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Making Our Own—Two Ethnographies of the Vernacular in New Zealand Music: Tramping Club Singsongs and the Māori Guitar Strumming Style
Making our own—two ethnographies of the vernacular in New Zealand music: tramping club singsongs and the Māori guitar strumming style by Michael Brown A thesis submitted to Victoria University of Wellington/Massey University in fulfilment of the requirements for the degree of Doctor of Philosophy in Music New Zealand School of Music 2012 ii Abstract This work presents two ethnographies of the vernacular in New Zealand music. The ethnographies are centred on the Wellington region, and deal respectively with tramping club singsongs and the Māori guitar strumming style. As the first studies to be made of these topics, they support an overall argument outlined in the Introduction, that the concept of ―vernacular‖ is a valuable way of identifying and understanding some significant musical phenomena hitherto neglected in New Zealand music studies. ―Vernacular‖ is conceptualised as an informal, homemade approach that enables people to customise music-making, just as language is casually manipulated in vernacular speech. The different theories and applications which contribute to this perspective, taken from music studies and other disciplines, are examined in Chapter 1. A review of relevant New Zealand music literature, along with a methodological overview of the ethnographies is presented in Chapter 2. Each study is based upon different mixtures of techniques, including participant-observer fieldwork, oral history, interviews, and archival research. They can be summarised as follows: Tramping club singsongs: a medium of informal self-entertainment among New Zealand wilderness recreationists in the mid-twentieth century. The ethnography focuses on two clubs in the Wellington region, the Tararua Tramping Club and the Victoria University College Tramping Club, during the 1940s-1960s period, when changing social mores, tramping‘s camaraderie and individualism, and the clubs‘ different approaches, gave their singsongs a distinctive character. -
Annual Report 2009-2010 PDF 7.6 MB
Report NZ On Air Annual Report for the year ended 30 June 2010 Report 2010 Table of contents He Rarangi Upoko Part 1 Our year No Tenei Tau 2 Highlights Nga Taumata 2 Who we are Ko Matou Noa Enei 4 Chair’s introduction He Kupu Whakataki na te Rangatira 5 Key achievements Nga Tino Hua 6 Television investments: Te Pouaka Whakaata 6 $81 million Innovation 6 Diversity 6 Value for money 8 Radio investments: Te Reo Irirangi 10 $32.8 million Innovation 10 Diversity 10 Value for money 10 Community broadcasting investments: Mahi Whakapaoho a-Iwi 11 $4.3 million Innovation 11 Diversity 11 Value for money 11 Music investments: Te Reo Waiata o Aotearoa 12 $5.5 million Innovation 13 Diversity 14 Value for money 15 Maori broadcasting investments: Mahi Whakapaoho Maori 16 $6.1 million Diversity 16 Digital and archiving investments: Mahi Ipurangi, Mahi Puranga 17 $3.6 million Innovation 17 Value for money 17 Research and consultation Mahi Rangahau 18 Operations Nga Tikanga Whakahaere 19 Governance 19 Management 19 Organisational health and capability 19 Good employer policies 19 Key financial and non financial measures and standards 21 Part 2: Accountability statements He Tauaki Whakahirahira Statement of responsibility 22 Audit report 23 Statement of comprehensive income 24 Statement of financial position 25 Statement of changes in equity 26 Statement of cash flows 27 Notes to the financial statements 28 Statement of service performance 43 Appendices 50 Directory Hei Taki Noa 60 Printed in New Zealand on sustainable paper from Well Managed Forests 1 NZ On Air Annual Report For the year ended 30 June 2010 Part 1 “Lively debate around broadcasting issues continued this year as television in New Zealand marked its 50th birthday and NZ On Air its 21st. -
Our Finest Illustrated Non-Fiction Award
