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

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throughout the sample in the incidence in which they are employed
as a full section. This decrease reflects the decrease in the
employment of strings as a full ensemble.
3. None of the three sections show any significant change in the
frequency with which individual instruments are employed (representing
their section either as a solo or duo).
4. All three sections show an increase throughout the period in the
frequency with which they are not employed at all.
5. In all the surveyed pieces, excepting that of Festival Overture, the
brass remain silent for the majority of time.
6. The brass in all the surveyed pieces are employed more frequently as
a full section than as individual instruments.
7. There is a close relationship between the frequency with which less
than three woodwind instruments and less than three horns are
employed in any given piece.
8. At the beginning of the period, all four horns are employed more
frequently at any given time than either one or two horns. Later ~n
the period this is reversed, with the horns being used more often as
individual instruments.
9. Asa generalisation, these tables show a drop in the number of
instruments employed at any given time as the period progresses.
This could indicate either a thinning of texture, or a decrease in
the incidence of doubling of orchestral lines. As will be shown
below, the latter is the case.
The above tables merely indicate the frequency with which
instruments or sections of instruments are employed. They do not
indicate how the instruments or sections of instruments are employed.
In the discussion "Melody in Lilburn"l it was shown that the
majority of Lilburn's themes are announced in the strings (most usually
the violins) and that themes are very rarely announced in the brass or
horns. The woodwind instruments, mainly the upper three lines, announce
a significant proportion of the themes (about one-third), but not as
many as the strings. In announcing themes, Lilburn rarely mixes
orchestral colours. If a theme is doubled or, as is frequently the case,
accompanied by an integral, parallel moving line, then it is most
usually two instruments from the same section that are used.
However, beyond this announcing of themes, Lilburn frequently
mixes orchestral colours when articulating successive statements of
his themes. Doubling the statement of a theme at the octave or at the
Part II Chapter 2.