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

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frequently coincide with structural demarcation lines, highlighting
the work's episodic form. Within each structural section, minor
adjustments to the tempo are frequently made. The following is a
tabulation of the tempo changes that occur in this work, with the
asterisks marking where tempo changes coincide with structural divisions:
Table I: Adjustments to tempo in Song of the Antipodes.
Bar Nos :000 *LaJtgamenu.
J
025 un poch~ pia mo~~oal
037 *MoUo modeJta;to e 6i.u~..ibi.e
095 poco ali.aJtg ••• a tempo
124 con v..ivac..ita e poco aecei. ~I Ai.i.eg4o
134 *Ai.i.eg4~ eon moto
192 poeo a poeo ali.aJtgando
208 pia ali.aJtg.
2 10 Tempo moUo modeJta..to
222 poeh~. 4..tt •••
224 * ... LaJtgamente, ma non tAoppo i.ento
288 Poco a poco pia mo~~o ~I Ai.i.eg4o
310 *Ai.i.eg4o eon v..ivae..ita
38 I poco a poeo ali.aJtgMdo
397 *Tempo moUo modeJta;to e 6i.eM..ibi.e
500 poeo ali.aJtgando.
Melody/bass-line dichotomx
Much of Lilburn's music (particularly his earlier writing) displays
an essentially two-part rhythmic texture: the bass-line, and the melody
line with its frequent parallel accompaniment in the upper instruments.
As mentioned above, rhythmic interest is usually centred on the melodic
material, which, as concluded in the discussion on "Melody in Lilburn", 1
is most often characterised by its rhythmic property.
Because of the high incidence of pedal-point writing in his music,
Lilburn's bass-lines often remain static. Even when a pedal point is not
in use, his bass-lines generally move at a slower pulse than his upper
melody/accompaniment lines. His bass-lines rarely offer material of
rhythmic interest; in the main, they concentrate on providing the
harmonic foundation for the music.
See Part II Chapter 2.