This paper argues that Douglas Lilburn’s late piano works, especially the Nine Short Pieces, represent an unresolved synthesis of serial, symmetrical, and spatial-sonic techniques that exposes a deeper aesthetic tension between his earlier modal language and the demands of post-war modernism.
This paper critiques compositional models for live electronics by extending John Croft’s arguments to highlight structural limitations—such as intentionality imbalance, causal asymmetry, and temporal lag—and proposes alternative, more passive and spatially oriented paradigms that preserve the corporeal integrity of live performance.