition,CulturalAccreditationandtheNastySideofProgressiveRock.”PopularMusic27,no.3(October2008):433-455.JSTOR.

Mattiisen,Alo.MingemÜlesMägedele.IvoLinna,InSpe,Kiigelaulukuuik.MelodijaC6030245005,1990,LP.

McLeod,Ken.“BohemianRhapsodies:OperaticInfluencesonRockMusic.”PopularMusic20,no.2(May2001):189-203.JSTOR.

Misiunas,Romuald,andReinTaagepera.TheBalticStates:YearsofDependence1940-1990.Berkeley:UniversityofCaliforniaPress,1993.

Morris,Mitchell.“KansasandthePropheticTone.”AmericanMusic18,no.1(Spring

2000):1-38.JSTOR.

Palmer,JohnR.“Yes,‘Awaken’,andtheProgressiveRockStyle.”PopularMusic20,no.2(May2001):243-261.JSTOR.

Pettai,VelloA.“Estonia.”InEstonia,Latvia,andLithuania:CountryStudies,editedbyWalterR.Iwaskiw,1-78.Washington:FederalResearchDivision,LibraryofCongress,1996.

67

ProgArchives.“InSpe.”SymphonicProg.AccessedSeptember27,2017.http://www.progarchives.com/artist.asp?id=166.

Ramet,SabrinaPetra,ed.RockingtheState:RockMusicandPoliticsinEasternEuropeandRussia.Boulder:WestviewPress,1994.

Ryback,TimothyW.RockAroundtheBloc:AHistoryofRockMusicinEasternEuropeandtheSovietUnion.Oxford:OxfordUniversityPress,1990.

Schmelz,PeterJ.“FromScriabintoPinkFloyd:TheANSSynthesizerandthePolitics

ofSovietMusicbetweenThawandStagnation.”InSoundCommitments:Avant-gardeMusicandtheSixties,editedbyRobertAdlington,254-272.NewYork:OxfordUniversityPress,2009.

Šmidchens,Guntis.ThePowerofSong:NonviolentNationalCultureintheBaltic

SingingRevolution.Seattle:UniversityofWashingtonPress,2014.Sternfeld,Jessica.TheMegamusical.Bloomington:IndianaUniversityPress,2006.

Traut,Don.“‘SimplyIrresistible’:RecurringAccentPatternsasHooksinMainstream1980sMusic.”PopularMusic24,no.1(2005):57-77.JSTOR.

Turino,Thomas.MusicasSocialLife:ThePoliticsofParticipation.Chicago:TheUniversityofChicagoPress,2008.

Vähi,Peeter.LinernotesforMingemÜlesMägedele,byAloMattiisen.IvoLinna,InSpe,Kiigelaulukuuik.MelodijaC6030245005,1990,LP.

VariousArtists.EestiPopVII.MelodiyaC6024663009,1986.Spotify.

VariousArtists.EestiPopX.MelodiyaC6028303003,1989,Spotify.

Waksman,Steve.ThisAin’ttheSummerofLove:ConflictandCrossoverinHeavyMetalandPunk.Berkeley:TheUniversityofCaliforniaPress,2009.

Walser,Robert.RunningwiththeDevil:Power,Gender,andMadnessinHeavyMetalMusic.Middletown:WesleyanUniversityPress,1993.

Waren,Warren.“TheoriesoftheSingingRevolution:AnHistoricalAnalysisoftheRoleofMusicintheEstonianIndependenceMovement.”InternationalReviewoftheAestheticsandSociologyofMusic43(2012):439-451.AccessedOctober3,2015.JSTOR.

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Wikipedia.“Listofnumber-onesinglesof1988(Finland).”LastmodifiedDecember10,2014.https://en.wikipedia.org/wiki/List_of_number-one_singles_of_1988_(Finland).Originallypublishedin:NymanJake.Suomisoi4:Suurisuomalainenlistakirja.Helsinki:Tammi,2005.

Weinstein,Deena.“PaganMetal.”InPopPagans:PaganismandPopularMusic,editedbyDonnaWestonandAndyBennett,58-75.London:Routledge,2014.

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Discography

ABBA.“Bang-a-Boomerang”fromAbba.Polar314549960-2,2001,Spotify.Originallyreleasedin1975.

