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

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Syncopation and the rhythms of the 'lighter' compositions
Both the strong-weak rhythmic whiplash and the active rest help produce
characteristic forms of syncopation in Lilburn's music. Because the
whiplash, in particular, is usually a dramatic form of syncopation, its
use is, in the main, restricted to Lilburn's more serious composition.
In his lighter compositions, though, Lilburn certainly makes
abundant use of syncopation, but of a more traditional kind. In many of
these lighter, brighter pieces, rhythm becomes the primary element of
interest.
Consider the opening melody of Diversions movement I:
Ex.22: Diversions movement I, violin I bars 10-15.
Three clear instances of syncopation can be heard.
In each instance it
is syncopation by anticipation of the sounding of a strong beat. In
each instance the beat is disturbed only once.
Symphony No.2 movement II provides many examples of Lilburn's
use of melodic syncopation.
In the first two bars of the main theme
of his first episode in this movement, he re-groups the natural accents
in the i bar into a 3+~+2 pattern:
Ex.23: Symphony No.2 movement II, clarinet (as sounding), bars 44-5.
~~
1 ... "1 + ~ J + 1 .. 1-
f t f &
Fl I J
, r f
1
0
• AX!
l,
" v
This gives special emphasis to the normally weak beats of the fourth
and seventh quavers of the bar. In the fourth and final bar of the
3+3+2
melody, Lilburn reorganises the natural pulse within this 8 pattern: