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

200
or conclude a thematic statement is, nevertheless, minimalised by the
fact that most of the melodies have a limited compass range.
In the wider-ranged melodies where any impact from this use of
pitch extremes is felt, the effect achieved is in the ma1n related to
whether the pitch extreme used is low or high. If high, the melody will
usually have a distinctive beginning or ending. If low, the melody will
usually emerge from, or re-emerge with the general orchestral texture.
However, as prominence of a theme in an orchestral texture is more
dependent on factors such as the relativity of dynamics and the weight
and colour of orchestration, this point should not be pursued beyond this
brief mention.
In general, then, it can be observed that the limited compass
ranges and the high incidence of intervals of less than a minor third
necessarily give rise to a horizontal and flat contour for most of
Lilburn's melodies.
Summary
Because the element of melody is at the heart of Lilburn's music
from this first period of composition, it is worth summarising the
characteristic points noted in the above discussion.
It has been shown that most of his principal melodies can be
grouped into five distinct categories. The motion-repose alternation
melodic type alternates little bursts of rhythmic activity with moments
of repose. This type also make integral use of sudden changes of dynamics.
Such themes are usually announced by string instruments, and show a high
incidence of use of ornament-like embellishments.
Where a motion-repose alternation theme is used as the principal
or introductory theme, it is often contrasted with a melody of lyricpastoral
qualities. These are usually gentle, undulating melodies,
stated in the woodwind at a quieter dynamic.
The chorale-like melodies are usually slow-pulsed and show an
extended use of one idea. These melodies are often afforded homophonic
treatment in orchestration with the addition, perhaps, of an independently
moving bass-line.
The dance-like themes are characterised by sprightly rhythms and
a high incidence of syncopation. The prominence-of-single-note themes
show a frequent use of a single rhythmic note value, and continually
return to the sounding of a particular pitch.
With few exceptions, all of Lilburn's themes are announced in
either the strings or the woodwind. The brass is rarely used to announce