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

title: Te Poutikanga

authors: Maxwell, Te Kahautu

abstract: Te Poutikanga was composed to pay homage to the newly appointed spiritual leader of Te Haahi Ringatū Mr Wirangi Pera who was appointed on the 1 January 2014. This composition was performed by ŌpōtikiMai Tawhiti at the Mātaatua Regional Kapa Haka Competition and placed first in the Whakawātea discipline.

text: Te Poutikanga Te Poutikanga was composed to pay homage to the newly appointed spiritual leader of Te Haahi Ringatū Mr Wirangi Pera who was appointed on the 1 January 2014. This composition was performed by ŌpōtikiMai Tawhiti at the Mātaatua Regional Kapa Haka Competition and placed first in the Whakawātea discipline.

year: 2014-01-25

title: Last resting place and legacy of Charles Heaphy, VC

authors: Lowe, David J.

subjects: Charles Heaphy

abstract: Charles Heaphy is now recognised as a significant figure in the early European settlement of New Zealand and he also has an interesting geological connection that deserves wider recognition. Heaphy arrived in New Zealand on the Tory together with Ern(e)st Dieffenbach on 18th August, 1839, aged around 19. Employed then by Wakefield's New Zealand Company as a draughtsman, Heaphy was described by Sharp (2008. p. 25) as being a "general roustabout, explorer, surveyor, assistant naturalist, courier and verbal as well as visual propagandist". He went on to become best known as an excellent watercolour landscape artist (his early work showing "sensitivity to the clarity of the New Zealand light") (Sharp, 2008, p. 205), an explorer and surveyor, a parliamentarian, and for winning the Victoria Cross for his actions in the New Zealand (Maori land) wars.

text: Last resting place and legacy of Charles Heaphy, VC Charles Heaphy is now recognised as a significant figure in the early European settlement of New Zealand and he also has an interesting geological connection that deserves wider recognition. Heaphy arrived in New Zealand on the Tory together with Ern(e)st Dieffenbach on 18th August, 1839, aged around 19. Employed then by Wakefield's New Zealand Company as a draughtsman, Heaphy was described by Sharp (2008. p. 25) as being a "general roustabout, explorer, surveyor, assistant naturalist, courier and verbal as well as visual propagandist". He went on to become best known as an excellent watercolour landscape artist (his early work showing "sensitivity to the clarity of the New Zealand light") (Sharp, 2008, p. 205), an explorer and surveyor, a parliamentarian, and for winning the Victoria Cross for his actions in the New Zealand (Maori land) wars.

year: 2010