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

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Ex.I6: Symphony No.2 movement I, trumpet bars 96-8.
(n
l'~ t
)
In short, it appears in melodies in various guises throughout Lilburn's
works from his first composition period.
Not only does this strong-weak rhythmic whiplash appear in a
variety of guises, it also serves a variety of functions. These
functions include: its use as an impact intensifier; its use as a
springboard for sustained melodic notes; its use to define sharply the
completion of a phrase; its use as a motif for fanfares or de-clamatory
statements; its use as an embellishment to a melodic line; and its use,
sequentially, to motivate harmonic backgrounds.
Some of these functions can be clearly seen in the above melodic
examples. Example 12 shows its use as an embellishing figure, example
16 shows it defining the end of a phrase, and examples 11,13 and 14 show
it being used as a springboard for the sustaining of long melodic notes.
Examples quoted earlier in this discussion of Lilburn's music
show its use in other functions. In example 7 of this chapter, it was
shown as the motivating material for the inner accompanimental line to
the second theme (see also Ex.12) of Aotearoa Overture. Its function as
an impact intensifier is perhaps best heard in the closing bars of both
Aotearoa Overture and Festival Overture. In the closing eighteen bars
of Festival Overture (see Ex.14 of "Harmony in Lilburn,,)3 it appears no
less than nine times. In the closing eight bars of Aotearoa Overture
(see Ex.IS of "Harmony in Lilburn,,)4 it appears five times.
Because of the importance of this figure, and to give an indication
of how its continued use characterises the whole texture of a work,
it is worthwhile following the appearance of the figure through a
composition. The Festival Overture is a good work for this purpose.
However, before such an exercise can be undertaken, a more
detailed definition of the strong-weak rhythmic whiplash is needed.
From the above-quoted seven melodic excerpts (Ex.IO-I6) it could be
concluded that a strong-weak rhythmic whiplash is where an accent is
3 Part II Chapter 4.
4 ibid.