Made in Australia and Aotearoa/New Zealand: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of twentieth-century popular music of Australia and Aotearoa/New Zealand. The volume consists of chapters by leading scholars of Australian and Aotearoan/New Zealand music, and covers the major figures, styles, and social contexts of pop music in Australia and Aotearoa/New Zealand. Each chapter provides adequate context so readers understand why the figure or genre under discussion is of lasting significance to Australian or Aotearoan/New Zealand popular music. The book first presents a general description of the history and background of popular music in these countries, followed by chapters that are organized into thematic sections: Place-Making and Music-Making; Rethinking the Musical Event; Musical Transformations: Decline and Renewal; and Global Sounds, Local Identity.

Come up to Paekakariki / in the land of the tiki / where you spend all your days at the beach.' It's another Saturday night in 1950s Auckland. Downtown, nightclubs are banning the jive because the exuberant couples disturb the cautious fox-trotters. Over in Freemans Bay, the Maori Community Centre is the 'jazziest, jumpingest place in the city' where sweaty men in zoot suits feed on Maori bread and huge tubs of potatoes. In Blue Smoke, Chris Bourke recovers the lost dawn of New Zealand popular music in the twentieth century. Bourke brings to life the musical worlds of New Zealanders at home (buying sheet music from Beggs, listening to the radio, learning 'the twist') and out on the town (singing in community choirs, seeing Dave Brubeck on tour, jiving to Johnny Devlin). Beginning with the return of the Kiwi Concert Parties from World War I and the arrival of jazz, Blue Smoke chronicles half a century of change - with the impact of World War II, the rise of swing, country, the Hawaiian sound and then rock'n'roll, the development of a TANZA and a local recording industry, and the impact of tours by overseas stars. From Kiwi concert parties to the Howard Morrison Quartet, from Ruru Karaitiana's 'Blue Smoke' to Ken Avery's 'Tea at Te Kuiti', from swing to folk, from Wellington's Majestic Cabaret to Christchurch's Wintergarden, Bourke brings to life the people, places, and sounds of a world we have lost. It is a world in which Maori and Pakeha New Zealanders gradually developed a melody, a rhythm, and a voice that made sense on these islands.

The inside story of New Zealand's iconic independent record label by the man who made it happen. I wanted to be more than just an observer. I wanted to be a part of what was going on. I had told someone and the word was out, and now I had to actually do this thing. Start a record label. I must have been drunk. Roger Shepherd was working in a Christchurch record shop when he realised the local bands he loved needed someone to make their records. Flying Nun was born. Those records and the bands that created them – The Chills, The Clean, Chris Knox and the Tall Dwarfs, The Verlaines, Sneaky Feelings, The Bats, Straitjacket Fits and many more – went on to define an era and create what became known as “the Dunedin Sound”. In truth it was less a unified sound than a spirit of adventure and independence that characterised the Flying Nun ethos. In this long-awaited memoir, label founder Roger Shepherd describes the idealism and passion that drove the project in the first place, the hard realities of the music industry, and the constant tension between art and commerce. Filled with revealing anecdote and insight, this is the definitive insider history of the one of the most innovative and original record labels of the modern era. "Surely the label with the highest quality output per capita in pop history." – Guardian UK. "Something inexplicably special happened in the Southern Hemisphere a quarter of a century or so ago, the ripples still rumbling, and without it, all the music you love today would sound ever so slightly, and indefinably, different.” - British comedian Stewart Lee.

Covering 200 years of choral singing, Sing New Zealand encompasses all styles, genres and age groups. It begins with the meeting of Maori and European musical forms in what the author terms as the birth of a new tradition' and describes the role of group singing in creating a familiar cultural environment for new settlers. As well as examining its history, the technical development of choral singing is described, including the influence of visiting choirs and conductors, through to the establishment of school choir competitions such as 'Big Sing', the training of choir conductors and the establishment of the Choral Federation. The author introduces key people and events such as the world-class, 200-voice Sheffield Choir, which presented 40 concerts in New Zealand in 1911; Robert Parker, the Father of New Zealand music'; Stanley Oliver's Wellington Schola Cantorum, rated by Australian Sir Bernard Heinze as the finest choir of its kind in the world; and the establishment in 1981 of Te Waka Huia, an elite kapa haka group, by Dr Ngapo and Pimia Wehi.

They left their Southern Lands, They sailed across the sea; They fought the Hun, they fought the Turk For truth and liberty. Now Anzac Day has come to stay, And bring us sacred joy; Though wooden crosses be swept away – We'll never forget our boys. – Jane Morison, ‘We'll never forget our boys', 1917 Be it ‘Tipperary' or ‘Pokarekare', the morning reveille or the bugle's last post, concert parties at the front or patriotic songs at home, music was central to New Zealand's experience of the First World War. In Good-Bye Maoriland, the acclaimed author of Blue Smoke: The Lost Dawn of New Zealand Popular Music introduces us the songs and sounds of World War I in order to take us deep inside the human experience of war.

Michael Scott argues that New Zealand's pop music renaissance of the early 2000s was supported by state policies. He shows how the state built market opportunities for popular musicians through public-private partnerships and organisational affinity with

Maori music records and analyses ancient Maori musical tradition and knowledge, and explores the impact of European music on this tradition. Mervyn McLean draws on diverse written and oral sources gathered over more than 30 years of scholarship and field work that yielded some 1300 recorded songs, hundreds of pages of interviews with singers, and numerous eye-witness accounts. The work is illustrated throughout with photos and music examples.