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Allison Griffiths
Contemporary Trends
Final Analysis Project
Philip Glass Satyagraha












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Minimalism, with its emphasis on timelessness and simplicity (Bernard 1993), has
become an engrained part of the history and future of American music. In his opera Satyagraha,
20th century American minimalist composer Philip Glass creates a sonic connection between
East and West, peace and violence, love and hate. As part of Glass trilogy of portrait opera[s]
(Hutcheon 2011, 719), Satyagraha anachronistically details the evolution of Mohandas K.
Gandhis form of civil disobedience of the same name. Set during Gandhis early endeavors in
South Africa, the opera was developed dramatically before a note of music was conceived,
giving the piece the intense sense of action so inherent to Gandhis writings (Glass, 1987, 105).
Drawing on both his training with Nadia Boulanger and his collaboration with Ravi Shankar
(Griffiths, 1985, 337), Glass relies heavily on the Western tradition of continuous variation in the
form of a chaconne, while spinning ostinati into a cyclic web abovea technique known as
tla in traditional Indian music (Welch, 1999); in concert, these elements speak to the central
theme of unity that shines throughout the work. In its suspension of time, Glass opera accesses
the meditative ideals of Eastern philosophy while commenting on the state of peace in the West.
This paper, following traditional analytical procedure with an emphasis on whole-to-part
process, will examine form, harmonics, dynamic and metrical contrasts, texture, and timbre in
order to illustrate that Glass music, in its minimalism and ties to Eastern tradition, serves
primarily to enhance the dramatic content of the opera.
The opera opens with the arrival of Arjuna and Krishna, alluding to the influence of the
Bhagavad Gita on Gandhis work (Glass, 1987, 96). This first scene of Act I not only sets the
stage for the dramatic content of the opera, but also serves as a sonic foreshadowing of what is to
come musically. Featuring a minor tonality (f minor), metrical contrasts, and general techniques
regarding the treatment of dynamics and text that later recur, this scene symbolizes the dawn of
Gandhis enlightenment and the dawn of this new musical statement (Glass, 1987, 97). As is
typical of minimalist ideology, Glass work relies heavily on the perception of whole/part duality
as it relates to musical form (Bernard, 1993). The overall form of the opera and this piece builds
upon the Common Practice tradition of continuous variation; Glass specifically utilizes the
chaconne throughout the work and in this scene (Glass, 1987, 115). While the harmonic
progression provides the underpinning of this scene, the overall form essentially follows the
example of the classical Double Variation Form (K. Rose, personal communication, 5 May,
2014). While not nearly as explicit as many classical Double Variations Forms, the scene follows
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an A B A B A B A palindromic form in which each reiteration of a section is developed through
additive and subtractive techniques (see Figure 1). Most typically, Glass adds and subtracts
instruments and/or voice parts as he plays with texture and timbre throughout. This clear
emphasis on duality in the form of this movement not only connects to the two peripheral
characters of Arjuna and Krishna, but also foreshadows the prevalence of dual structures
throughout the work at large (e.g. alternation of meter between 4/8 and 10/8 in the final scene;
see Figure 11).
Figure 1: Act I, Scene 1 Form Chart
Section Length (in measures)
A m.1-17
B m. 17-26
A m. 26-43
B m. 43-55
A m. 55-77
B m. 77-84
A m. 84-99 (i.e. the final measure)

Complementing the fairly simplistic form of this scene, the harmonic structure blossoms
from the idea of chaconne and serves to emphasize the openness and vitality of the text, which
comes from the Bhagavad Gita. The chaconne, following a I VII VI V progression in f minor
(see Figures 2a. and b), repeats throughout the scene and is developed through repetition and
intervallic alteration. In the spirit of global unity and peace, Glass draws upon the flamenco
tradition in building his progression (Hutcheon, 2011, 727), while at the same time pointing
inward toward spiritual peace with the meditative repetition of said progression. This typically
minimalist use of elementary harmony (Swed, 1988, 578), allows the listener to feel a sense of
oneness and to thus gain understanding of Gandhi through that feeling. Much like the role of
mantra in Eastern tradition, Glass chaconne shapes a contemplative and introspective mood
(Bernard, 1993, 106).

