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Cultural Convergences: Traditional Māori Flutes and Contemporary New Zealand Classical Music

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Cultural Convergences: Traditional Māori Flutes and Contemporary New Zealand Classical Music Cultural Convergences: Traditional M!ori Flutes and Contemporary New Zealand Classical Music Hannah Darroch McGill University, Montreal, May 2020 A paper submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Music Performance Studies. © Hannah Darroch 2020 ! ""! Abstract This paper considers the connections between traditional M!ori flutes and contemporary New Zealand compositions for the Western, Boehm-system flute. First, the context of M!ori music is discussed, with a particular focus on the revival of the traditional flutes that has occurred during the past thirty years. Three existing works for flute by New Zealand composers Helen Fisher, Gillian Whitehead, and Philip Brownlee are then analyzed, zooming in on their convergences with the timbre and playing styles of traditional M!ori flutes. The final part of the paper details a research-creation collaboration with New Zealand composer Chris Gendall, who was commissioned to compose a new work for solo flute that incorporates research on traditional M!ori flutes and emulation of their sounds. Résumé Ce document traite des connexions entre les flûtes traditionelles M!ori et les compositions contemporaines Néo-Zélandaises pour la flûte-Boehm. Dans un premier lieu, le contexte de la musique M!ori est abordé, portant particulièrement sur le renouveau des flutes traditionelles durant les trentes dernières années. Trois oeuvres pour flute par les compositeurs Néo-Zélandais Helen Fisher, Gillian Whitehead, et Philip Brownlee sont ensuite analysées, accordant une importance spéciale à leur rapprochement avec le timbre et le style du jeu des flutes traditionelles M!ori. La portion finale de ce document discute les détails d’une collaboration avec le compositeur Néo-Zélandais Chris Gendall, auquel a été passé commande d'une nouvelle œuvre pour flûte seule qui incorpore la recherche sur les flûtes traditionnelles et l'imitation de leurs sons. Research Ethics Board File #: 20-02-010 Approval Period: April 6, 2020 – April 5, 2021 """! Table of Contents 1. Introduction 1 2. Overview of M!ori Music and Taonga P!oro 3 M!ori cultural traditions and instruments 5 The K!auau 6 The P"torino 9 The Nguru 11 Early European commentary 13 3. The 19th- and 20th-Century New Zealand Context 16 The decline of M!ori instruments 16 Strengthening of M!ori culture 19 4. Revival of a M!ori Flute Tradition 22 The Haumanu group 22 Cultural sensitivities 26 Current Musical situation 31 5. Analysis of Existing Flute Works by New Zealand Composers 35 Helen Fisher: Te tangi a te Matui for solo flute (1986) 36 Gillian Whitehead: Taurangi for flute and piano (1999) 45 Philip Brownlee: Harakeke for solo flute (1999) 54 6. The Creation of a New Work 60 Chris Gendall: Silk Bridge for solo flute (2020) 60 Playing techniques used on M!ori flutes 62 Discovery techniques used by the Haumanu group 64 The collaborative process 65 7. Conclusion 71 8. Bibliography 75 "#! 1. Introduction This research project explores contemporary New Zealand flute compositions written in the past thirty years and their links to traditional M!ori flutes. It has three main research objectives: 1.! To examine the context of New Zealand composition in the 20th and 21st centuries, taking into consideration the factors that have assisted in the development of a unique compositional identity with ties to indigenous M!ori culture. 2.! To analyze selected existing works for solo flute by New Zealand composers, focusing on the use of extended techniques on the Boehm-system flute to emulate the timbre and playing techniques of traditional M!ori flutes. 3.! To commission a new work for solo flute by a New Zealand composer that reflects the aforementioned context and newly discovered convergences of timbres and playing techniques on the Western and Maori flutes. Chapter 2 offers an overview of M!ori culture and music, and introduces three of the primary M!ori flutes: the k!auau, p"torino, and nguru. European settlement in New Zealand and the subsequent decline of M!ori music and traditional instruments is described in Chapter 3, followed by an outline of the factors leading to the strengthening of M!ori culture in the late twentieth century. Chapter 4 focuses on the movement to revive the use of M!ori flutes, including information on how the traditional instruments have been incorporated into the classical and mainstream musical context of New Zealand during the past thirty years. The analysis section of this paper (Chapter 5) looks at three existing works for flute by New Zealand composers – Helen Fisher’s Te tangi a te Matui (1986), Gillian Whitehead’s $! Taurangi (1999), and Philip Brownlee’s Harakeke (1999) – and considers the ways in which they utilize extended techniques to allow the Western flute to emulate the sounds of traditional M!ori flutes. Finally, Chapter 6 discusses the commissioning of a new work for solo flute by New Zealand composer Chris Gendall, and details the reasons for selecting Gendall, and our collaborative process in terms of how research informed the composition and the relationship between performer and composer. This research serves several purposes, including the creation of a new work for solo flute. The cultural context of New Zealand contemporary classical composition has been previously addressed, but not with specific reference to flute works written during the past thirty years. Furthermore, there has been no in-depth examination of the intersection between the Boehm- system flute and M!ori flutes, and this project makes new connections in this sphere. This research also provides a case study and framework for other performers wishing to commission new works in the context of cross-cultural research, and will also inform future performance practice of the repertoire analyzed. Additionally, this project will offer composers a set of musical examples regarding extended techniques and how they emulate M!ori flutes, which could influence future compositional activity. Finally, it also offers New Zealanders – and indeed anyone who seeks to learn more about the cultural context of the country – valuable insight into the development of the current compositional style, with a focus on the incorporation of indigenous influences in flute composition. %! 2. Overview of M!ori Music and Taonga P!oro It is widely understood that Polynesians began arriving in New Zealand more than one thousand years ago (McLean, 1982, 124), accompanied by their own traditions of Pacific Island instrument-making. They would have been able to meld their existing knowledge of instruments from other locations throughout the South Pacific with a selection of new materials native to New Zealand – materials that would eventually form the basis of a distinctly M!ori musical sound (Nunns and Thomas, 2014, 26). These included a range of flora, bones, shells, stones, and native wood. M!ori musical instruments, or taonga p"oro, have existed within M!ori culture for centuries, and Brian Flintoff states that the instruments are “best appreciated and understood when the cosmogony that guided their creation is known” (Flintoff, 2004). In M!ori mythology, a number of gods control the various natural realms, including Ranginiui, the sky father; Papat"#nuku, the earth mother; Tangaroa, the god of the sea; and T#whirim#tea, god of the winds (Tamarapa and Tikao, 2017, 140). Flintoff categorizes taonga p"oro according to their wh#nau (their extended family), asserting that melodic instruments come from the family of Ranginui “the sky father to whom music drifts up,” and that rhythmic instruments link to the heart beat of Papat"#nuku, the earth mother (Flintoff, 2014). Composer Hirini Melbourne elaborates on the intrinsic link between music and spirituality within M!ori culture: “Our music started when the gods created the universe…musical sound was an extension of thought into the physical world and a potent force for weaving together the flax of the spiritual and the material” (Shieff, 2002, 141). &! Due to the spiritual function of M!ori instruments, they are treated with great respect. As creations from the gods, even inanimate musical instruments are given personal names (Flintoff, 2014); this personification leads to the understanding that each instrument will be different, and have its own unique voice. The traditional music they played was based on the emotions displayed by the gods of M!ori mythology: songs of sorrow, anger, lament, loneliness, desire, joy, peace, and love (Flintoff, 2014). Taonga p"oro were a fundamental part of traditional daily M!ori life, with different instruments utilized to attract birds, to accompany chants and singing, to mark events and make announcements, and for healing and communication between people and the spiritual world (Nunns and Thomas, 2014, 50). Melbourne describes traditional M!ori instruments that could summon rain, lure lizards, relieve a child of a cold, or alleviate arthritic pain (Shieff, 2002, 141). Music was considered to be a vital element of the M!ori community’s wellbeing. In addition to Flintoff’s aforementioned categorization of M!ori instruments according to their familial relationships to the gods, other researchers have offered different classification methods. Mervyn McLean’s inventory in a 1982 edition of Man published by the Royal Anthropological Institute of Great Britain and Ireland takes an approach from organology, putting forward three categories: idiophones, aerophones, and chordophones (McLean, 1982, 124). A more recent and culturally-linked classification system originates from Melbourne: he has explored the relevance of whakapapa (genealogy) in terms of grouping instruments made from similar materials – gourd, shell, wood, stone, bone – and “using the material as an indicator of the line of descent of the instrument from the appropriate god” (Nunns and Thomas, 2005, 76). '! The M!ori Flutes The M!ori flutes were traditionally used to complement words – both spoken and sung – and had important functions beyond musical entertainment, present at events including childbirth, healing rituals, and funerals (Flintoff, 2004, 66).
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