title: The whole-plant compensation point as a measure of juvenile tree light requirements

authors: Lusk, Christopher H.

subjects: forest dynamics

abstract: 1.	Although ‘shade tolerance’ has featured prominently in the vocabulary of foresters and ecologists for a century, we have yet to agree on a standardized method for quantifying this elusive property. The ‘whole-plant compensation point’, interpolated from stem growth measurements across a wide range of light environments, has been proposed as a simple, robust measure of species shade tolerance. Others have argued that shade tolerance is primarily a function of differential ability to survive periods of slow growth (‘suppression’), implying that measurements of survival are vital.
2.	We measured growth of juveniles (500–1000 mm tall) of five evergreen trees over 12 months in a cool-temperate rain forest in New Zealand, to determine whether whole-plant compensation points predicted species differences in occupancy of understorey light environments, which were quantified using hemispherical photography.
3.	The five species encompassed 3•5-fold variation in whole-plant compensation points. Compensation points of most species fell within the first quartile of the distribution of light environments occupied by juveniles; they were also correlated with low-light mortality rates of juveniles, estimated from permanent plot data archived in the National Vegetation Survey Databank. Compensation points were also significantly positively correlated with height growth rates in high light, confirming the presence of the growth vs. shade tolerance trade-off detected in many other forest tree assemblages.
4.	Results show that, in temperate evergreen forests, the whole-plant compensation point distinguishes reliably between species of differing shade tolerance. Excepting situations involving parameterization of demographic models, shade tolerance can therefore be assessed without survival measurements. However, estimating whole-plant compensation points may prove more difficult in deciduous forests, where seasonal variation in understorey light transmission poses additional challenges.

text: The whole-plant compensation point as a measure of juvenile tree light requirements 1.	Although ‘shade tolerance’ has featured prominently in the vocabulary of foresters and ecologists for a century, we have yet to agree on a standardized method for quantifying this elusive property. The ‘whole-plant compensation point’, interpolated from stem growth measurements across a wide range of light environments, has been proposed as a simple, robust measure of species shade tolerance. Others have argued that shade tolerance is primarily a function of differential ability to survive periods of slow growth (‘suppression’), implying that measurements of survival are vital.
2.	We measured growth of juveniles (500–1000 mm tall) of five evergreen trees over 12 months in a cool-temperate rain forest in New Zealand, to determine whether whole-plant compensation points predicted species differences in occupancy of understorey light environments, which were quantified using hemispherical photography.
3.	The five species encompassed 3•5-fold variation in whole-plant compensation points. Compensation points of most species fell within the first quartile of the distribution of light environments occupied by juveniles; they were also correlated with low-light mortality rates of juveniles, estimated from permanent plot data archived in the National Vegetation Survey Databank. Compensation points were also significantly positively correlated with height growth rates in high light, confirming the presence of the growth vs. shade tolerance trade-off detected in many other forest tree assemblages.
4.	Results show that, in temperate evergreen forests, the whole-plant compensation point distinguishes reliably between species of differing shade tolerance. Excepting situations involving parameterization of demographic models, shade tolerance can therefore be assessed without survival measurements. However, estimating whole-plant compensation points may prove more difficult in deciduous forests, where seasonal variation in understorey light transmission poses additional challenges.

