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

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2. The material that forms the basis of these introductions is
often closely related to the principal theme of the movement.
3. Even if similarities between the material of the introduction
section and the first theme do not exist, Lilburn still contrives to
match the material. These 'thematic weddings' usually occur as part of
the bridging material between the exposition of the first and second
subject-groups.
4. Although the dem~rcation lines between sections or subsections
are often not clearly drawn, Lilburn nevertheless usually signposts
these structural joins in one of a variety of ways. Such 'structural
signposts' include: the us.; of a single strand link; the sequential
repetition of a single motif; the use of a new tonal centre; very
occasionally a change of key signature; sometimes the scoring of a
clearly defined cadence or the insertion of a signific~ntly-Iengthed
tutti rest; and, in the case of expositions of themes, a paring down
of the accompanying orchestral texture.
5. Where a subject group contains two or more themes, they are
usually similarly-styled or closely matched in mood.
6. The bridging passages between expositions of subject-groups
always contain at least two component parts. One of these is invariably
a passage based on a thematic wedding, whilst the other is most
commonly a clearly definable 'transition theme'.
7. Relative to the exposition and recapitulation sections,
Lilburn's development sections tend to be short, often accounting for
less than one-fifth of the total duration of the movement.
8. The development section often begins with a strong but shortlasting
reference to material from the introduction.
9. Following this, the development section is characterised by a
marked modulation away from the tonic key of the main theme.
10. The main body of the development section is usually confined
to a development of the first subject group. Usually a phrase derived
from the first subject group is featured, and initially dominates the
text.ure. Frequently the material is developed contrapuntally.
II. Towards the end of the development section, a brief process of
motivic recollection usually occurs. Often the motifs recalled are from
themes other than the first subject group.
12. Most recapitulation sections emerge from material featured at the
end of the development section rather than beginning afresh with a
recollection of earlier material.
13. Recapitulations of main themes are rarely exact, nor indeed