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

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204<br />

However, within these traditional patterns <strong>of</strong> ordering, Lilburn<br />

does not adhere strictly to conventional principles-.<br />

His phrases. for<br />

example. are as <strong>of</strong>ten <strong>of</strong> irregular length as they are <strong>of</strong> symmetrical<br />

two, four, or eight bars length. His key changes are freqq~ntly<br />

distantly related or unrelated keys, <strong>and</strong> the third sections <strong>of</strong>' this threepart<br />

ternary forms rarely show an exact restatement <strong>of</strong> material.<br />

closer examination <strong>of</strong> the five movements <strong>of</strong> Diversions will serve to<br />

illustrate the above points.<br />

Movement I (Vivaee J = c.138) follows the formal plan <strong>of</strong> a minuet<br />

<strong>and</strong> trio. <strong>The</strong> minuet is in ternary form with a four-bar introduction <strong>and</strong><br />

a four-bar codetta:<br />

Table 1: Structure <strong>of</strong> Diversions movement I.<br />

Bar Nos'. 01-04<br />

05-20<br />

21-29<br />

30-41<br />

42-4S<br />

Introduction<br />

Al<br />

B<br />

A2<br />

Codetta<br />

<strong>The</strong> second version <strong>of</strong> the minuet follows this same bar-by-bar pattern<br />

with two exceptions: the contents <strong>of</strong> the Al section are abbreviated by<br />

two bars, <strong>and</strong> the four bars <strong>of</strong> the codetta are exp<strong>and</strong>ed into a twelvebar<br />

coda.<br />

<strong>The</strong> presentation <strong>of</strong> material within each section is strictly<br />

phrase by phrase.<br />

With the exception <strong>of</strong> the phrase that begins the A2<br />

section, all phrases are organised in matching pairs <strong>of</strong> an opening <strong>and</strong><br />

closing statement <strong>of</strong> the theme.<br />

<strong>The</strong> opening statement always ends on<br />

the dominant, the closing statement always ends on the tonic. <strong>The</strong><br />

length <strong>of</strong> each phrase, however, varies markedly as the following phrasal<br />

schema details:<br />

Table 2: Phrase lengths <strong>of</strong> Diversions movement I.<br />

Introduction:<br />

AI:<br />

B:<br />

A2:<br />

Codetta:<br />

one 4-bar phrase.<br />

one 3-bar preparatory 'vamp',<br />

7-bar <strong>and</strong> 6-bar statement <strong>of</strong> theme.<br />

S-bar <strong>and</strong> 4-bar statement.<br />

S-bar, 3-bar, <strong>and</strong> 4-bar versions <strong>of</strong> theme.<br />

4 bars.<br />

With such irregularity <strong>of</strong> phrasing, it 1S almost as if Lilburn is poking<br />

fun at his own use <strong>of</strong> an otherwise symmetrical <strong>and</strong> well-balanced form.<br />

<strong>The</strong> trio has an interesting, if likewise symmetrical, form. - It<br />

comprises six sections orderedAI,BI,A2,B2,A3,B3.<br />

to<br />

A<br />

Sections AI,A2 <strong>and</strong><br />

B3 are n~ne bars each in length, ~Thilst sections B I ,B2 <strong>and</strong> A3 are all<br />

eight bars in length.

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