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

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bars: SOtlletimes a variation on the rondeau follows a statement of the
rondeau, and in the case of the fifth couplet, the statement is broken
into two two-bar phrases each alternating with a two-bar version of the
rondeau.
Two changes of key signatures occur ~n this movement. These
divide thl~ music naturally into three sections. With the return to the
original key in the third section, a ternary form organisation is
suggested. However, beyond the recurrence of the rondeau phrase, no
attempt i:! made in the third sec,tion to restate the material as presented
in the first section. The changes of key occur in this movement more to
provide a variety of tonality than to signpost the formal design of the
movement.
Thl~
following tabulation of the structure of the movement shows
quite clearly Lilburn's use of the rondeau-couplet alternation in blocks
of four-b.H phrases:
Table 5: Structure of Diversions: novement V.
Bar Nos: 01-04
05-08
09-12
13-16
17-20
21-24
25-28
29-32
33-36
37
38-41
42-46
47-50
~51-52
{53-54
~ 55-56
~ 57-58
59-66
rondeau
couplet
rondeau
randeau v.ariation
couplet 2.
rondeau
rondeau variation 2
couplet 3
rondeau Dlodulating to E-flat
link bar
couplet 4-
rondeau Dlodulating back to A major
rondeau
couplet 5 first part
rondeau half statement
couplet 5 second part
rondeau half statement
coda basE!d on fragmentation
of rondeau.
Thus, the five movements of Diversions are all constructed on
conventional principles of design. Symmetry and balance in the ordering
of material are the governing ideals. The phrase is the basic building
block. There is little evidenCE! of development of material beyond
variation of a given phrase. Key changes are integrated into the formal
structuce of the movements. Matching melodic phrases are paired to form
opening and closing thematic statements.
The only occasions on which the texture ~s not dominated or