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

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apart from the work of the string ensemble. 'Solo (or duo) string lines,
in combination with other instruments, feature with greater frequency.
J~ comparison of Table 1 with tables showing Lilburn's frequency
of employment of woodwinds, brass and horns brings some interesting
facts til light. (The horns are tabulated separately because they move
independently to the woodwind and brass sections, sometimes functioning
as one, sometimes as the other, and sometimes as a separate section).
Table 2: Frequency of employment of woodwind.
Work Without
---
Less than 3 Full
Festival 13% 26% 30%
Aotearoa 11% 15% 37%
Antipodt~s 13% 26% 14%
Symphony I • movt .1 ~:4% 21% 11%
Symphony 2, movt.I 19% 29% 18%
Suite, tIlovts. I,n U% 25% 19%
Table 3: Frequency of employmf,nt of brass.
Festival 49% 6% 20%
Aotearoa 64% 9% 20%
Antipodl!s 60% 6% 20%
Symphon~' I , movt .1 64% 5% 9%
Symphony 2, movt.I 62% 5% 14%
Suite, movts.I,II i'S% 8% 9%
Table 4: Frequency of employment of horns.
Festival 36% 28% 34%
Aotearoa 45% 15% 36%
Antipodes 28% 32% 37%
Symphony 1 t movt .1 !i7% 16%
Symphon!, 2, movt.11 :-17% 31% 24%
Suite, IDovts.I,II 58% 26% 14%
The following points can be noted from these tables:
1. That a strict ranking of order of importance in terms of frequency
of employment is observed throughout the sample of works. After the
strings, the woodwind are most frequently employed, then the horns,
then the brass.
2. All three sections (woodwind, horns and brass) show a decrease