ABBA.“SOS”fromAbba.Polar314549960-2,2001,Spotify.Originallyreleasedin

1975.ABBA.“DancingQueen”fromArrival.Polar314549961-2,2001,Spotify.Originally

releasedin1976.AloMattiisen.MingemÜlesMägedele.MelodiyaC6030245005,1990,LP.BandAid.“DoTheyKnowit’sChristmas”fromDoTheyKnowIt’sChristmas.Mercury

9869413,2004,Spotify.Originallyreleasedin1984.BonJovi.“Livin’OnAPrayer”fromSlipperyWhenWet.Mercury830264-2M-1,

1986,Spotify.BonJovi.“YouGiveLoveABadName”fromSlipperyWhenWet.Mercury830264-2

M-1,1986,Spotify.“Eioleüksiükskimaa.”AloMattiisenandvariousartists.Video,5:35.January30,

2007.https://www.youtube.com/watch?v=r75WMX1WFgk.EltonJohn.“Don’tLettheSunGoDownonMe”fromCaribou.Mercury528158-2,

1995,Spotify.Originallyreleasedin1974.EltonJohn.“EmptyGarden(HeyHeyJohnny)”fromJumpUp!.TheRocketRecord

Company077122-2,2003,Spotify.Originallyreleasedin1982.Emerson,Lake,andPalmer.PicturesatanExhibition.BMGBMGCATLP3,2016,

Spotify.Originallyreleasedin1971.Genesis.SellingEnglandbythePound.AtlanticSD19277,1973,Spotify.InSpe.TypewriterConcertoinDMajor.Musea4118,2009,Spotify.Originally

releasedin1985.JethroTull.ThickasaBrick.Chrysalis724349540026,1997,Spotify.Originally

releasedin1972.J.M.K.E.“TerePerestroika”fromKülmaleMaale.StupidorecordsTWINLP166,2016,

Spotify.OriginallyReleasedin1989.

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Kansas.“CarryOnWaywardSon”fromLeftoverture.KirshnerJZ34224,1976,Spotify.

KingCrimson.IntheCourtoftheCrimsonKing.DisciplineGlobalMobileDGM0501,2005,CD.

NewTrolls.ConcertoGrossoPerINewTrolls.FonitCetreaMC134,1971,

Spotify.Queen.“BohemianRhapsody”fromANightAtTheOpera.HollywoodRecords

D001364802,2011,Spotify.Originallyreleasedin1975.REOSpeedwagon.“Can’tFightThisFeeling”fromWheelsAreTurnin’.EpicQE

39593,1984,Spotify.Starship.“WeBuiltthisCity”fromKneeDeepInTheHoopla.GruntBXL1-5488,1985,

Spotify.USAforAfrica.“WearetheWorld.”ColumbiaUS2-05179,1985,Spotify.Yes.Fragile.AtlanticSD7211,1972,Spotify.Originallyreleasedin1971.

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AppendixA:SuggestedListening

BecausenoneoftheserecordingswerecommerciallyreleasedintheUnitedStates,pleaseseebelowforlisteningoptions.TypewriterConcertoinDMajor,composedbyAloMattiisen:“InSpe:S/T(Estonia/USSR,1985)[FullAlbum].”InSpe.Video,43:37.September

10,2016.https://www.youtube.com/watch?v=FUn2_tLKBHE&t=18s.or

InSpe.TypewriterConcertoinDMajor.Musea4118,2009,Spotify.Originallyreleasedin1985.

“Eioleüksiükskimaa,”or“NotaSingleLandisAlone,”composedbyAloMattiisen:“Eioleüksiükskimaa.”AloMattiisenandvariousartists.Video,5:35.January30,

2007.https://www.youtube.com/watch?v=r75WMX1WFgk.MingemÜlesMägedele,composedbyAloMattiisen:“AloMattiisen–MingemÜlesMägedele[1990LP].”AloMattiisenandvarious

artists.Video,33:14.December28,2012.https://www.youtube.com/watch?v=E9UtHCCRPKs&t=7s.