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Figure 2a: m. 6-7


Figure 2b: m.98 (final measure)

Dynamic contrast, too, serves to create a mood of reflection through its simplicity. Glass
treatment of dynamics is very hands-off in that little indication of dynamic movement (i.e.
crescendo or decrescendo) occurs within phrases. In this particular scene, dynamics serve more
to complement the form rather than dictate expression.

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For example, the scene opens with a dynamic of mezzo-piano/piano and does not shift from that
dynamic level (according to the notation) until the B section at m. 17, where a still relatively
tame mezzo-forte appears (see Figures 3a. and 3b.). This absence of excessive dynamic notation
leaves more up to the performers and thus appears to be more of a spiritual guideline, rather than
a definite order. This idea of spiritual freedom again connects back to the axioms of the
Bhagavad Gita and of Eastern philosophy in general.
Figure 3a: m.1

Figure 3b: m. 17 (entrance of B section)

Further linking the work to Eastern philosophy and tradition, the scenes metric
organization features constantly changing meters, both symmetrical and asymmetrical.
Harkening back to Glass work with sitrist Ravi Shankar, this seemingly exotic treatment of
rhythm alludes to the common folk rhythms of sitr music, enhancing the authenticity of the
music (Hutcheon, 2011, 720). Additionally, the alternation in metric emphasis suspends the
musics sense of time, a common ideal in minimalist art (Bernard, 1993, 106), allowing for
reflection and total immersion.
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In addition to the metric suspension of time, Glass use of non-imitative polyphony and
textural thickening and thinning (e.g. phasing) contribute to the feeling of anachronistic
absorption. The fluidity of the changes in textural density, while subtle, serves to elucidate and
highlight the thematic content of the scene (e.g. the subtraction of the flute from the texture
marks Arjunas entrance; see Figure 4).
Figure 4: m. 25-26 (subtractive technique)

This idea of textural density change ties in with Glass exploration of timbre in the scene.
Excluding brass and percussion instruments from the work, Glass exploits a very mellow
orchestral timbre that imitates the sound of his Ensemble (Glass, 1987, 113). The mingling of
these woodwinds, strings, organ, and voices plays with the relationships of the overtone series
and results in a harmoniousness in the overall orchestral sound. This subsequent warmness of
tone not only puts the Glass brand on the piece, but more importantly goes back to the notion
of tranquil introspection that pervades the work.
As the most outwardly oriented scene of the opera, Scene Three of Act II further
develops the techniques used in Act I to convey a sense of heightened urgency as the Satyagrahis
burn their registration cards (Glass, 1987, 129). For example, the scenes form, while still
drawing on dualities as it shifts from oscillations between A and B, C and D, and C, D, and F, is
far more developed than that of Act I, Scene 1 (see Figure 5). The alternation between pairs of
sections (e.g. A and B, C and D), for instance, is interrupted by abbreviated repetitions of the B
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and E sections. This through-composed form alludes to the progress of Satyagraha as a
movement at the time of this protest.
Figure 5: Act II, Scene 3 Form Chart
Section Length (in measures)
A m. 1-12
B m.13-14
A m.14-12A
B m. 12A-14A
A m. 14A-19
C m.19-22
D m. 22-27
E m.27-29
C m. 29-31
D m. 31-36
E m. 36-39
C m. 39-42
D m. 42-51
C m. 51-53
D m. 53-58
E m. 58-61
B m. 61-63
C
4
m. 63-66
D
4
m. 66-75
C
5
m. 75-77
D
5
m. 77-85
F m. 85-86
B m. 86-87
C
6
m. 87-89
D
6
m. 89-97
F m. 97-100
B
4
m. 100

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Continuing the variation of the original chaconne, the harmonic structure of this scene
features an altered version of the original progression, now appearing in quasi-F major, with
interspersed chromaticism and a modified descending thirds sequence above (see Figures 6a. and
6b.). The chaconne itself centers around a I vii vi V VI VII progression, toying with traditional
tonic-dominant relationships and referencing the Indian musical tradition of sam, or cyclic
harmony featuring a strong tonic-dominant relationship (Welch, 1999, 194). A key feature of
sam is that the use of the dominant allows each phrase to flow into the next (Welch, 1999, 194);
the use of a deceptive resolution elucidates Glass intent to keep the phrase moving through
modified tonic-dominant relationships.
Figure 6a: m. 23 (chaconne progression)

