Douglas Lilburn recording the sound of struck sheets of steel and other items on to magnetic tape, in a barn in Wiltshire, England, circa 1963. Photo: Peter Crowe, ATL
Fashions looks at the way Douglas's music changed over time, and how it has fared amid the shifting sands of fashion. From music for film and theatre to electronic music, via excursions into 12-tone serial technique, Douglas navigated a sure course in his composition without foundering on the rocks of the avant-garde.
Sir William Southgate and Jack Body talk about Douglas's sensitivity to criticism, the public reaction to some of his music, and the move away from writing for human performance to composing electronic music. Philip Norman discusses the crucial second period in Douglas's music, and the distinctive patterns that come through.
John Hopkins reflects on the parallel development of Douglas's music, with that of the New Zealand Symphony Orchestra. Helen Young describes how Broadcasting supported and exported Douglas's music. And Dean Major talks about Douglas creating his own musical voice.