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AppendixB:TimelineofEventsearly1800s–EstonianNationalAwakeningbegins1869–FirstEstoniansongfestival

“You,untilDeath”byAleksanderKunileidTextbyLydiaKoidula

1873–“GoHighupAtoptheHills”byKarlAugustHermann1880–“TheMostBeautifulSongs”byFriedrichAugustSaebelmann “GuardingtheFatherland’sBeauty”byKarlAugustHermann1919–FirstindependentEstoniannation1939–EstoniaissecretlycededtoUSSRaspartofMolotov-RibbentropPact1944–“MyFatherlandismyBeloved”byGustavErnesaks1985–GlasnostandPerestroikapoliciesintroduced

AloMattiisenjoinsInSpeTypewriterConcertoinDMajorreleasedbyInSpe

1987–“NotaSingleLandisAlone”andVirumaastripminingprotests1988–FiveFatherlandSongspremiereatTartuMusicDays EestimaaLaul1988festival Bearslayer,Latviannationalistrockopera1990–studioreleaseofFiveFatherlandSongs,MingemÜlesMägedele1991–Estoniadeclaresindependence(August20,1991) SovietUniondissolves(December26,1991)

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AppendixC:TextandTranslationsoftheFiveFatherlandSongsTheMostBeautifulSongs(Kaunimadlaulud)English:Igivetoyouthemostbeautifulsongs,Lovedbymyancestors,dearhomeland!MyheartbeatsstronglyinmychestWhenIsingtoyou,fatherland!Themostbeautifulsongsremainedunsung,Lostinendlessslogansandpledgesandflags.Themostbeautifulwisheswerenotfulfilled,Lostinharmfulsenselessnessandrublesandsloth.Thelonged-fordream,heldforeternity,Tornbywindsfromallsides,Somethingsuddenlymovedinthebosom—Didthisformcomefrominside?Themostbeautifulsongsarestillunsung,Andalienationisstillundefeated.ThetorchesthathaveneveryetburnedNowallmustigniteatbothends.Igivetoyouthemostbeautifulsongs,Themostbeautifulsongs.Themostbeautifulspeechesremainedunheard,Lostinstupidexplanations,accusations,andobfuscations.Themostbeautifulmelodiesremainedunplayed,Lostinlowscoldings,sorrows,andsenselessness.Whoeverbeggedforfreedomfromabove,Feebleandpatheticishe.Whoeverquenchedthirst,unmindfulofdanger,Clearsstonesfromtheroad!Themostbeautifulsongsarestillunsung,Andalienationisstillundefeated.ThetorchesthathaveneveryetburnedNowallmustigniteatbothends.

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Estonian:Kaunimadlauludpühendansull',vanematestarmastatudkalliskodumaa!Võimsastituksubsüdasiismul,kuisullelaulan,muisamaa!Kaunimadlauludlaulmatajäidloosungite,lippude,lubadustelõputusreas.Kaunimadsoovidtäitmatajäidrahulolu,rubladejarumalusterikutudreas.Kauasiintuulteleavatudõuesoodatudigavestund,midagiäkkiendliigutaspõues-oliseeseesminesund?Veellaulmataonkaunimadlauludjavõõrastavveelvõitmata.Nüüdsüütamapeabkahestotsastpirrud,missiiamaanionläitmata.Kaunimadlauludpühendansull',kaunimadlaulud.Kaunimadkõnedkuulmatajäidselgituste,süüdistuste,saladustesõgedasreas.Kaunimadviisidvõitmatajäidmanitsuste,muredejamõttetustemadalasreas.Priiustkeskõrgemaltkerjatalootis,viletsjaväetionsee.Keeldudekiustekesjanuseidjootis,kividestpuhastaltee!Veellaulmataonkaunimadlauludjavõõrastavveelvõitmata.Nüüdsüütamapeabkahestotsastpirrud,missiiamaanionläitmata.

