The beginnings and development of a New Zealand music: The life ...

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MELODY
IN LILBURN
The music of Lilburn' s first period of composition is strongly·
melodic. Melody is at the heart of these pieces, which are built on the
principle of stating, developing and recalling a number of contrasting
themes.
Although not usually singable, in the sense that a tune of a
popular song is singable, Lilburn's melodies are nevertheless memorable
to the ear. They are, in the main, orchestral melodies, instrumentally
conceived. By this is meant that they sound at their best on the
instrument they are scored for, and are not necessarily interchangeable
between instruments or groups of instruments.
Lilburn's melodies are generally short and constructed as a
compounding of various motifs. They are usually restricted to a narrow
pitch compass and often hover around one note in particular. They are
frequently modal and almost invariably diatonic.
Lilburn will usually highlight the first statement of a melody by
paring down the accompanying orchestration to a minimum. Often a melody
is announced accompanied only by a pedal note. Rhythm is usually the
most important and interesting element in Lilburn's melodies.
Because of similarities in design and defining characteristics,
most of Lilburn's principal melodies in his first period compositions can
be grouped into categories of thematic types. There are the 'lyricpastoral'
themes, the 'chorale-like' themes, the 'dance-like' themes, the
'alternating motion with repose' themes, and the themes that prominently
feature a single note. In each of the first four of these categories,
with one or two exceptions, a loose agreement of mood can be found
between the themes.
A comparative examination of melodies within each of these
thematic groupings will serve to illustrate certain recurring
characteristics in Lilburn's melodic writing.
Alternating motion with repose themes
This melodic type arguably contains Lilburn's most strikingly