Butler University Digital Commons @ Butler University Graduate Thesis Collection Graduate Scholarshi 016 Theseus and the Minotaur Ben Lutterbach Butler University, blutterb@butler.edu Follow this and additional works at: htts://digitalcommons.butler.edu/grtheses Part o the Comosition Commons Recommended Citation Lutterbach, Ben, "Theseus and the Minotaur" (016). Graduate Thesis Collection. 1. htts://digitalcommons.butler.edu/grtheses/1 This Thesis is brought to you or ree and oen access by the Graduate Scholarshi at Digital Commons @ Butler University. It has been acceted or inclusion in Graduate Thesis Collection by an authorized administrator o Digital Commons @ Butler University. For more inormation, lease contact omacisaa@butler.edu.
1 INTRODUCTION Comosition on this iece began in the all o 010 with an initial goal o writing a work that contrasted my revious iece, which was written or wind ensemble. The original sketches hinted at a very dierent work with highly melancholic tone and extensive use o traditional tonality. There were no rogrammatic considerations or a clear goal o what I was attemting to exress at this oint in the rocess. Ater sketching several ages o ideas and drat sections, Dr. Schelle instructed me to return the ollowing week with something stylistically oosite o what I had been comosing. During that week, I ound the new material I was sketching excited me ar more than the existing content. This stylistic shit marked the oint when the iece began to take its current shae. Once the stylistic shit had been made, I chose to ocus on what I wanted the end result to convey. I selected to base the iece on a ear I had at that time in my lie, which was now more relevant as an adult living indeendently (away rom arents) with lans to start a amily with my wie. At the time I was araid o a violent intruder entering our home, and my resonsibility in the situation to ensure my amily s saety. This ear rovided the rogrammatic ramework or the our untitled movements o the iece, which address a seciic asect or scenario. As I continued work on the iece, my comositional abilities and use o techniques imroved, and uon comletion Dr. Schelle and I decided the work would be aroriate or my thesis roject, desite this not being the initial goal. In rearation or this review and deense committee, the iece has been slightly revised and the title changed. The title change was due to the highly ersonal nature o the rogram. Conveying the nuances o the overall rogram and the our movements in a way that would also connect with the audience was not something I elt ossible with a simle title. Ater much thought, deliberation, and inut rom Dr. Felice, Theseus and the Minotaur was suggested. This ancient
Greek myth, in addition to roviding a clever lay-on-words with similarities to thesis, does contain the aroriate elements to match the comosed music. Though this aer will ocus on the original rogrammatic material considering that s what the iece was written or, the correlation between the individual movements and the new title is as ollows: 1. Movement I Roaming the labyrinth, hiding rom and avoiding the dreaded minotaur.. Movement II Attemting escae rom the minotaur only to ind it is imossible.. Movement III The tragedy o those selected or the sacriice to the monster.. Movement IV The hero Theseus s battle and ultimate victory in the labyrinth. This iece is written or lute, Bb clarinet, violin, viola, cello, and double bass (conductor highly recommended), and consists o our connected movements, which are through-comosed, each reresenting a dierent asect o my ear o an intruder with violent intentions. The exected erormance time is 1-1 minutes (see Figure 1.1 or a ormal diagram). The irst movement reresents calmness and eaceulness rom the onset but quickly shits to uncertainty and susicion. As the movement closes, the ocus is dominated by extreme tension and ear. The second movement reresents a hectic, chaotic encounter with the aggressor. The third movement is meant as a moment o real-time exanded musically, reresenting those you love and cherish, the duty to rotect them, and the rice o ailure. The inal movement is in essence, a ocused, relentless musical ight that ersists until the dramatic end o the iece. With one excetion, which is discussed below in Section, individual instruments do not reresent a character in the story. Rather, the ocus is on conveying the rogrammatic elements, articularly the underlying emotions asects, using the ensemble as a unit. In order to convey these asects, very seciic musical considerations were made, articularly regarding meter, orchestration, melodic develoment, and varied use o itch and harmonic content. The ollowing Sections will rovide an