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GoHighupAtoptheHills(Mingemülesmägedele)English:Gohighupatopthehills,Musta,Õis,orLasnaHill,Gazedownonthepeople’sspiritThroughthemuteandforeignpower.Seetherehowtheheartisaching,Wickednesshasseizedthehand!ShoutitloudlytothevalleyWithallyourstrength.Shoutitloudlytothevalley:LasnaHillmuststopnow!Shoutitloudlytothevalley:Stopitnow!Look,thepeople’swoundedspiritDoesnotheal,thereisnocure.AnymedicinethatcomesnowWillarrivemuchtoolate.Cliff-topcity,likeanulcer,Endless,faraseyescansee.Let’sallshoutdowntothevalleyWithallourstrength.Let’sallshoutdowntothevalley:LasnaHillmuststopnow!Let’sallshoutdowntothevalley:LasnaHillmuststopnow!Gohighupatopthehills,Tothewaftingbreathofwind.GazebelowintothevalleyPastthesplendoroftheflowers.Look,it’sallcompletelyforeign—Isthisreallyhometoyou?Throughthedimanddraftystreetsthemigrantwandersaimlessly.Lookintohisemptyeyes,Hedoesn’tfeelorknoworsee.Let’sallshoutdowntothevalleyWithallourstrength:

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Let’sallshoutdowntothevalley:LasnaHillmuststopnow!Let’sallshoutdowntothevalley:Stopitnow!Stopitnow!LasnaHill.Estonian:Mingeülesmägedelle,Musta-,Õis-võiLasnamäe,vaat'keallarahvahingeläbitummavõõraväe.Vaat'ke,kuidashingonhaige,kurjushaaranudonkäe,jasiishüüdkeallaorgukõigestväest:Jasiishüüdkeallaorgu:"PeatageLasnamäe!"Jasiishüüdkeallaorgu:"Peatage...!"Vaat'ke,haavadrahvahingesikkaveeleiparane,ükskiabinõueioleenamliigavarane.Linnkuipaisepaeselpinnal-sellellõppusilmeinäe.Hüüdkemkõiknüüdallaorgukõigestväest:Hüüdkemkõiknüüdallaorgu:"PeatageLasnamäe!"Hüüdkemkõiknüüdallaorgu:"Peatage...!"Mingeülesmägedelle,tuuleõrnaõhule.Vaat'keallaorupõhjaülelillehiilguse.Vaat'ke,kõikonvõhivõõras-kasonseesiiskodukant?Tänavatetõmbetuuleshulgubsihitultmigrant.

77

Vaat'ke,talonsilmistühjus,taeitunne,tea,einäe.Hüüdkemkõiknüüdallaorgukõigestväest:Hüüdkemkõiknüüdallaorgu:"PeatageLasnamäe!"Hüüdkemkõiknüüdallaorgu:"Peatage...!"Lasnamäe...

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You,untilDeath(Sindsurmani)English:UntilmydeathIshallholdyouAsmybelovedone.MyblossomingEstonianpath,Myfragrantfatherland!Ohland,howtenderlyyoucarryYourchildrenonyourarms,Yougivethembreadandshelter,Andafinalrestingplace!Canthesesamewords,andtheirtuneHoldusalltogether?Nowadays,justlikebackthen,Cloverbloomsandaspensquake.Butyet,inyoureyesIoftenfindyourteasr?Tohope,ohMyEstonia,Thattimesarechangingnow!Justthesamewords,andtheirtune,Thesepersistentsigns,Justassimplyasbackthen,Cloverbloomsandaspensquake.Sopiousareyoursons,Howbraveandstrongtheyare!Yourdaughtersarelikeflowers,Sobeautiful,theybloom!CanthesamewordsandtheirtuneHoldusalltogether?Nowadays,justlikebackthen,Whatcomesfromthesoul,reachesasoul.

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Estonian:Sindsurmanikülltahanmakallikspidada,muõitsevEestirada,mulõhnavisamaa!Kuismaa,niihellalthoiadsalapsikätepääl,neilannadleiba,katet,saviimastasetveel.Samadsõnad,samaviiskasmeidhoidasaavad,samamoodinagusiisõitsebristikjavärisevadhaavad.Kuidsiiskiveelleiansusilmistpisaraid.MuEestimaa,ohlooda,ehknüüdneedajadmuutuvad.Samadsõnad,samaviis,samatõrksadtähed,samalihtsaltnagusiisõitsebristikjavärisevadhaavadKuisonsupojadvagad,niivaprad,tugevad,sutütrednagulilled,nadõitsvadnägusad!Samadsõnad,samaviis,kasmeidhoidasaavad,samamoodinagusiismishingesttulnudhingeläheb.

