Shankar’s Kafi Zila and Glass’ Einstein on the Beach

Introduction 

Music is dynamic. It takes on different shapes, forms and faces to reflect the state of society at a particular point in time (Colson, 2012). The musical world has witnessed a number of movements that have redefined human life and experiences with music. At the heart of these movements have been exceptional composers who sought to share their hearts with the world. Philip Glass and Ravi Shakar are among these composers. Glass is recognized for the role that he played in advancing the postmodernist and minimalist music movements (Obendorf, 2009). On the other hand, Shakar enjoys respect and recognition for his effort in promoting Indian and world music. Allegro (Kafi Zila) is one of Shankar’s finest compositions. Einstein on the Beach is among Glass’ compositions that leave a lasting impression. An examination of the two pieces allows one to better understand the styles of these composers.

Biographies 

Philip Glass 

Born in 1937, Philip Glass remains one of the strongest voices in music. As noted above, he derives his fame from his efforts in developing the minimalist art movement. He is also recognized as a postmodernist composer. The success that Glass has achieved is the result of the influence of other artists and his remarkable appetite for learning. He received education at Julliard in the 1960s before leaving for Paris where he advanced his studies in music composition (Glass, 2015). Aaron Copland and Samuel Barber are some of the minimalist composers who inspired Glass (“1937 American Composer”, n.d). It is while in Paris that Glass became a formidable composer. His rise has been attributed to a new wave of cinema that was consuming French audiences. Moreover, it is understood that Glass established a lasting friendship with Ravi Shankar (Glass, 2015). Through this friendship, Glass gained insights into the evolving landscape of Indian music. Glass later moved to New York City where he composed most of his works. His compositions are characteristic in their minimalist combination of instruments and tones (“1937 American Composer”, n.d). Some of his works have featured in movies which have received Oscar nominations. This is evidence that Glass is an exceptionally gifted composer who enjoys the respect and admiration of many.

Ravi Shankar 

As observed earlier, Ravi Shankar is among the most influential composers in the Indian music space. He has extended his influence beyond his homeland. It has been pointed out above that his friendship with Philip Glass allowed Glass to understand the changes that Indian music was undergoing. This points to his international influence. Shankar was born in 1920 and died at the age of 92 in 2012. Before he ventured into music composition, Shankar was part of his brother’s dance group (Shankar, 2008). While a member of this group, Shankar toured Europe and India. In 1928, Shankar abandoned dancing and focused his efforts on composing music. In the 1950s, Shankar embarked on a tour of America and Europe (Shankar, 2008). He used these tours to shed light on Indian music. In addition to performing, Shankar also taught and collaborated with such other artists as George Harrison (Shankar, 2008). Shankar continued to perform and develop Indian music right to his death. In recognition of the immense contribution that he had made in developing Indian music, the authorities in India awarded Shankar the Bharat Ratna. This is the greatest honor that a civilian in India can receive.

Periods/movements 

Philip Glass has been identified as among the minds behind minimalist composition. The origins of this music movement can be traced to the 1960s in the American West Coast (“Minimalism”, n.d). There are a number of characteristics that defined the pieces that were created during this period. The pieces involved constant repetition of patterns and the textures were structured in layers (“Minimalism”, n.d). These compositions also employed diatonic harmony while rhythms and phrases were repeated. Steve Reich and Terry Riley are among the pioneers of the minimalist movement (“Minimalism”, n.d). The guitar is the main instrument that was used to compose minimalist pieces. To fully understand the minimalist music movement, it is important to examine the factors that inspired the pioneers. It appears that Glass and his colleagues who helped establish the minimalist movement sought to highlight the smallest details of music (Service, 2011). Movements that were established in previous years also appear to have played a role in the creation of the minimalist movement. Minimalism drew some inspiration from such European modernist styles as serialism (Service, 2011). Essentially, Glass and the other composers sought to revive some aspects of serialism. Events taking place in the music world in the 1960s also played a role in fueling the rise of the minimalist movement. For example, during this period, music was “ugly, radical… and unlistenable” (“A Brief History”, 2010). Glass and his colleagues sought to restore the true spirit of music.

Indian music has risen to become a strong voice in the world of music. Shankar should receive credit for the current position that Indian music occupies. There are a number of features that define this music movement. The main feature of Indian music is that notes are placed in patterns (“Music of India”, n.d). The Sitar is the primary instrument that Indian composers use. The Tabla and Tanpura are other instruments that the composers rely on to create notes (“Indian Classical Music”, n.d). The composers use a number of techniques to captivate their audiences. These techniques include rapid scales, ornamentation and pitch bends (“Indian Classical Music”, n.d). Indian classical music has a very long and interesting history. However, it was not until India gained independence that Indian classical movement became solidly established (Lata, 2013). India’s quest for independence and a renewed interest in classical music are the main forces that helped to lay the foundations for Indian classical music (Lata, 2013). The composers who revived this music movement sought to restore India’s heritage. The revitalization of Indian classical music was also the result of increased investment in film (Lata, 2013).