overview o these asects as well as imortant rogrammatic elements and will discuss each in urther detail. Figure 1.1 Diagram o the Piece s Structure (All Movement Times are Aroximate) PROGRAMMATIC ELEMENTS The rogrammatic nature o this iece is one o its most imortant asects and was the rimary driving orce behind each movement s overall intent as well as most musical choices that were made. Each movement exlores a dierent event within a larger scenario in my original ear o a violent intruder. Movement I is searated into two sections and deicts the beore o the encounter rom my oint o view as the unsusecting, non-aggressor (section 1) and the intruder as he crees through the house (section ). The second movement exlores, in a very chaotic and terriied way, what haens during our initial encounter. The third movement exlores the eelings towards those you love (e.g. souse, children) who are deending on you in this tye o situation, rather than simly the motivation or sel-rotection. This ocus on others is essential; a strong comonent o my ear was that I would ail those who were deending on me. The inal movement is an exhausting, all-out ight-to-the inish (some may reasonably say to-the-death). While most decisions about this iece were inluenced by the overall rogram, only the most signiicant eatures o each movement will be discussed. In the irst movement, which is slow, mysterious at times, and illed with several moments o swelling tension, the double bass lays a very imortant role at two key moments. The irst moment comes as the irst section comes to a close. Prior to measure 6, a sense o susicion is building, which
suddenly begins to grow and morh into tension and ear, accentuated by the bass s use o izzicato and low notes, reresenting strange sounds, but not ones that can yet be deinitively attributed to an intruder (Figure.1). Similarly, the bass again utilizes izzicato as well as reetitive legato notes dynamically above the ensemble, as well as a dissonant tremolo at the close o the second section o the irst movement, as the intruder crees closer to an imminent conrontation (Figure.). Figure.1 Bass Pizzicato Reresenting a Mysterious Sound (Mvt I, Section 1, mm. 6 0) Figure. Encounter is Imminent (Mvt I, Section, mm. 6)
Prior to the encounter taking lace, the intruder is sneaking through the house with tension building as he gets closer and closer. This central melodic inluence o the second section o the irst movement begins with ootstes in the clarinet and cello, with one quiet lead ootall (clarinet) being echoed slightly quieter (izzicato cello) (Figure.). Figure. Intruder Quietly Creeing Through the House (Mvt I, Section, mm. ) The second movement exlores a chaotic irst encounter, which, like the irst movement, contains two sections. The irst section ocuses on the encounter rom my ersective, while the second switches to the assailant s oint o view. Though this movement is less varied rogrammatically, two seciic moments occur that have a seciic intention. Measures 69 (Mvt II, Section 1) begins with a rominent glissando in the violin and cello, ollowed by a sequenced (by hal ste) reetition (without the glissando) which reresents the intruder nearly getting a hold o me though I barely sli away (Figure.). Finally, in the second section, as the second movement is coming to a close, the intruder inally is able to corner me and my amily and seemingly get the uer hand as reresented by a very loud, dissonant chord. This extreme dissonance is due to the use o almost exclusively minor seconds as well as tritones. Here are the notes rom lowest to highest (see Figure. or a visual): A and Eb (bass), G and E-natural (cello), C and B-Natural ( th aart) (viola), C# and A (violin), Bb (lute).
6 Figure. Barely Sliing Away (Mvt II, Section 1, mm. 69 ) Figure. Cornered with Nowhere to Escae (Mvt II, Section, m. 106) The third movement, which is ocused on those who are relying on me or their saety, oten utilizes short duets, accomanied by the ensemble, between dierent combinations o instruments. Programmatically, these duets reresent the connection between me and another erson. Each duet utilizes a ragment or slight variation o the rimary theme (see Section, Figure. below or the ull theme), which reresents me. Simultaneously, the other member o the duet is laying material that, while based on the rimary theme, is develoed to less recognizable level (Figure.6).