Our Finest Illustrated Non-Fiction Award Crafting Aotearoa: Protest Tautohetohe: A Cultural History of Making Objects of Resistance, The New Zealand Book Awards Trust has immense in New Zealand and the Persistence and Defiance pleasure in presenting the 16 finalists in the 2020 Wider Moana Oceania Stephanie Gibson, Matariki Williams, Ockham New Zealand Book Awards, the country’s Puawai Cairns Karl Chitham, Kolokesa U Māhina-Tuai, Published by Te Papa Press most prestigious awards for literature. Damian Skinner Published by Te Papa Press Bringing together a variety of protest matter of national significance, both celebrated and Challenging the traditional categorisations The Trust is so grateful to the organisations that continue to share our previously disregarded, this ambitious book of art and craft, this significant book traverses builds a substantial history of protest and belief in the importance of literature to the cultural fabric of our society. the history of making in Aotearoa New Zealand activism within Aotearoa New Zealand. from an inclusive vantage. Māori, Pākehā and Creative New Zealand remains our stalwart cornerstone funder, and The design itself is rebellious in nature Moana Oceania knowledge and practices are and masterfully brings objects, song lyrics we salute the vision and passion of our naming rights sponsor, Ockham presented together, and artworks to Residential. This year we are delighted to reveal the donor behind the acknowledging the the centre of our influences, similarities enormously generous fiction prize as Jann Medlicott, and we treasure attention. Well and divergences of written, and with our ongoing relationships with the Acorn Foundation, Mary and Peter each. -
Wellington Jazz Among the Discourses
1 OUTSIDE IN: WELLINGTON JAZZ AMONG THE DISCOURSES BY NICHOLAS PETER TIPPING A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2016 2 Contents Contents ..................................................................................................................................... 2 List of Figures ............................................................................................................................. 5 Abstract ...................................................................................................................................... 6 Acknowledgements .................................................................................................................... 8 Introduction: Conundrums, questions, contexts ..................................................................... 9 Sounds like home: New Zealand Music ............................................................................... 15 ‘Jazz’ and ‘jazz’...................................................................................................................... 17 Performer as Researcher ...................................................................................................... 20 Discourses ............................................................................................................................ 29 Conundrums ........................................................................................................................ -
(Te Papa) in the Rejuvenation of Taonga Puoro
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. The role of a museum (Te Papa) in the rejuvenation of taonga puoro A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies At Massey University, Manawatū, New Zealand Awhina Tamarapa 2015 Abstract This thesis examines the role of the Museum of New Zealand Te Papa Tongarewa in the rejuvenation of taonga puoro (Māori musical instruments). The purpose of this study is to examine the Museum’s relationship with taonga puoro practitioners. This thesis documents the foundation of the Haumanu taonga puoro revitalisation group and their relationship with Te Papa. Therefore I have selected instrumental figures – Dr. Richard Nunns and Brian Flintoff, to elucidate their insight on this topic. The late Hirini Melbourne remains a constant and treasured presence throughout the process for Nunns and Flintoff. However, the focus of the thesis is to identify what has Te Papa done and can do better, to help facilitate the rejuvenation of taonga puoro, based on the years of developing a relationship with the Haumanu group. Furthermore, within this context, I examine my own practice as a Māori Curator at Te Papa. The central question to this study is the role of Te Papa, in terms of its relevance to one particular sector, the Māori cultural practitioners and revivalists. The challenge is: how much is Te Papa willing to risk, in relaxing control - to be relevant to the needs of this community? Four key research questions are explored: what has Te Papa done to help facilitate the rejuvenation and maintenance of puoro, what could Te Papa be doing more of to nurture the rejuvenation and maintenance of puoro; what are the key factors that support an achievement of these objectives: and, what are the challenges for the future. -