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GuardingtheFatherland’sBeauty(Isamaailuhoieldes)English:Guardingthebeautifulfatherland,fightingagainsttheenemy:Remember,remember,remember,remember!Ifyoutrulytrustyourself(Ifyoutrulytrustyourself),Andthewisdomofwisepeople(andthewisdomofwisepeople),Andtheshouldersofstrongpeople(andtheshouldersofstrongpeople),Andthepoweroftheancients(andthepoweroftheancients),Andthequicknessoftheyoungmen(andthequicknessoftheyoungmen),Andthesistersandthebrothers(andthesistersandthebrothers),Andaboveall,trustyourself(andaboveall,trustyourself):Thenyou’llgetabetterlife(thenyou’llgetabetterlife).Guardingthebeautifulfatherland,fightingagainsttheenemy:Remember,remember,remember,remember!Ifyoutrustthewolf’sslickstories(Ifyoutrustthewolf’sslickstories),Ifyoufearthehounds’madhowling(Ifyoufearthehounds’madhowling),Ifyoulistentothelandlord’scursing(Ifyoulistentothelandlord’scursing),Ifyoutrusttheservants’snitching(Ifyoutrusttheservants’snitching),Andtheglutton’sgreedformore(andtheglutton’sgreedformore),Andtheviewsofthevileperson(andtheviewsofthevileperson),Andthescoldingofthesenseless(andthescoldingofthesenseless),Thenyouwon’tgetanything.Guardingthebeautifulfatherland,fightingagainsttheenemy:Remember,remember,remember,remember!Ifyousinkintofalsestories(Ifyousinkintofalsestories),Ifyoudrownyourselfindreams(Ifyoudrownyourselfindreams),Grovelwhenyou’regivenorders(grovelwhenyou’regivenorders),Bowdownlowbeforetheruble(bowdownlowbeforetheruble),You’llgetlicebetweenthelegs(you’llgetlicebetweenthelegs),You’llgethivesinsideyourheart(you’llgethivesinsideyourheart),Soresonyourskull,bonesinyourbelly(soresonyourskull,bonesinyourbelly):Thenyou’llgotohell.Guardingthebeautifulfatherland,fightingagainsttheenemy:Remember,remember,remember,remember!Ifyoutrulytrustyourself(Ifyoutrulytrustyourself),Thenyou’lltrulytrustthepeople(thenyou’lltrulytrustthepeople),Familyfarmstead,worldlywisdom(familyfarmstead,worldlywisdom),

81

Truthfulteachings,objectivejustice(truthfulteachings,objectivejustice),Andthebirchgroveofyourbirthplace(andthebirchgroveofyourbirthplace),Andtheswallow-birdinthebluesky(andtheswallow-birdinthebluesky):Couragewillbepowerful,Andyou’llgetabetterlife.Estonian:Isamaailuhoieldes,Vaenlasevastuvõideldes:Panetähele,panetähele,panetähele,panetähele!Kuisinausudendaasse(Kuisinausudendaasse)Arukatearvamisse(Arukatearvamisse)Tugevateturjadesse(Tugevateturjadesse)Vanematevägevusse(Vanematevägevusse)Noortemeestenobedusse(Noortemeestenobedusse)Õdedesse,vendadesse(Õdedesse,vendadesse)Ennekõikeendaasse(Ennekõikeendaasse)Siissaadpõlveparema.Isamaailuhoieldes,Vaenlasevastuvõideldes:Panetähele,panetähele,panetähele,panetähele!Kuisinausudhundijuttu(Kuisinausudhundijuttu)Kardadkoerteklähvimisi(Kardadkoerteklähvimisi)Kuuladsakstesajatusi(Kuuladsakstesajatusi)Kannupoistekaebamisi(Kannupoistekaebamisi)Saamameestesalvamisi(Saamameestesalvamisi)Madalatemanitsusi(Madalatemanitsusi)Sõgedatesõitlemisi(Sõgedatesõitlemisi)Siiseisaasamidagi.Isamaailuhoieldes,Vaenlasevastuvõideldes:Panetähele,panetähele,panetähele,panetähele!Kuisinavajudvaledesse(Kuisinavajudvaledesse)Upakileunedesse(Upakileunedesse)Käpakilekäsualla(Käpakilekäsualla)Röötsakilerublaalla(Röötsakilerublaalla)Siissaadkirbudkubemesse(Siissaadkirbudkubemesse)Sügelisedsüdamesse(Sügelisedsüdamesse)Päisedpähe,kondidkõhtu(Päisedpähe,kondidkõhtu)SiissalähedpõrgusseIsamaailuhoieldes,Vaenlasevastuvõideldes:Panetähele,panetähele,panetähele,panetähele!