Figure.6 Movement III Duet, Clarinet and Cello (mm. 1 - The ourth movement s rogram, which is entirely ocused on ighting, strongly inluences rhythm and meter. As someone trained in hand-to-hand combat techniques or nearly years I believe that a ight, regardless o the context (e.g. sel-deense, as the aggressor, during intense combat sorts, training, etc.), is an extremely unredictable exerience regardless o your exerience, training, and natural hysical attributes. It is simly not ossible to control another human being during a conrontation, any sense o control is merely artiicial; one can only hoe to manage the other s
soradic, unredictable inuts. This ideology is the basis or the use o mixed meter and rhythm in this section, which is essential to accomlishing the rogrammatic setting. The rimary time-signature is / ( + + ), but / ( + ), 6/, /, /, /, and / are used oten. The urose behind using / as the rimary time signature is to elicit a sense o tension and uneasiness in the listener due to its asymmetrical nature. This is due to the revious movement written rimarily in 6/ and most listeners being aurally accustomed to music in / (/ lies in between the two). Furthermore, /, when divided ++, gives a natural sense o irregularity, asymmetry, and orward motion. The use o other time signatures adds another layer o metric comlexity, urther reresenting the dynamic motions o a ight. Though moments o extended consistency exist, they only serve to mimic a alse sense o control beore a new time signature shatters the illusion. Within these requent / and / bars, a regular ulse is established utilizing a reetitive rhythmic motive that ersists across much o the movement. The ulse is aided by accents on the irst beat o the metric division (see accents in each measure o Figure. and Figure.). The rimary rhythmic motive is shown rominently in Figure.. The rhythmic motive and resulting ulse are intended to have a rogrammatic eect, with accented notes reresenting strikes while the remaining notes reresent body movement and ositioning, and ootwork (e.g. a boxer striking a unching bag). Even moments when the time signature is in /, the ulse oten remains due to a modiied version o the rimary rhythmic motive (Figure. rom mm. -9, in addition, see: mm., 61-6, 0, 96, ).
9 Figure. Movement IV Primary Rhythmic Motive (mm. 0 0, Motive is 1 measure in length) Figure. Movement IV Primary Rhythmic Motive Modiied or / (mm. 9) Since the rogram ocuses on a major ear I once had, I eel that the ending, though violent, turns out in my avor, which was initially reresented by a clear root osition, ortissimo G-minor triad, with each string instrument laying a trile (bass) or quadrule sto. However, I choose to re-notate slightly to add C (violin, viola, cello) and Eb (cello). This was done to allow or ambiguity so the listener could roject a dierent ending and to reresent the mixed outcomes o Theseus s victory in the labyrinth. The re-voicing o this inal chord was the only asect o the iece modiied with the story o Theseus and the Minotaur in mind. USE OF MIXED METER The use o mixed meter is revalent throughout each movement o the iece as well as many o the works I comose. This iece utilizes mixed meter or a seciic rogrammatic eect in the ourth movement as was discussed in the revious section, but this is not the sole reason or its usage. The most common usage is as a notated ritardando (Figure.1), in which a subsequent time signature is o a longer duration than the revious beore switching back to the revious time signature, (ex. / to
10 / to /) allowing or the listener to exerience more recise and controlled extensions o time than a traditional ritardando, rubato, or ermata can rovide (e.g. m., 1,, ). Conversely, I also use mixed meter to disrut the sense o consistent time in a sudden manner, oosite o a notated ritardando (e.g. / to / to / OR / to / to /) (Figure.). Finally, mixed meter is also utilized to accommodate melodic hrases, esecially when ragmented, whose resentations do not it well with consistent metering (Figure.). Figure.1 Notated Ritardando in Measure 16 (Mvt III, m. 160 16) Technique used to allow the Clarinet and Cello to extend their melodies an th note longer in measure 16 beore resuming the revious 6/ time.