Figure 6b: m. 24 (chaconne progression with added melodic sequence)

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Because the form of this scene is ever-changing, despite its harmonic constancy, Glass
uses dynamic contrast as a means of highlighting structural changes. For example, a sudden
mezzo-piano marks the entrance of the B section, while a stark forte ushers in the E section (see
Figures 7a. and 7b.). Not only does this reveal Glass structural intentions, put also illuminates
the climatic arch of the dramatic action occurring as the movement progresses. Just as the
dynamics gradually crescendo, the flames of Gandhis movement build toward the ultimate
victory. Furthermore, this heightening of emotion colors the text as it discusses hatred and love
(Glass, 1987, 131).
Figure 7a: m.12-13 (B section)

Figure 7b: m. 27 (E section)

Forte
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Just as the dynamic contrasts elucidate the drama of this scene, the metrical content of the
scene also delineates a distinct shift in mood. While in previous scenes Glass tends to explore
duple and triple meters, in this scene, he emphasizes quadruple (e.g. 4/4, 4/2, and 7/8 x 4) in this
scene. This differentiation further reveals the climatic action and the elevation of passions in the
dual relationship of hate and love. The quadruple meter illustrates the relationships between the
two most significant dualities in Gandhis writings: hate and love, and peace and violence (see
Figure 8).
Figure 8

Like the texture of Act I, Scene 1, this piece features non-imitative polyphony,
showcased by a shift in timbre and instrument combinations (e.g. strings and woodwinds versus
strings and voice). Typically, changes in texture occur at sectional boundaries and thus serve to
illuminate the form and its connection to the theme of the scene. The fluidity of the polyphonic
texture along with the aforementioned smoothness of the orchestral sound, like the dynamics and
meter of the scene, evoke images of the flames of protest that appear on the stage. Glass text
painting throughout the opera complements the dramatic action without becoming literal and
thus provokes inward reflection by the audience during these times of outward tension (Glass,
1981, 79).
As the flames of protest rage higher and higher into the final act of the opera, Glass
music reaches its most extreme level of complexity as it combines numerous aspects of previous
scenes (e.g. f minor modality, chaconne, and repetition in form) in the culminating event of
Gandhis victory in South Africa.
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Just as the opera opens with a palindromic Double Variation Form, the final scene, too, features
an extended version of this form. While the A section is through-composed in itself, the B
section is a miniature rounded binary. This emphasis of two again hints at the dualities of
Gandhian philosophy. The reappearance of this form contributes to the overall continuous
formal structure of the piece, which is extremely typical of minimalist music (Atkinson, 2011,
1).
Maintaining the works overall chaconne progression, this scene oscillates between the
tonal centers of f minor and E major, with a particular emphasis on the pentatonic forms of each
mode (see Figure 9). This churning progression essentially keeps the motor running to the very
end while the overall form of the piece floats above, tying in aspects of previous musical content.
In this dramatic finale of the opera, Glass treatment of dominant function chords becomes more
prevalent, hinting at the impending conclusion of the work.
Figure 9: excerpt of m. 9 (harmonic shift between f minor and E major)


The treatment of dynamic contrast in this final scene, paying homage to the rest of the opera, is
again very spiritual rather than literal. Though the score is certainly not devoid of dynamic
content, it appears mostly at sectional boundaries, thus leaving the in-between to the
interpretations of the performers. Interestingly enough, this absence also allows listeners to
impose their own inclinations on the way in which they perceive dynamics in the scene.
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While minimal, the dynamics do gradually grow to an abrupt fortissimo at the return of the A
section (see Figure 10) which marks the climax of the scene and leads to the eventual
denouement, taking us back to a narrow focus on the man behind the movement.
Figure 10: m. 43 (dynamic climax)


Harkening back to the previous use of cyclic metrical changes, the meter of this scene
changes quite often, with a particular emphasis on the alternation of 4/8 and 10/8 (see Figure 11).
Here, this extreme cycling of meter connects to the Indian musical tradition known as tla
(Welch, 1999, 184). While this technique is alluded to throughout the opera, the obvious
recurrent shifts between 4/8 and 10/8 bring it to the forefront, revealing Glass influences and
intentions. This rhythmic cycle alludes back to the suspension of time in the first scene of the
opera and serves a vehicle of cohesion despite the anachronism of Glass photo album
approach to Gandhis life (Hutcheon, 2011, 724). In the spirit of culmination, the metrics of this
final scene once and for all envelope the audience in the meditative underpinnings of the work
and thus allow them to become in-tune with Glass music and Gandhis philosophies.