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Kuisinausudendaasse(Kuisinausudendaasse)Siissinausudrahvaasse(Siissinausudrahvaasse)Taludessetarkusesse(Taludessetarkusesse)Õpetusse,õigusesse(Õpetusse,õigusesse)Kodukohakaasikusse(Kodukohakaasikusse)Pilvepiirilpääsukesse(Pilvepiirilpääsukesse)Siissaadvaimuvägeva,Siissaadpõlveparema.

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IamEstonian(Eestlaneolenjaeestlaseksjään)English:Athousandtimesoverandagain,Athousandyearsofrising,notafinalflight;TorenounceyourownnationIslikesellingyourselfintoslavery.IamandI’llstayEstonian;IwascreatedEstonian.ProudandgoodtobeEstonian,freelikeourforefathers.Yes:freelikeourforefathers.Athousandpeople’squestionsthundering,Sacredsoil,freesea,nativefarmsteads.AthousandtimesonethousandpeoplethereHoldthesacredflamealivedefiantly.IamandI’llstayEstonian;IwascreatedEstonian.ProudandgoodtobeEstonian,freelikeourforefathers.Yes:Justlikeourfreeforefathers,justlikethosecourageousmen.IamandI’llstayEstonian;IwascreatedEstonian.ProudandgoodtobeEstonian,freelikeourforefathers.Yes:Justlikeourfreeforefathers,justlikethosecourageousmen.Estonian:Tuhatkordakasvõialata,Tuhataastattõusu,mitteluigelend.OmarahvustmahasalataSamaränkonnaguorjaksmüüaend.Eestlaneolenjaeestlaseksjään,kuimindeestlaseksloodi.Eestlaneollaonuhkejahää,vabaltvaarisamoodi.Jah,justnõnda,vabaltvaarisamoodi.Tuhatkõuehäälsetküsijat:Vabameri.Põlistalud.Pühamuld.TuhatkordatuhatpüsijatKõigekiusteelushoiabpühatuld.Eestlaneolenjaeestlaseksjään,kuimindeestlaseksloodi.Eestlaneollaonuhkejahää,vabaltvaarisamoodi.Jah:justnõnda,vabaltvaarisamoodi,nendemehistemeestemoodi.

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Eestlaneolenjaeestlaseksjään,kuimindeestlaseksloodi.Eestlaneollaonuhkejahää,vabaltvaarisamoodi.Jah:justnõnda,vabaltvaarisamoodi,nendemehistemeestemoodi.AppendixCSourcesEnglishTranslations:Šmidchens,Guntis.ThePowerofSong:NonviolentNationalCultureintheBaltic

SingingRevolution.Seattle:UniversityofWashingtonPress,2014.[ItalicsfromŠmidchens,inhistranslations,Šmidchensitalicizesthetexttakendirectlyfromtheoriginal,19th-centurypoemorsong]Estonianlyrics:“Eestlaneolenjaeestlaseksjään.”Laulusõnad.AccessedNovember10,2017.

http://www.laulud.ee/laul/eestlane_olen_ja_eestlaseks_jaan-369.aspx.[Italicsmine,basedonŠmidchens]“Isamaailuhoieldes.”Laulusõnad.AccessedNovember10,2017.

http://www.laulud.ee/laul/isamaa_ilu_hoieldes-51.aspx.[Italicsmine,basedonŠmidchens]“Kaunimadlaulud.”IvoLinna.AccessedNovember9,2017.

https://sasslantis.ee/lyrics-ivo_linna-kaunimad_laulud.[Italicsmine,basedonŠmidchens]“Mingeülesmägadele.”IvoLinna.AccessedNovember9,2017.

https://sasslantis.ee/lyrics-ivo_linna-minge_ules_magedele.[Italicsmine,basedonŠmidchens]“Sindsurmani.”Isamaalisedlaulud.AccessedNovember10,2017.

https://sasslantis.ee/lyrics-isamaalised_laulud-sind_surmani.[Italicsmine,basedonŠmidchens]