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Ireland's Music Appreciation

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Ireland completes the cycle by bringing the descending bass line and ‘sighing’ motive from the introduction into the commencement of the song. Furthermore, Ireland also returns the harmonic language in which he bequeathed in the first song setting – back to the lush, diatonic chords, with Debussy-like inflections interweaved. Notwithstanding Ireland’s other compositional works, within this song, the composer employs harmonic techniques, not found anywhere else within the cycle. These include, a contrapuntal chain of suspensions, in a conversational manner between the voice and the right hand of the accompaniment. Furthermore, Ireland also employs a tendency to migrate up and down the staff in block chords, each moving by step. This affirms the more syllabic declamation style in which Ireland …show more content…
This is surely worthy of note. This piano interjection is extremely rare within Ireland’s song compositions. One may argue that Ireland, finally reaching the last song in his cycle, fought to keep the lyrical nature at bay, however, escaped into a realm of a Debussy style romantic idealism. However, this is far from the most unusual of Ireland’s characteristic music expressions within this setting. In the piano interlude at bar 10-11 (see Fig.3), the interjection in fact splits a line of the poem in half. This interjection is a pivotal moment in understanding the contrasting aesthetics of Ireland’s compositional voice. In this moment, the music temporarily usurps the text, a trait which goes strictly against Ireland’s distinctive style of declamation. The music’s function is no longer just to support the vocal melodic line harmonically, yet to create its own musical images and symbolic alliteration from the emotional and conceptual entities of the

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