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

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themes that prominently feature one note. Lilburn's melodies tend to
dominate and direct his textures throughout his works, whether appearing
as a statement or recapitulation, development or variation.
The most common formal design loosely applied by Lilburn in his
larger-proportioned works is that of sonata form. In this, his works
usually begin with an introduction section, announcing material that is
later extensively used. His introductory material is often closely
related to the main first theme(s) of the movement or work. Even if it
is not related, Lilburn almost invariably fuses characteristics from
both sets of material to form part, or all, of the transition passages
that bridge the announcements of his first subject groups with his
second subject groups.
Lilburcn's development sections, where he uses t~e principles of
sonata form, tend to be short - usually providing no more than one-fifth
of the total duration. Most often, his development sections start with
strong reference to material from his introductions. This is usually
followed by a marked modulation away from the tonic leading to an
exploration of characteristics of the first subject group. Towards-the
end of his development sections, Lilburn usually briefly recalls
defining motifs from themes not already examined in the development
section.
The beginnings of his recapitulation sections are usually the
result of material emerging from the end of the development section;
Lilburn rarely begins with a fresh recollection. Often there is
evidence of a 'cut-and-paste' technique of recapitulation •. His codas
are usually lengthy, often containing further development of material.
The demarcation lines between the various sections within
Lilburn's sonata form works are rarely clear-cut. Where they are, it is
usually because of the presence of one of his 'structural signposts'.
These signposts include the use of a single-strand link, the sequential
repetition of a single motif, the sudden changing of tonal centre, and·
the reiteration of cadential chords.
Lilburn's smaller-proportioned works tend to be phrasally
constructed, making use of traditional small forms such as ternary,
binary, and the minuet and trio. These works are often clearly sectional.
Where a work comprises more than one movement, all the individual
movements are self-contained. The keys of each succeeding movement
usually show a loose application of traditional key relationships between
movements. Tempi is usually alternated between movements into