11 Figure. Sudden Disrution o Time in Measure (Mvt II, Section, m. ) Technique allows the sudden orte quarter note ending m. to occur more suddenly. Comare m. (clarinet) to m. (lute) and note the rhythms, articularly beat (eight note Eb) in the clarinet and beat (quarter note D) in the lute. The clarinet s Eb is shortened to an eighth note allowing it to it in a shortened (metrically) measure when comared to the adjacent measures. Figure. Mixed Meter in Melodic Lines o Varying Lengths (enclosed in boxes) (Mvt II, Section, mm. 9 10)
1 ORCHESTRATION The overall goal o the orchestration o this iece was to rovide aural suort or the rogrammatic setting used. In writing the iece I ocused on certain emotional states which I elt were essential to the rogram: Tension Fear Susicion Sadness Love Aggression Violence These states are oten aired together in the music (Tension/Fear/Susicion, Sadness/Love, Aggression/Violence). The orchestration is a large art o how I attemt to convey these states, in articular tension, ear, aggression, and violence. Admittedly, the orchestration is traditional, esecially regarding voice crossings, register, and how the individual instruments are used (e.g. melody in the uer registered instruments and accomaniment/suort to the lower registered instruments). This has the intended beneit o simliying the listening exerience, articularly in the nd and th movements which eature a great deal o rhythmic motion and dissonant harmonies. However, desite the overall simlicity, certain considerations were made regarding orchestration to convey the emotional states listed above. Tension and ear rovided an oortunity or one examle. In my mind, tension and ear are accomlished with careul use o thick (given the size o this ensemble) textures, dissonant harmonies, and gradual crescendos and decrescendos. An examle can be seen at the close o the irst section o the irst movement, mm. 6-0 (Figure.1), which has also
1 been discussed reviously or its rogrammatic elements (see Figure.1 above). While the bass is essential or a seciic rogrammatic element, the notes assigned to the violin were chosen with the intention o utilizing the intense, iercing timbre given the intervals and ranges. Further comlimenting this timbral element o the violin, the clarinet and lute maintain very close intervals with the ga sreading as measure 1 aroaches. In each measure, the intervals in these voices emhasize tritones as well as major and minor seconds, which rovides the dissonance. The viola, cello, and bass comlete the lower ends o the texture, with the cello and bass ascending very little. The result is that the beginning o the section, which was rom a itch ersective, searated into a low grou (viola, cello, bass) and a high grou (lute, clarinet, violin), ends with a richer texture with low, middle, and high voices reresented. The inal element that aids the building o tension (as I begin to susect an intruder is resent), is use o dynamics. As each measure rogresses, the ensemble crescendos gradually, with the excetion o the bass, which is given a higher (louder) marking with each new entrance. Figure.1 Dissonant Harmonies Reresenting Tension and Fear (Mvt I, Section 1, mm. 6-0) Movement, which is slit into two sections, contains a textural division between the cello and bass, and the lute, clarinet, violin, and viola. The cello and bass rimarily unction as accomaniment
