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Analysis Form

THE POINT OF ANALYSIS IS TO CONSTRUCT AN INTERPRETATION. Name___Jon Edgeton__ Name of piece___I Am In Need of Music____ General information about composer, composition, context: Dr. David Brunner is the Professor of Music and Director of Choral Activities at the University of Central Florida. He has received awards for his teaching and his compositions. He received his undergrad from Illinois Wesleyan University (where my parents went for their music undergrads!) and his masters from Northwestern University. He has studied with Robert Shaw, and is a former president of the Florida ACDA chapter. The text, a poem written by Elizabeth Bishop, was chosen by Brunner to honor a late professor of his from Illinois Wesleyan University, David Nott. It speaks about the power of music in providing comfort for all, which Brunner doubled in his music using word painting and sensitivity. Structure: (do a graphic representation, if possible) Through-composed Key C- Major Modulations? to where why? Modulates to G-Major in measure 34 Modulates to F-Major in measure 40 For a surprising affect Modulates to G-Major in measure 45 Modulates to D-Major in measure 54 Modulates to C-Major in measure 59 Major sections and salient features of each: (See attached sheet)

rhythm The rhythmic material in this piece has a sort of absence of time in some spots, both in the voices and in the accompaniment. The tied over quarter notes, such as in the first 2 measures of the accompaniment, immediately remove the listener from 4/4 time. There is a rhythmic motive that occurs over the first two measures, however, that reoccurs throughout the piece. We are, however, brought back into 4/4 when the voices come in at measure 9. The effect of this is to provide a somewhat unidentified feeling for the audience; a kind of uneasiness, which is later comforted by the entrance of the voices in a definite 4/4 time. melody Rather simple melodic lines, especially toward the beginning. The voices outline a C-major chord, which helps to establish the key signature after the would-be G-major accompaniment introduction. This develops into flowing, predominantly stepwise, major melodic lines passed among the parts. harmony Rich harmonies established through contrapuntal movement, as well as homophonic chordal sections. Modulations happen quite often in this piece, usually with the sections in the piece. It never moves far from C-major. Much like the rhythm, the voices provide a definite tonality in most of the sections, providing a feeling of comfort among the somewhat unstable accompaniment. timbre This piece is a combination of dark and bright, changing among the sections of the work. The beginning conveys a somber, uneasy feeling, which is doubled by the voices in a few sections with their harmonies. Text painting is also used in this piece, such as in sung to rest the tired dead, which also brings in a darker timbre. However, this song is to show how music can comfort you, which is definitely done in many sections of the piece, such as There is a magic made by melody. texture This piece changes between polyphony and homophony, each having their own effect. Polyphonic sections are often of repeated text for emphasis, while the homophonic sections are focused on both the text and the harmonic buildup. The density does change among the different sections of the piece, depending on the harmonies and the mood that Brunner wanted to portray. The contrast of the sections definitely gives the listener a better idea of the importance of the text they are hearing, as well how the text has affected Brunners choice in composing the music (text painting).

expression This is a relatively soft-spoken piece, only reaching towards forte at the climax of the piece on page 6. There are plenty of ritardandos, which call for more expressivity from the voices and the accompaniment normally at the end of sections/phrases, or before them. Once again, this gives a great feeling of comfort as opposed to intensity, making this a piece that reflects upon the subtle power of music. Additional considerations: Tension and release occurs in the accompaniment among the fluidity, and sometimes absence, of the feeling of time. The suspended quarter notes create some tension, while the voices in a few sections create it through harmonic tension (such as the dissonance in measure 29 on the sung to rest the tired dead. The composer mainly uses modulations and texture to create contrast among the sections of the piece. He also uses harmonic composure, such as in measure 60 63. This also keeps the piece interesting, as opposed to continuous, consonant homophony. What I found interesting about this piece was the difference between the accompaniment and the voices. As I stated before, the introduction is full of tension through descending lines, suspensions, and a sort of absence of tonality and rhythm. Then, the voices come in with a foundational sense of the key and the meter. The accompaniment is representing struggle and confusion, while the voices convey a sense of comfort and foundation. What could I teach with this piece? s This pieces calls for a wide variety of textures, rhythmic techniques, and dynamic/expressive subtlety. I would most-likely emphasize on keeping this soft and expressive, while focusing on shape and dynamic contrast.