Convergence Convergence
CONVERGENCE NZTRIO, HOROMONA HORO AND RICHARD NUNNS AOTEAROA/NEW ZEALAND PHOTOGRAPHS: JONATHAN KING FREE PROGRAMME POST-CONCERT TALK SUN 24 MAR 8.15PM, CONCERT CHAMBER CONVERGENCE NZTRIO, HOROMONA HORO AND RICHARD NUNNS CONCERT CHAMBER, AUCKLAND TOWN HALL Sunday 24 March, 7.00pm PROGRAMME Gareth Farr, Richard Nunns (NZ): Nga Kete e Toru for piano trio and taonga puoro NZTrio, Horomona Horo and Richard Nunns Gao Ping (China/NZ): Su Xie Si Ti (Four Sketches) for piano trio NZTrio Chen Yi (China/USA): Tibetan Tunes NZTrio Victoria Kelly—in collaboration with Horomona Horo, Tim Worrall & NZTrio (NZ): Toi Huarewa/Suspended Way for piano trio and taonga puoro NZTrio and Horomona Horo—World Premiere NZTRIO Justine Cormack — Violin Ashley Brown — Cello Sarah Watkins — Piano CONCERT WEAR BY WORLD TAONGA PUORO GUEST ARTISTS Horomona Horo & Richard Nunns www.nztrio.com CORE FUNDERS GOLD SPONSORS PROGRAMME NOTES Gareth Farr (NZ; b. 1968) and Richard Nunns (NZ; b. 1945): Nga Kete e Toru Nga Kete e Toru was commissioned by NZTrio in 2009, and is a conversation between the instruments of M āori and P ākeh ā cultures. The original composition, for piano trio and taonga puoro player, features a group of traditional M āori instruments called the Pūmotomoto - instruments characterised by having only one finger hole resulting in a pitch range that is much more limited than other M āori wind instruments such as the Koauau and Pūtorino . The Pūmotomoto playing technique includes manipulation of embouchure (mouth position) to create edge tones, high harmonics, and bending of pitches. For this performance, the work has been expanded to involve a second taonga puoro player incorporating a wider variety of taonga puoro that evoke other aspects and characters within the mythology of Nga Kete e Toru. -
Celebrate New Zealand Music Month at Your School 2011
! !"#$#%&'(#)*+),-./")01223! 2! "! • Get “Ihimaera” – this new album just out this year. All lyrics by Witi Ihimaera and set by some of NZ’s most talented artists, Including Kapisi, Ruia Aperahama, Victoria Girling Butcher (Lupin), Charlotte Yates and others : www.smokecds.com/cd/47401 This has great cross-curricula lesson possibilities. • Stream Kiwi Fm’s “31Bands in a Box” – happening again in 2011 - daily interviews and performances with NZ artists like Anika Moa ... on the net – and archived. See : !!!!!!!!!!!!!!!!!!! ! www.kiwifm.co.nz (dial-up and broadband options) • Study NZ POP history –Nature’s Best covers #$%$&'()$!*$+!,$(%(-.!/0123! the decades very well over 3 CDs (and /4-)5!2-!640'!3%(11'4478! there’s a DVD and the sheet music available for most tracks). There’s information on lots of NZ artists at www.nzmusician.co.nz (on-line • Students might discuss and/or present an archives) and the artist sections of analysis of the music of their favourite NZ www.nzmusic.org.nz/artists NCEA level 1 artists. (Ask them to analyse the musical – “Rocket MAN” study see “arts on line” – a elements/characteristics – tone colours (what unit written for you bringing in NZ rock instrumentation is used) tempo, (speed) or history. feel, the production techniques, the structure Take a look at: of the song, the mood/meaning of the lyrics, • http://www.nzhistory.net.nz/culture/music- genre...) month • “Anika (Moa) to Zed” - compile an A to Z and 31 reasons to love NZ Music Month... list of NZ recorded artists. great NZ music history back again every day • Sing lots of great NZ songs! on this site in 2011 so do take a look ! You might start with the song written by • www.kiwihits.co.nz/hitdisc/catalog students and chosen for Hook Line and Sing- This is great, for tracking down NZ classic along on the 31st May - as the song of NZ pop hits in the back catalogue or checking music month 2011; “Things to Remember- out what’s current. -
To Better Understand and Treasure the Past, Enrich the Present, and Meet the Challenges of the Future