1 and tend to lay in the mid to lower registers o their instrument with ew excetions. The lute, clarinet, violin, and viola handle the rimary thematic elements, which rimarily consist o eighth and sixteenth notes. The urose or the textural divisions are: 1. Practicality The natural agility in the lute, clarinet, violin, and viola lend themselves well to the raid and reetitive igures.. Aural Eect The requent use o the mid to lower register o the cello and bass rovide a more ominous undercurrent to the overall texture. The third movement is unique when comared to the rest o the iece or many reasons. It is tonal, relies on staggered entrances to assist in building to a climax, and melodic trading and duets are used requently. While the usage o these techniques were driven by the rogrammatic theme, I would like to discuss their usage rom an orchestration ersective utilizing an imortant moment rom early in the movement. First, staggered entrances, when combined with dynamics, are very imortant in building u the irst o two climactic moments. The buildu begins by gradually adding one instrument at a time, with quiet dynamics (iano or mezzo-iano), over the course o several measures. Once all instruments are resent, the inal buildu to the climax begins by gradually increasing dynamics, an ascending rogression o chords, and duets between the lute and violin (see Figure.). The result o these combined elements (staggered entrances, growing dynamics, and duets) is a dramatic, climactic moment that accomlishes one o the orchestration goals to convey a strong sense o love, seciically, the eelings o love towards those closest to you. The violin is the rimary instrument in this art o the movement; however, the entrance o the lute marks the beginning o a short duet between the two. Duets are very imortant in this movement, and discussed above in Section (Programmatic Elements). When the lute irst enters, it briely
1 assumes the melody (m.1) beore the violin returns to rominence with the lute laying an accomanying melody. The second climactic moment is orchestrated very similar to the irst though it does not begin with staggered entrances, and the roles o the violin and lute are reversed. Figure. Staggered Entrances, Dynamic Buildu, and Ascending Chords (Mvt III, mm. 1 1)
16 MELODIC DEVELOPMENT This iece aroaches melodic develoment dierently than traditional works which oten emhasize a clear, consistent melody that is stated, develoed using a lethora o dierent techniques, and restated (oten in dierent keys). Rather than creating and develoing melodies traditionally, the melodies in this iece are short, tyically lasting two measures, and are resented in ragments more oten than in their original, ull orm. Fragmentation is a standard comositional technique and in this iece, it is the rimary one utilized. However, other standard techniques are used as well (e.g. diminution and inversion, see Figure.1a, b). Figure.1a Diminution (Mvt I, Section 1) Original (See Boxed) (mm.,6) Diminution (See Boxed) (mm. 1,) Figure.1b Inversion (Mvt II, Section 1) Original (mm. ) Inversion (mm. )
1 In addition to the way melodic material is develoed, when and how it is resented is imortant as well. In many traditional ieces (e.g. Baroque, Classical, Romantic eras) the melody is stated rominently very early or immediately. While this work utilizes this method at times, (e.g. the oenings o both sections in the second movement) in other instances, a gradual aroach is used. This can be seen in the rd movement, which I will detail, and throughout the th movement. The third movement consists o a rimary (Figure.) and secondary (Figure.) theme which are used or the melodic develoment throughout the movement. The movement begins in m. 10 and quickly begins to introduce short ragments o the rimary theme, articularly in the cello, which last until m. 1 when the only ull resentation o the rimary theme is made. The remainder o the movement, with the excetion o the restatement o the secondary theme at the closing, is melodicized only by ragments o the rimary and secondary theme. Figure. Primary Theme (Mvt III, mm. 1 1) Figure. Secondary Theme (Mvt III, mm. 1 1) The lute briely assumes the melody in m. 1, but or this examle, it notes are laced in the violin s art or demonstration uroses. The inal note about melodic material involves a hidden easter egg that is used briely in the nd (m. clarinet, m. lute), once in the rd (m. 111), and in slightly modiied orm in the th movement.
