title: Losing sight of atmospheric sounds in televised nature documentary

authors: Delmotte, Isabelle A.

abstract: The production of soundtracks for televised nature documentaries involves complexities in balancing the audience's sonic perceptions and emotions with audio content and scientific rigour. In addition, soundtracks need to be congruent with audience expectations and commercial imperatives. Popular televised nature documentaries often appear to be narrative melodramas with environmental soundscapes submerged by narration and music. This paper examines the correlations between perceptual agency, educational practices and production constraints with regards to sound production in nature documentaries. The purpose is a clarification surrounding the causative factors and results of the curious neglect for the sound of our natural world within an industry dedicated to the sensory portrayal of nature.

text: Losing sight of atmospheric sounds in televised nature documentary The production of soundtracks for televised nature documentaries involves complexities in balancing the audience's sonic perceptions and emotions with audio content and scientific rigour. In addition, soundtracks need to be congruent with audience expectations and commercial imperatives. Popular televised nature documentaries often appear to be narrative melodramas with environmental soundscapes submerged by narration and music. This paper examines the correlations between perceptual agency, educational practices and production constraints with regards to sound production in nature documentaries. The purpose is a clarification surrounding the causative factors and results of the curious neglect for the sound of our natural world within an industry dedicated to the sensory portrayal of nature.

year: 2017

title: A rationale for trauma-informed postgraduate supervision

authors: McChesney, Katrina

abstract: Doctoral researchers are our present and future knowledge-makers. Social justice requires democratic opportunities for knowledge creation, and to this end doctoral supervision theory and practice have become increasingly inclusive, flexible, culturally responsive, and person-centred over time. However, consideration of trauma and trauma-informed practice has remained absent from this work. This conceptual paper signals the need to recognise that doctoral cohorts will include those with lived experiences of trauma. The paper then presents a rationale for developing trauma-informed approaches to doctoral supervision, theorising this approach in relation to wider inclusive education efforts in higher education, Universal Design for Learning, and the social model of disability. Intersections with current trends in doctoral supervision literature and practice are considered, and core principles of trauma-informed practice are identified that can inform work in the specific context of doctoral supervision. The paper offers a fresh perspective on inclusive doctoral education and directions for future work.

text: A rationale for trauma-informed postgraduate supervision Doctoral researchers are our present and future knowledge-makers. Social justice requires democratic opportunities for knowledge creation, and to this end doctoral supervision theory and practice have become increasingly inclusive, flexible, culturally responsive, and person-centred over time. However, consideration of trauma and trauma-informed practice has remained absent from this work. This conceptual paper signals the need to recognise that doctoral cohorts will include those with lived experiences of trauma. The paper then presents a rationale for developing trauma-informed approaches to doctoral supervision, theorising this approach in relation to wider inclusive education efforts in higher education, Universal Design for Learning, and the social model of disability. Intersections with current trends in doctoral supervision literature and practice are considered, and core principles of trauma-informed practice are identified that can inform work in the specific context of doctoral supervision. The paper offers a fresh perspective on inclusive doctoral education and directions for future work.

year: 2022

title: Tito Waiata-Tito Pūoro: extending the Kīngitanga music tradition.

authors: Rollo, Te Manaaroha Pirihira

subjects: Kīngitanga

abstract: Since 1858, music has always been an integral part of the Kīngitanga movement in New Zealand. As this music tradition evolves with the introduction of new musical idioms, genres and digital technology, so too do the practices of composing new works. 

The objective of this research was to construct a model for combining waiata, taonga pūoro and New Zealand electroacoustic music, in order to create new works that enhance the Kīngitanga music tradition.  Developing a model for composing and integrating these idioms within a Māori context presented problems, as traditional Māori music conflict with contemporary Western forms. 

To generate a framework and practical model for composing hybrid music, an examination of selected New Zealand works was first carried out through: a) the collection of 50 traditional and contemporary waiata relating to the Kīngitanga b) the collection of 10 New Zealand taonga pūoro works and c) a collection of 10 New Zealand electroacoustic music. An analysis of the music and compositional processes of each idiom implementing the ‘de-construct in order to re-construct’ approach to understand how they work musically and compositionally was accomplished. 

To demonstrate the outcome of my models, six original compositions were presented exploring different aspects of musical composition. These models focused on sound architecture and explored a) communicative relationships between composer, performer, and audience b) Holistic Co-hear-ence, implementing the horizontal and vertical layering model, and c) technical approaches using digital technology. To comply with Māori principles of composition and performance, each model and new work demonstrated Kaupapa Māori , Wairua  and Te Mana - Te Ihi - Te Wehi - Te Tapu . 

The findings and original contributions of this research provide a model that combines two musical traditions and three music idioms, and in turn, may guide contemporary composers in creating new works that extend the Kīngitanga music tradition.

text: Tito Waiata-Tito Pūoro: extending the Kīngitanga music tradition. Since 1858, music has always been an integral part of the Kīngitanga movement in New Zealand. As this music tradition evolves with the introduction of new musical idioms, genres and digital technology, so too do the practices of composing new works. 

The objective of this research was to construct a model for combining waiata, taonga pūoro and New Zealand electroacoustic music, in order to create new works that enhance the Kīngitanga music tradition.  Developing a model for composing and integrating these idioms within a Māori context presented problems, as traditional Māori music conflict with contemporary Western forms. 

To generate a framework and practical model for composing hybrid music, an examination of selected New Zealand works was first carried out through: a) the collection of 50 traditional and contemporary waiata relating to the Kīngitanga b) the collection of 10 New Zealand taonga pūoro works and c) a collection of 10 New Zealand electroacoustic music. An analysis of the music and compositional processes of each idiom implementing the ‘de-construct in order to re-construct’ approach to understand how they work musically and compositionally was accomplished. 

To demonstrate the outcome of my models, six original compositions were presented exploring different aspects of musical composition. These models focused on sound architecture and explored a) communicative relationships between composer, performer, and audience b) Holistic Co-hear-ence, implementing the horizontal and vertical layering model, and c) technical approaches using digital technology. To comply with Māori principles of composition and performance, each model and new work demonstrated Kaupapa Māori , Wairua  and Te Mana - Te Ihi - Te Wehi - Te Tapu . 

The findings and original contributions of this research provide a model that combines two musical traditions and three music idioms, and in turn, may guide contemporary composers in creating new works that extend the Kīngitanga music tradition.

year: 2014