museum of new zealand te papa tongarewa g.12 ANNUaL REPORT 2006/07 To better understand and treasure the past, the past, better understand and treasure To and enrich the present, meet of the challenges the future. Waharoa in Te Papa’s Wellington Foyer This fine example of a traditional waharoa (gateway) was commissioned for the New Zealand Government by Augustus Hamilton, the director of the Colonial Museum, Te Papa’s forerunner. In 1906, it featured in the New Zealand International Exhibition in Christchurch. Here it formed part of a double stockade that enclosed the exhibition’s model pä, called Araiteuru. The work was carried out by master carver Neke Kapua and his sons Tene and Eramiha, of Te Arawa’s Ngäti Tarawhai tribe, Rotorua, in 1906. The waharoa is carved from a 22–metre single slab of tötara that came from the central North Island. 1 Museum of New Zealand Te Papa Tongarewa of new museum Annual Report 2006/07 Te Pürongo ä-Tau 2006/07 In accordance with section 44 of the Public Finance Act 1989, this annual report of the Museum of New Zealand Te Papa Tongarewa for 2006/07 is presented to the House of Representatives. zealand te papa tongarewa te papa zealand John Judge Glenys Coughlan Chairman Board member 31 October 2007 31 October 2007 annual report 2006/07 report annual Contents Ngä Ihirangi Performance at a glance He Tirohanga ki ngä Whakatutukitanga 2 1 Operating Framework Te Anga Whakahaere 5 1.1 Concept 5 1.2 Corporate Principles 5 1.3 Functions and Alignment with Government Priorities 7 2 Overview Statements Ngä Tauäki -
The Role of a Museum (Te Papa) in the Rejuvenation of Taonga Puoro
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. The role of a museum (Te Papa) in the rejuvenation of taonga puoro A thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies At Massey University, Manawatū, New Zealand Awhina Tamarapa 2015 Abstract This thesis examines the role of the Museum of New Zealand Te Papa Tongarewa in the rejuvenation of taonga puoro (Māori musical instruments). The purpose of this study is to examine the Museum’s relationship with taonga puoro practitioners. This thesis documents the foundation of the Haumanu taonga puoro revitalisation group and their relationship with Te Papa. Therefore I have selected instrumental figures – Dr. Richard Nunns and Brian Flintoff, to elucidate their insight on this topic. The late Hirini Melbourne remains a constant and treasured presence throughout the process for Nunns and Flintoff. However, the focus of the thesis is to identify what has Te Papa done and can do better, to help facilitate the rejuvenation of taonga puoro, based on the years of developing a relationship with the Haumanu group. Furthermore, within this context, I examine my own practice as a Māori Curator at Te Papa. The central question to this study is the role of Te Papa, in terms of its relevance to one particular sector, the Māori cultural practitioners and revivalists. The challenge is: how much is Te Papa willing to risk, in relaxing control - to be relevant to the needs of this community? Four key research questions are explored: what has Te Papa done to help facilitate the rejuvenation and maintenance of puoro, what could Te Papa be doing more of to nurture the rejuvenation and maintenance of puoro; what are the key factors that support an achievement of these objectives: and, what are the challenges for the future. -
Catalogue Addenda Mailout***.Pages
! ON DISK! A MOVING IMAGE RESOURCE! FOR NEW ZEALAND CLASSROOMS! ! ! CURRICULUM & NCEA LINKED DVDS EDITED FOR ! THE ARTS / ENGLISH / MEDIA STUDIES /! HISTORY / GEOGRAPHY & SOCIAL STUDIES www.filmarchive.org.nz ! ! SECONDARY SCHOOLS DVD LIBRARY CATALOGUE 2009 + 2010 ADDENDA CONTENTS [ * New Titles Highlighted ] !! ! Page ! !!!!!!!!!!!!!! ! Introduction !! ! ! ! !! 3 ! !!!! ! !English / Media Studies Menu !! ! ! ! !! 5! ◇ * Māori Filmmakers (3 Disks) ◇ * Representations of Pasifika (2 Disks) ◇ * New Zealand Television: Television News ◇ * New Zealand Television: Public Service & Commercial Television ◇ * New Zealand Television: Media Issues ◇ Genre Studies: Documentary in New Zealand (2 Disks) ◇ New Zealand Writers (2 Disks) ◇ New Zealand Poets ◇ Director Studies: Niki Caro ◇ Director Studies: Peter Jackson ◇ Oratory - Words in the Frame ◇ Propaganda ◇ Selling New Zealand – The Language of Advertising ◇ New Zealand Feature Films - An Overview (2 Disks) ◇ Representation of Women ◇ Representations of Youth ! ◇ Representation of New Zealand Identity !History / Social Studies Menu ! !! ! ! ! ! !! ! 