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

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state of great ignorance and confusion over it all, and what direction
to move in.,,30 In the letter dated 31 March 1963, he states that the
University Council has approved his leave, and indicates his intention to
be in London by June of that year.
Lilburn left New Zealand in May of 1963 with the University of
Hawaii Music Department
as his first port of business call. From there,
he went to Toronto to meet up again with Boyd Nee!, now Dean of the Royal
Conservatory of Music, Toronto, Canada, who showed Lilburn round the new
building for the faculty of music at the university. While Lilburn wasin
Toronto, he spent an entire day in the faculty's Electronic Music
Studio with the studio's director, Dr Myron Schaeffer.
left his " ••• ears and imagination dazzled with new sounds.,,31
This experience
From 15 May to 26 May, Lilburn was in New York and made visits to
the Manhattan School of Music, Juillard School of Music, -Columbia, and
Hunter College (where he heard Pierre Boulez give an exposition of his
Le Marteau sans Maitre), as well as to the ASCAP (American Society of
Composers, Authors and Publishers) headquarters.
From New York he went to Paris where Ashley Heenan was representing
the New Zealand Broadcasting Corporation a't the annual UNESCO Rostrum
of Composers.
Lilburn's Symphony No.3 was being presented at this rostrum.
After a week in London Lilburn went to Amsterdam with Ronald
Tremain (who in that year was working as a Carnegie Travelling Fellow)
for the annual festival of the International Society for Contemporary
Music.
(1963 was, in fact, the year in which the Auckland branch of the
International Society for Contemporary Music was established, with
Tremain as the founding president.)
From 15 June to 29 June, Lilburn was back in London.
He reported:
I~ew Zealand House is splendid, the piojection of a
New Zealand image from it is incongruously dim. I
heard many complaints that little or riothing is done
to help young compatriots studying or working in
London. Surely a cultural Attache is badly needed there. 11,32
Lilburn had been New Zealand representative of the British Guild
of Composers for many years. Whilst in London he took the opportunity of
attending one of its meetings.
He also attended the Annual General
Meeting of the Performing Right Society (the British equivalent of APRA),
30 ibid. p.67.
31 Douglas Lilburn, Introductory notes in accompanying booklet to
KIWI SLD-44/46, p.6.
32 Douglas Lilburn, Report on refresher leave 1963. Unpublished
typescript, p.3.