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"Eustace the Monk" and Compositional Techniques

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Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 An original composition, Symphony No. 1, "Eustace the Monk" and compositional techniques used to elicit musical humor Samuel Howard Stokes Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Stokes, Samuel Howard, "An original composition, Symphony No. 1, "Eustace the Monk" and compositional techniques used to elicit musical humor" (2013). LSU Doctoral Dissertations. 1053. https://digitalcommons.lsu.edu/gradschool_dissertations/1053 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. AN ORIGINAL COMPOSITION, SYMPHONY NO. 1, "EUSTACE THE MONK" AND COMPOSITIONAL TECHNIQUES USED TO ELICIT MUSICAL HUMOR A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements of the degree of Doctor of Philosophy in The School of Music by Samuel Stokes B.M., University of Central Missouri, 2002 M.A., University of Central Missouri, 2005 M.M., The Florida State University, 2006 May 2013 ACKNOWLEDGMENTS I would like to thank Dinos Constantinides for his valuable guidance and enthusiasm in my development as a composer. He has expanded my horizons by making me think outside of the box while leaving me enough room to find my own compositional voice. I would also like to thank my committee members Robert Peck and Jesse Allison for their valuable insight and encouragement throughout the writing process. I would also like to thank Blake Howe for helping me learn more about the context of musical humor in the Classical period and allowing me to attend his class lectures on the subject. I would like to thank Carlos Riazuelo for programming Symphony No. 1, "Eustace the Monk," on the Louisiana State University Philharmonia Concert of March 27, 2013. I would also like to thank Bethany Ring for conducting the premiere of the work. I would like to thank Evan Jones, Matthew Shaftel, Nancy Rogers, and Michael Buchler from The Florida State University, all of whom assisted me in compiling a working bibliography when I first began researching the subject of musical humor in 2007. I would like to thank Jeffrey Perry, who whole-heartedly encouraged me to follow my passion for music composition and has repeatedly shown enthusiasm for my works. I would also like to thank David Smyth who provided invaluable assistance with the logistics of the music composition degree program. Finally, I would like to thank my family who has supported and encouraged me throughout this process, particularly, my wife, Kari; my two children, Holly and Patrick; and my parents, Bill and Peggy Stokes. I know I would not be where I am today without all the love and support that I have received from all of you. ii TABLE OF CONTENTS ACKNOWLEDGMENTS…………………………………………………………………. ii LIST OF FIGURES………………………………………………………………………... v ABSTRACT………………………………………………………………………………... vi PART I. AN ORIGINAL COMPOSITION, SYMPHONY NO. 1, "EUSTACE THE MONK" PROGRAM NOTES……………………………...………………………………... 1 SYMPHONY NO. 1, “EUSTACE THE MONK”…………………………………. 4 PART II. COMPOSITIONAL TECHNIQUES USED TO ELICIT MUSICAL HUMOR CHAPTER 1 INTRODUCTION……………………………………………………………….. 68 2 RELATING EXISTING HUMOR THEORIES TO MUSIC……………………. 73 Incongruity Theory……………………………………………………........ 73 Superiority Theory…………………………………………………………. 79 Computational-Neural Theory……………………………………………... 85 Darwinian Theory and Relief Theory……………………………………… 87 Laughter and Humor……………………………………………………….. 88 Analytical Approaches…………………………………………………....... 90 3 ALFRED MATTHEW YANKOVIC……………………………………………. 93 General Biography…………………………………………………………. 93 Genera of Humorous Songs………………………………………………... 94 Humor Devices…………………………………………………………….. 95 Musical/Textual Incongruity………………………………………………. 98 Exaggeration of Stylistic Elements………………………………………… 100 Departure from Stylistic Elements…………………………………………. 102 Rewriting Cadences………………………………………………………... 106 4 CONCLUSION…………………………………………………………………... 112 REFERENCES…………………………………………………………………………….. 116 APPENDIX A……………………………………………………………………………… 119 APPENDIX B……………………………………………………………………………… 120 APPENDIX C……………………………………………………………………………… 121 iii VITA……………………………………………………………………………………….. 125 iv LIST OF FIGURES Figure Page 1. Victor Raskin’s humor formula…………………………………………………………. 69 2. Haydn's Symphony No. 94 in G major "Surprise," II, mm. 1-16……………….. ……... 75 3. Devo, "Beautiful World," chorus excerpt (0:48)……………….……………………...... 78 4. Devo, "Beautiful World," tag following final chorus (2:53)….………………………… 79 5. Mozart, K. 522, "A Musical Joke," IV, mm. 456-458….