11! ◇ * The Treaty: Te Tiriti o Waitangi (3 Disks) ◇ * Patu! New Zealand Society and the 1981 Tour (redeveloped) ◇ New Zealand in the 19th Century (3 Disks) ◇ New Zealand's Search for Security 1945-1985 (2 Disks) ◇ Race Relations (4 Disks) ◇ Women in Health – Women's Impact on New Zealand Society 1915-1985 (2 Disks) ◇ New Zealand Identity (2 Disks) ◇ Anzac – New Zealanders at War 1899-2006 (3 Disks) ◇ Vietnam ◇ The Bomb - New Zealand & the Nuclear -
MODERN LETTERS Te P¯U Tahi Tuhi Auaha O Te Ao
INTERNATIONAL INSTITUTE OF MODERN LETTERS Te P¯u tahi Tuhi Auaha o te Ao Newsletter – 8 September 2006 This is the 93rd in a series of occasional newsletters from the Victoria University centre of the International Institute of Modern Letters. For more information about any of the items, please email [email protected] 1. A multiplicity of angels........................................................................................ 1 2. ‘Erbs, anyone? ..................................................................................................... 1 3. Shurely Shome Mishtake?................................................................................... 2 4. Two incredibly busy weeks in New Zealand....................................................... 2 5. Talking books....................................................................................................... 4 6. Janet Frame online .............................................................................................. 5 7. Zero tolerance vs. linguistic freedom.................................................................. 5 8. Scarecrow wins on both sides of the ditch.......................................................... 5 9. Lonely hearts club band...................................................................................... 6 10. Recent web reading............................................................................................ 6 11. Great lists of our time....................................................................................... -
Threads and Emerging Patterns: Some Recent Developments in New Zealand Music
THREADS AND EMERGING PATTERNS: SOME RECENT DEVELOPMENTS IN NEW ZEALAND MUSIC Martin Lodge Senior Lecturer and Chair of the Music Department, Universityof Waikato, Hamilton. Since 1984 there has been a deliberate and rapid internationalisation of New Zealand's business and financial position. This change in political attitude has also wrought major social and cultural changes. In music, the divergent philosophical pulls of ideas such as internationalism, post colonialism, postmodernism, commercialisation and 'world music' have generated a changed atmosphere for composers, performers and audiences. The demise of the musical avant-garde has allowed a successful renegotiation of communication between professional musicians and listeners. Contradictions abound in the current scene, with less state funding than ever being available for promoting music, yet also a clear increase of public interest in new music at the same time. It is no coincidence that the rise of private sponsorship in music, especially Classical Western music in New Zealand, has occurred as composers begin to write for audiences again, rather than purely for self-fulfillment or experimentation. A key question now is whether the integrity of new music has been subverted by commerce and the need to engage with audiences. Indeed, what should new music aim to do in the first place today? For composers, such re-thinking has provided a liberating removal of stylistic prescription but also the withdrawal of any common aesthetic and philosophical purpose. In popular music, the Americanisation of ethnic traditionscontinues. In all fields of music, the steamrolling effect of mass media globalisation has produced a backlash resulting in 'new tribal' groupings, as the major ethnic groups in contemporary multicultural New Zealand work to establish up to date and recognisable stylistic musical identities for themselves.