1 As stated in the introduction, the initial drats suggested a tonal, melancholic, and traditionally melodic work, however desite the change in temerament, I decided to utilize a ragment o the original rimary melody in these laces (Figure.) Figure. Original Melody Hidden Throughout the Piece (Piano Reduction) 6 PITCH AND HARMONIC USAGE This work attemts to distance itsel rom traditional (e.g. Baroque, Classical era) tonality and harmony. The excetion is the third movement, which utilizes common triadic chords and tonal themes, rimarily within the key o G minor (other non-g minor harmonies exists, simly to rovide instability). While this work isn t comletely atonal or devoid o itch centricity, chord rogressions, in the traditional sense, are not used. In the irst, but more so the second and ourth movements, a substantial amount o harmonic luidity and reedom exist. In art, this luidity is achieved by luctuations between chromaticism and more traditional tonality. Further aiding the sense o harmonic luidity is the way accomaniment and thematic material are handled. An eort is made to maintain regular itch centricity during thematic statements (including ragments), and themes tend to be either heavily chromatic (movement by minor seconds) or based on a minor or diminished triad. The accomaniment is given greater reedom to exlore dierent itches. In the irst section o the irst movement, there is an oortunity to exlorer the usage o itch centricity in a very clear way (Figure 6.1). This examle begins in measure 16 and lasts until measure. This art o the music eatures an emhasis on F#/Gb as a starting note o a igure, beginning irst with
19 the lute (m. 16) beore assing the use o the central note to other instruments (mm. 1-). To kee this section harmonically interesting and non-reetitive, resentations o the reetitive rhythmic igure will alter rimarily u or down by hal ste though certain resentations will start on C (tritone above F#). The usage o F natural and G# resolving to F# aurally strengthen this sense o centricity while the occasional use o C# adds dissonance without creating a Major th or Perect th relationshi which might suggest a traditional key. Figure 6.1 Pitch Centricity on F# (Mvt I, Section 1, mm. 16-) Note, the Flute has a Gb enharmonic equivalent in measure 16.
0 In the irst section o the second movement, the rimary theme and subsequent ragments are based on minor seconds with limited usage o major seconds (see Figure 6.). The accomaniment utilizes both chromaticism and minor or diminished areggios and scales. The use o quick, soradic igures rather than sustained notes, articularly in the accomaniment revent a clear sense o a key or tonal center rom being clearly discernible; however, itch centricity is used by the melodic igures, emhasizing E as a starting note. The second section o the second movement has a stronger emhasis on chromaticism, major seconds, and scalar igures. The melodic emhasis o E as a starting itch is almost comletely reduced in avor o random itches which are not interconnected. The scalar igures are highly inconsistent and random, not ocusing on standard scales. Their usage is more akin to a musical gesture rather than a recognizable scale. From a erormance ersective, the scalar igures could be layed with dierent notes or glissandi (strings) and still maintain the aural intention as long as the starting and ending itches, as well as their lacement in time, remains unchanged. While itch aears to be inconsistent and random, beginnings o a stable tonal center are orming in the bass emhasizing Bb, and Eb beore shiting rimarily to D and G assisted by the cello in the inal measures o the movement. This is a subtle emhasis, and one easy to overlook given the chromaticism and sweeing gestures occurring simultaneously, however it is done deliberately to setu the tonal rd movement (in G minor). Figure 6. Mvt, Section 1 Primary Theme (mm. -9)
1 CONCLUSION This iece addressed a ear that was very revalent and oten on my mind only a ew years rior. It was admittedly illogical and an unnecessary use o my emotional energy given the statistical unlikeliness o the event actually occurring. Still, it was easy to obsess over every subtle noise and trile check the doors and windows rior to going to slee at night (I still at least double check the doors). Ironically, my martial arts exerience, which would be my biggest equalizer and asset in the event this situation was to occur, may have ueled my ear due to the increased situational awareness I have gained. It was also artially driven by my obsessive tendencies (dierent rom traditional Obsessive-Comulsive Disorder). This iece allowed me to exlore this ear in a dierent and healthier way. While I can t deinitively say whether or not its comosition aided in the removal o this ear, I can say that I learned a great deal and that this iece is an imortant ste in my develoment as a comoser. ACKNOWLEDGEMENTS In rearing this thesis roject, I would like to thank: My instructors at Butler, esecially Dr. Frank Felice and Dr. Michael Schelle, as well as ast instructors Dr. Roberta Lindsey and Dr. Michael Drews, ast band directors Keith Burton and Mike Doney, and my amily and riends or their suort and excetional atience.
Ben Lutterbach Theseus and the Minotaur
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