……………………………….. 82 6. "Friday" chorus excerpt (beginning at 0:44)…………………………………………….. 83 7. Measures 5-12 of the guitar solo in “Generic Blues” (3:14)….………………………… 100 8. "Semi-Charmed Life" from Yankovic's "Polka Power" (2:45)…………………………. 101 9. Yankovic, "Let Me Be Your Hog" (0:09)……………………………………………….. 102 10. Guitar solo from "This is the Life" (1:08)……………………………..………………. 103 11. Refrain from "Pon de Replay"………………………………………………………..... 104 12. "What's Love Got to Do with It" chorus excerpt……………………………………… 105 13. Excerpt from "I'll Stick Around"………………………………………………………. 107 14. Excerpt from "Chop Suey!"……………………………………………………………. 108 15. "Party All the Time" chorus excerpt………………………………………………….... 109 16. Refrain from "Hey Joe"………………………………………………………………... 110 v ABSTRACT Part I – “Symphony No. 1 – ‘Eustace the Monk’” is based on a figure from medieval legend. Although Eustace Busket is a historically documented person that lived c.1170-1217, the exact details of his life are shrouded in legend. Many of the details of the legend of Eustace were passed down through the anonymous Li Romans de Witasse Le Moine . The legendary tale of Eustace, who is reported to have learned black magic from the devil, became a Benedictine monk in order to corrupt the monastery, and later became a mercenary pirate, is the subject matter of this five-movement dramatic symphony. Part II – “Compositional Techniques Used to Elicit Musical Humor” employs an analytical approach to music adapted from various theories of humor. One of the primary theories adapted in this approach is Victor Raskin’s General Theory of Verbal Humor. Other theories adapted for this dissertation include superiority theory, incongruity theory, and computational-neural theory. The second part identifies specific musical humor devices used in the songs of "Weird Al" Yankovic. vi PART I AN ORIGINAL COMPOSITION, SYMPHONY NO. 1, "EUSTACE THE MONK" PROGRAM NOTES Symphony No. 1 – Eustace the Monk is based on the medieval legend of Eustace Busket. Although Eustace Busket is a historically documented person that lived c.1170-1217, the exact details of his life are shrouded in legend. Many of the details of the legend of Eustace were passed down through the anonymous Li Romans de Witasse Le Moine .1 Eustace is an outlaw in the tradition of medieval outlaws including Fouke FitzWarin and the very popular Robin Hood. Unlike Robin Hood, whose underhanded deeds were justified for serving the greater good, Eustace was self-serving and sinister. His powers of magic were reportedly taught to him by the devil himself. Also unlike Robin Hood, Eustace Busket stands the test of historical scrutiny. Whereas it is doubtful that Robin Hood legends are based on any one real person, Eustace Busket’s existence is well-documented, particularly in his later naval campaigns. However, the real difficulty lies in separating the man from the legend, as many aspects of his life are undoubtedly exaggerated. This Symphony depicts the legend of Eustace the Monk for the richness of its storytelling without concern for historical accuracy. This retelling draws on a translation of the original text, but is retold in this composer's own manner. 2 Symphony No. 1, "Eustace the Monk" uses the following instrumentation: two flutes (Flute 1 doubling piccolo), two oboes, two clarinets in Bb, two bassoons, four French horns in F, two trumpets in Bb, two trombones, one tuba, four percussionists (glockenspiel, xylophone, 1 Denis Joseph Conlon, ed. Li Romans de Witasse le Moine: roman du treizième siècle . Édité d'après le manuscrit, Fonds Français 1553, de la Bibliothèque Nationale, Paris. University of North Carolina Studies in Romance Languages and Literatures, No. 126 (Chapel Hill, N.C.: University of North Carolina Press, 1972), 39-100. 2 Glyn S. Burgess, Two medieval outlaws: Eustace the Monk and Fouke Fitz Waryn (Woodbridge, Suffolk, UK: D.S. Brewer, 1997). 1 snare drum, bass drum, tambourine, claves, suspended cymbal, and four timpani), violins 1 and 2, viola, cello, contrabass. The following program notes summarize the story depicted in each of the five movements as told by the composer: I. Eustace Learns Black Magic from the Devil in Toledo, Spain Eustace Busket was born in the Boulogne, France in 1170. In his teenage years, he traveled to Toledo, Spain to study black magic. Eustace descended into a deep cavern where he learned black magic from the devil himself. II. Eustace Becomes a Monk at St. Saumer’s Abbey After learning black magic in Toledo, the devil sent Eustace to St. Saumer’s Abbey.
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