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Figure 11: m. 4 (cyclic alternation between 4/8 and 10/8)


In the final scene, metrics also serve the greater purpose of text painting. While in
previous scenes, Glass used form and/or dynamics to color the text, here he uses metrical shifts
to uplift the words of the Bhagavad Gita. As Gandhi sings passages from the Gita, Glass uses
3/4, creating a firm foundation and thus asserting the strength of these sacred words; here, Glass
uses triple meter to connect Eastern and Western religion. Whenever Gandhi stops singing from
the Gita, however, the meter shifts to 4/4, alluding back to Glass use of quadruple meter as a
force of secular dualities in the third scene of Act II (see Figure 12). Here, more than anywhere
else, Glass treatment of rhythm becomes extremely important to the overall theme of the work.




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Figure 12: excerpt from m. 78 (shift from 3/4 to 4/4 as the text of the Bhagavad Gita
disappears)


Featuring the initial homophonic texture, the final scene eventually reverts to the non-
imitative polyphonic structure of so many of its predecessors, allowing for thorough cohesion
throughout the opera. Timbre, similarly, remains the same as it is in previous scenes, but in this
iteration features a particular emphasis on the presence and absence of vocal parts. Despite the
relative normalcy in texture and timbre, the final moments of the scene prove interesting in these
regards. While instruments and vocal colors are gradually stripped away, Gandhi is left singing
alone with the orchestra in the final measures. As the denouement comes to a close, Gandhi
sustains the pitch E3, while violin 1, cello, and double bass accompany him with the pitch C,
creating a triumphant major third (see Figure 13). This final change in texture mimics the
traditional drone of the tnpura in Indian music (Welch, 1999, 182), signifying that a glorious
cultural and political victory has been won. This solitary, pensive, victorious drone brings the
opera to a tranquil end. The final scene thus serves primarily as a recapitulation of the highlights
of Gandhis time in South Africa and the musical content that Glass set to accompany it. After
exploring issues of faith, politics, and unity, the final major third leave the audience with a
feeling of closure and compassion for the Mahatma.







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Figure 13: excerpt from m. 87, the final measure; this illustrates the drone of the tnpura
(Welch, 182)








Many argue that minimalism is by nature devoid of political commentary, while others
find the exact opposite to be true (Blim 2013). In his exploration of the most influential peace
leader of the modern age, Glass blurs the line between apolitical and political music. In focusing
on the man behind the movement, Glass makes an implicit socio-political statement without
galvanizing the audience. Staying true to the Eastern notion of universal harmonics, this paradox
serves to unify the piece and the spirits of the listeners.









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References
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Society for Music Theory, Vol. 17, Number 1.

Bernard, J. (1993). The minimalist aesthetic in the plastic arts and in music. Perspectives of New
Music, Vol. 31, No. 1, 86-132.

Blim, D. (2013). Meaningful adjacencies: Disunity and the commemoration of 9/11 in John
Adams's on the transmigration of souls. Journal of the Society for American Music,7,
382-420.

Glass, P. (1987). Music by Philip Glass. New York : Harper & Row.

Glass, P. & Howell, J. (1981). Interview: Satyagraha and contemporary opera. Performing Arts
Journal, Vol. 6, No. 1, 68-83.

Glass, P. (1980). Satyagraha. New York: Dunvagen Music Publishers, Inc.

Griffiths, P. (1985). Opera glass. The Musical Times, Vol. 126, 337-339.

Hutcheon, L. & Hutcheon, M. (2011). Philip Glasss Satyagraha: Para-colonial para-opera.
University of Toronto Quarterly, Volume 80, Number 3, 718-731.

Swed, M. (1988). Philip Glasss operas. The Musical Times, Vol. 129, 577-579.

Welch, A. (1999). Meetings along the edge: Svara and tla in American minimal music.
American Music, Vol. 17, No. 2, 179-199.