Compositional style 

No discussion that examines the lives of Glass and Shankar would be complete without a look at the compositional styles that these artists embraced. One can gain insights about their styles from listening to their works and examining their lives. It has already been noted that Shankar is among those who helped to inject new life into Indian classical music. The sitar is the key instrument that he used (Clayton, 2008). This instrument is the characteristic tool that many Indian classical musicians use. While Shankar is mostly recognized for reviving Indian classical music, he is also noted for his efforts to promote world music. He traveled the world to share Indian music with other communities. Shankar used large ensembles. He is remembered for executing complex performances using large groups of performers (Shankar, 2008). Shankar mastered the skill of creating mood. This is clear when one listens to Allegro. In this piece, he uses different instruments to develop a multi-faceted atmosphere. The general mood that this piece creates is one of calm excitement. The piece combines smooth and calm notes with high, loud and bold sounds that help to create an exciting mood. Shankar also manages to create a mood of suspense. The smooth notes create interest while the loud and bold ones elevate the mood. The result is suspense as one wonders what comes after the bold notes. Shankar then returns to the calm notes and this cycle is repeated.

As is the case with Shankar, Glass also enjoys recognition and respect. He is well known for promoting classical music in the US. He has created pieces that have featured in numerous movies (“1937 American Composer”, n.d). Thanks to his work, thousands of Americans have been exposed to classical music. The main feature of his creations is that they are essentially a combination of repeated structures, tones and motifs. The piano is the main piece that Glass used. Such pieces as Einstein on the Beach help to create a mood. To achieve this, the piece relies on varied pacing and loudness. The main element that this piece uses is vocals. There are different sounds; some of the sounds involve simple speech while others concern singing. Listening to the music, I felt confused as I was unable to focus on one element of the piece. It appears that Glass set out to create an atmosphere of chaos with some order.

Musical analysis 

Shankar’s Allegory and Glass’ Einstein on the Beach have been selected as representatives of the works of the two composers. The analysis of these compositions should shed light on the styles that these composers adopted. This analysis is offered below.

Time 

The section of Allegory selected for analysis runs from 0.00 to 3.00. This section mixes slow and fast tempo. At the beginning, the section is rather slow as only a single instrument plays. However, as the piece progresses, more instruments are introduced and the tempo becomes faster.

Einstein on the Beach: Knee 1 is one of Glass’ greatest creations. The section running from 0.00 to 3.00 has been selected for analysis. As is the case with Allegory, this section combines different tempos. As it starts, there is a melody that is rather subdued. The piece soon picks up some energy as vocals as introduced. The high tempo continues throughout this section as even more voices add to the rhythm. A combination of singing and speech also helps to accelerate the tempo. 

Melody 

Allegro has a disjunct melody. This is because this piece has irregular and inconsistent patterns. The tones rise and fall inconsistently and without warning. The piece has an up melodic contour. As it starts, it is subdued. It gains momentum gradually and soon hits the highest notes. The register of this note can be described as high. The reason for this is that the piece achieves notes that are rather high. The range is quite low since the difference between the highest note and the lowest is not massive.

It is important to analyze the melodic qualities of Einstein on the Beach: Knee 1. The melody sounds adjunct. To achieve this, Glass uses consistent patterns and slowly introduces new elements. The piece has a level melody. There are no dramatic changes in the melodic patterns. The register of this piece is mixed. The voices that speak have a low register. On the other hand, the voices signing in the background have a low register. This piece has a low range as the difference between the high and low notes is small.

Instruments 

In Einstein on the Beach: Knee 1, Glass relies almost entirely on human voices. There are a total of three voices. Two of the voices speak while the third voice sounds like an acapella group. The singing voices are of the alto type. An examination of Shankar’s Allegro reveals interesting insights regarding his creative process. This piece uses a number of instruments. The sound of a violin and a flute can be heard. The instruments are of the string and percussion type respectively. The main technique that Brass uses in this piece is vibrato. The different instruments work together to create a pulsating impact that changes regularly. These instruments create sound through acoustic manipulation.

Tonality 

Shankar’s Allegro is based on a C major, which is heard in the begging and ending of this particular composition. In Glass’ Einstein on the Beach , the dominant key is C major, which is accompanied by a repeating bass line of keys A, G, and C. The C major occurs in the “Knee plays”, which forms part of the structure of the composition (Coventry, 2014).

Texture 

The texture in Einstein on the Beach is homophonic involving a single line of melody with accompaniments. Glass uses additive and subtractive rhythms, which create a cyclic structure, hence serving as rhythmic structural features. They keep the piece interesting as it progresses. For instance, the key areas of A-flat and A natural are dominant throughout the composition and are only separated by one half step (Coventry, 2014). This shows the homophonic texture of this particular creation. The same case applies for Allegro , as Shankar maintains the C major and includes other keys, which accompany this particular chord.