year: 2013

title: Composition Portfolio

authors: Johnson, Katie Andrea Elizabeth

subjects: Orchestra

abstract: I have enjoyed this year, writing pieces that are special to me because they relate to experiences during 2008. I've written for orchestra, choir and an ensemble of xylophones and saxophone. Each piece has extended my skills and creativity in different ways from previous compositions.
Prelude to the Unspoken 
This work is for symphony orchestra. Last year, it was rehearsed and recorded by the NZSO as part of the NZSO/Todd Young Composers Awards 2008. The pieces were recorded in the Michael Fowler Centre and conducted by Hamish McKeich. It was exciting to hear the piece come alive and watch the orchestra rehearse. Now I have heard the recording in a calmer state and know what it actually sounds like, I have been able to evaluate some decisions and whether or not they worked. 
As long as I have played instruments, I have played in orchestras. I can draw on these experiences when composing because as a clarinettist, you sit in the middle of the orchestra, and can hear the different sections playing and how their parts/notes relate to the rest of the orchestra. As a percussionist, hearing the orchestra from the back (when counting rests!) also reveals a different point of view. 
This year I chose to compose a slower, more contemplative piece. Last year, my compositions were dense and busy, so writing this piece required me to use space and texture in new ways. The title Prelude to the Unspoken alludes to something being stated but stopping before anything is revealed. 
A Schulwerk Orffering 
I was inspired to compose for the forces used in this piece because of an Orff- Schulwerk teacher training course I attended in 2008. As part of the Masters of Music degree, I completed a Level 1 workshop and on-line component - Orff Music Education-Theory and Practice 1, and more recently, completed the Level 2 workshop. Orff-Schulwerk education is a holistic, hands-on approach that explores music physically and through different instruments such as body percussion and approachable instruments (for children) such as recorders, mallet instruments and small percussion. 
One activity during the course was playing a tune from the Orff-Schulwerk volumes, where everyone was playing a mallet instrument - xylophone, marimba, glockenspiel, from soprano to bass, while the teacher improvised a tune on the recorder, over the top of this moving carpet of sound we were making with our ostinatos and drones. This was just like being in the middle of the orchestra. While playing my ostinato, I was in the centre of all of this sound, hearing how each simple ostinato made an interesting accompaniment. 
I was also influenced by Philip GIass' Fascades, where the cross rhythms of the accompaniment create a carpet of sound, while the simple saxophone melody floats over top. I wanted to create something similar with tenor saxophone and the educational xylophones. 
I chose to write for two alto and two bass xylophones (small, educational instruments with no chromatic notes). These instruments were available at the course and I was able to have these with me while I composed. Because I do not usually play a mallet instrument, I composed ostinatos that I was able to play. All the techniques are those explored in Orff-Schulwerk - ostinato, drone, sound carpet, imitation. The saxophone sits quite high in the first movement, holding long notes, while in the second movement, the saxophone is active with a wide range of notes. 
I recently had an item about this piece in the Orff New Zealand Aotearoa newsletter 'Sounding Orff'. I hope to get a recording/performance of this piece from a response to the newsletter. Missa Brevis 
I sing in the Hamilton Civic Choir and have sung many Masses so was interested in writing a Missa Brevis. The movements Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei are for SATB with some movements scored for divisi voices. 
The style of this piece is approachable for many choirs because of traditional harmonic and musical organisation, while including modern arrangements of the text and approach to the music. Some choir members queried the fact that sometimes their part does not say a whole word, for example, just singing 'Dom', not 'Domine'. The words were deliberately set like this because when using block writing, as opposed to polyphony, I felt the extra syllables would change the desired musical and rhythmic texture. 
I wrote this piece with the Hamilton Civic Choir in mind because I know their capabilities. For example, I know the second basses can reach a low D. For the very low notes, I've added an octave option for the first basses or all basses if another choir cannot reach them. This recording by members of the choir was not up to the choir's usual standard because of time restrictions. The piano is used in my recording but is for rehearsal use only. The Gloria will be performed in the Choir's first 2009 concert in March.

text: Composition Portfolio I have enjoyed this year, writing pieces that are special to me because they relate to experiences during 2008. I've written for orchestra, choir and an ensemble of xylophones and saxophone. Each piece has extended my skills and creativity in different ways from previous compositions.
Prelude to the Unspoken 
This work is for symphony orchestra. Last year, it was rehearsed and recorded by the NZSO as part of the NZSO/Todd Young Composers Awards 2008. The pieces were recorded in the Michael Fowler Centre and conducted by Hamish McKeich. It was exciting to hear the piece come alive and watch the orchestra rehearse. Now I have heard the recording in a calmer state and know what it actually sounds like, I have been able to evaluate some decisions and whether or not they worked. 
As long as I have played instruments, I have played in orchestras. I can draw on these experiences when composing because as a clarinettist, you sit in the middle of the orchestra, and can hear the different sections playing and how their parts/notes relate to the rest of the orchestra. As a percussionist, hearing the orchestra from the back (when counting rests!) also reveals a different point of view. 
This year I chose to compose a slower, more contemplative piece. Last year, my compositions were dense and busy, so writing this piece required me to use space and texture in new ways. The title Prelude to the Unspoken alludes to something being stated but stopping before anything is revealed. 
A Schulwerk Orffering 
I was inspired to compose for the forces used in this piece because of an Orff- Schulwerk teacher training course I attended in 2008. As part of the Masters of Music degree, I completed a Level 1 workshop and on-line component - Orff Music Education-Theory and Practice 1, and more recently, completed the Level 2 workshop. Orff-Schulwerk education is a holistic, hands-on approach that explores music physically and through different instruments such as body percussion and approachable instruments (for children) such as recorders, mallet instruments and small percussion. 
One activity during the course was playing a tune from the Orff-Schulwerk volumes, where everyone was playing a mallet instrument - xylophone, marimba, glockenspiel, from soprano to bass, while the teacher improvised a tune on the recorder, over the top of this moving carpet of sound we were making with our ostinatos and drones. This was just like being in the middle of the orchestra. While playing my ostinato, I was in the centre of all of this sound, hearing how each simple ostinato made an interesting accompaniment. 
I was also influenced by Philip GIass' Fascades, where the cross rhythms of the accompaniment create a carpet of sound, while the simple saxophone melody floats over top. I wanted to create something similar with tenor saxophone and the educational xylophones. 
I chose to write for two alto and two bass xylophones (small, educational instruments with no chromatic notes). These instruments were available at the course and I was able to have these with me while I composed. Because I do not usually play a mallet instrument, I composed ostinatos that I was able to play. All the techniques are those explored in Orff-Schulwerk - ostinato, drone, sound carpet, imitation. The saxophone sits quite high in the first movement, holding long notes, while in the second movement, the saxophone is active with a wide range of notes. 
I recently had an item about this piece in the Orff New Zealand Aotearoa newsletter 'Sounding Orff'. I hope to get a recording/performance of this piece from a response to the newsletter. Missa Brevis 
I sing in the Hamilton Civic Choir and have sung many Masses so was interested in writing a Missa Brevis. The movements Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei are for SATB with some movements scored for divisi voices. 
The style of this piece is approachable for many choirs because of traditional harmonic and musical organisation, while including modern arrangements of the text and approach to the music. Some choir members queried the fact that sometimes their part does not say a whole word, for example, just singing 'Dom', not 'Domine'. The words were deliberately set like this because when using block writing, as opposed to polyphony, I felt the extra syllables would change the desired musical and rhythmic texture. 
I wrote this piece with the Hamilton Civic Choir in mind because I know their capabilities. For example, I know the second basses can reach a low D. For the very low notes, I've added an octave option for the first basses or all basses if another choir cannot reach them. This recording by members of the choir was not up to the choir's usual standard because of time restrictions. The piano is used in my recording but is for rehearsal use only. The Gloria will be performed in the Choir's first 2009 concert in March.

year: 2009

title: Important lessons for trust governance from trusts that benefit New Zealand's Indigenous Maori – Recent developments

authors: Manyam, Joel

abstract: The landmark New Zealand Court of Appeal decision in New Zealand Maori Council v AttorneyGeneral [1987] 1 NZLR 641[SOE Case] marked a watershed in New Zealand's jurisprudence concerning the relationship between the Government of New Zealand('the Crown') and the indigenous Maori peoples of New Zealand. Very recently , New Zealand's highest Court, the Supreme Court in its decision in New Zealand Maori Council v Attorney-General[2013] 3 NZLR 31 referred to the SOE case as follows:
'The SOE case by the Court of Appeal is a judgment of great authority and importance to the law concerning the relationship between the Crown and Maori" (emphasis added)[S3].

text: Important lessons for trust governance from trusts that benefit New Zealand's Indigenous Maori – Recent developments The landmark New Zealand Court of Appeal decision in New Zealand Maori Council v AttorneyGeneral [1987] 1 NZLR 641[SOE Case] marked a watershed in New Zealand's jurisprudence concerning the relationship between the Government of New Zealand('the Crown') and the indigenous Maori peoples of New Zealand. Very recently , New Zealand's highest Court, the Supreme Court in its decision in New Zealand Maori Council v Attorney-General[2013] 3 NZLR 31 referred to the SOE case as follows:
'The SOE case by the Court of Appeal is a judgment of great authority and importance to the law concerning the relationship between the Crown and Maori" (emphasis added)[S3].

year: 2015