Dynamics 

The volume of Allegro is variable. There are sections that are loud and others that are subdued. Overall, the volume of this piece is loud. It is as though the different instruments are attempting to outdo one another. The different instruments work together in a complementary relationship. They combine their different sounds to create beautiful effects. There is some change in the dynamics of this piece. The change occurs suddenly. The dynamic profile of Einstein in the Beach is intriguing. The volume in this piece is fairly constant and of medium loudness. The different sounds in this piece are in a competitive relationship as one voice attempts to rise above the others. The change in the dynamics of this piece is gradual and predictable.

Interpretation 

I found the two pieces to be interesting. However, I liked Glass’ piece more. This is because it allowed me to understand that it is possible to use human voices to create rhythm. One does not necessarily need to incorporate instruments. I found that Shankar’s piece creates a celebratory mood. The different instruments work together neatly to inspire joy and excitement. On the other hand, Glass’ composition creates confusion. It is difficult to focus on one voice as the three voices compete for attention.

Comparison of techniques 

There are clear differences in the techniques that Shankar and Glass used in their composition. The most noticeable difference is found in the use of instruments. While Shankar uses a number of different instruments, Glass relies mostly on human voices. Another difference can be seen the melodies of the two pieces. It has been noted above that the range of Shankar’s piece is high. There are high and low notes in this piece. This is not true for Glass’ piece. The different voices in this piece maintain low tones. This is what is responsible for the low range of this piece. The third difference between the two pieces lies in the in the tempo. Glass’ piece maintains a constant medium tempo. It achieves this despite its combination of fast and slow tempos. This piece transitions smoothly from the slow tempo into the fast one. This is how the tempo remains constant. The only change in tempo occurs when new voices join the rhythm. On the other hand, Shankar’s composition combines slow and fast tempos. This difference helps to explain the difference in the atmosphere that the two pieces create. The varied tempo allows Shankar’s composition to create an atmosphere of excitement and celebration. On the other hand, since the three voices in Glass’ composition compete for attention, a mood of confusion and chaos emerges.

There are some similarities between the two compositions. One of these similarities concerns the creative use of varying tempos, pitch and melody to excite audiences. It is true that Shankar and Glass used techniques that are very different. While one’s technique involves heavy use of instruments, the other works with human voices. Despite this massive difference, the two pieces still manage to captivate. For example, while it is true that Shankar’s creation is chaotic, the different voices are synchronized beautifully. One voice picks up from where another has left. This similarity suggests that while composers may use different styles, they all seek to win the hearts and minds of their audiences.

Conclusion 

Philip Glass and Ravi Shankar are some of the world’s best known visionaries. They helped to establish influential movements in the music world. Whereas Glass helped to set up the minimalist movement, Shankar is credited with shedding light on Indian classical music. Glass set out to provide audiences with music that was truly inspired. He worked with other minimalist composers to revive European modernist styles. Glass and Shankar serve as the embodiment of deep and rich music. Aspiring composers need to look to these two for insight and inspiration.

References 

1937 American Composer Philip Glass is Born. (n.d). Retrieved 10 th November 2017 from http://www.history.com/this-day-in-history/american-composer-phillip-glass-is-born 

A Brief History of Minimalism. (2010). Retrieved 10 th November 2017 from http://www.factmag.com/2010/02/01/a-brief-history-of-minimalism/ 

Clayton, M. (2008). Time in Indian Music: Rhythm, Metre, and Form in North Indian Rag Performance. Oxford: Oxford UP.

Colson, J. F. (2012). Conducting and Rehearsing the Instrumental Music Ensemble: Scenarios, Priorities, Strategies, Essentials and Repertoire. Scarecrow Press.

Coventry, C. (2014). Einstein on the Beach: A global analysis. Retrieved from http://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1072&context=musicstudent

Glass, P. (2015). Words without Music. Faber & Faber.

Glass, P. (1975). Einstein on the Beach .

Indian Classical Music. (n.d). Retrieved 10 th November 2017 from https://www.trinity.nottingham.sch.uk/music/gcse/indianClassicalAndGamelan.aspx 

Lata, S. (2013). The Journey of the Sitar in Indian Classical Music: Origin, History, and Playing Styles. iUniverse.

Minimalism. (n.d). Retrieved 10 th November 2017 from http://www.bbc.co.uk/schools/gcsebitesize/music/music_20th_century/reich1.shtml 

Obendorf, H. (2009). Minimalism: Designing Simplicity. New York: Springer.

Shankar, R. (2008). My Music, My Life. Mandala Publishing.

Shankar, R. (n.d.). Allegro . Symphony.

Service, T. (2011). Minimalism at 50: How less became more. Retrieved 10 th November 2017

From https://www.theguardian.com/music/2011/nov/24/minimalism-at-50