Sixty traditional Maori songs of Tuhoe sung by Kino Hughes are presented in this book and CD collection. The text of each song is given in both English and Maori along with a musical transcription. Kino Hughes was an outstanding singer, orator, and respected Kaumatua who, determined to preserve for future generations all the songs he knew, asked these authors to compile this magnificent record. The introduction includes information on Kino Hughes, on the people of the Tuhoe Maori tribe, on the song categories used, and on the music. This important record of Maori music includes photographs, a glossary, notes on the texts, transcriptions, and an index of song types. Includes 2 CD-ROMs.

Choral music is now undoubtedly the foremost genre of participatory music making, with more people singing in choirs than ever before. Written by a team of leading international practitioners and scholars, this Companion addresses the history of choral music, its emergence and growth worldwide and its professional practice. The volume sets out a historical survey of the genre and follows with a kaleidoscopic bird's eye view of choral music from all over the world. Chapters vividly portray the emergence and growth of choral music from its Quranic antecedents in West and Central Asia to the baroque churches of Latin America, representing its global diversity. Uniquely, the book includes a pedagogical section where several leading choral musicians write about the voice and the inner workings of a choir and give their professional insights into choral practice. This Companion will appeal to choral scholars, directors and performers alike.

Indigenous peoples have our own ways of defining oral history. For many, oral sources are shaped and disseminated in multiple forms that are more culturally textured than just standard interview recordings. For others, indigenous oral histories are not merely fanciful or puerile myths or traditions, but are viable and valid historical accounts that are crucial to native identities and the relationships between individual and collective narratives. This book challenges popular definitions of oral history that have displaced and confined indigenous oral accounts as merely oral tradition. It stands alongside other marginalized community voices that highlight the importance of feminist, Black, and gay oral history perspectives, and is the first text dedicated to a specific indigenous articulation of the field. Drawing on a Maori indigenous case study set in Aotearoa New Zealand, this book advocates a rethinking of the discipline, encouraging a broader conception of the way we do oral history, how we might define its form, and how its politics might move beyond a subsuming democratization to include nuanced decolonial possibilities.

"For many indigenous peoples, oral history is a living intergenerational phenomenon that is crucial to the transmission of our languages, cultural knowledge, politics, and identities. Indigenous oral histories are not merely traditions, myths, chants or superstitions, but are valid historical accounts passed on vocally in various forms, forums, and practices. Rethinking Oral History and Tradition: An Indigenous Perspective provides a specific native and tribal account of the meaning, form, politics and practice of oral history. It is a rethinking and critique of the popular and powerful ideas that now populate and define the fields of oral history and tradition, which have in the process displaced indigenous perspectives. This book, drawing on indigenous voices, explores the overlaps and differences between the studies of oral history and oral tradition, and urges scholars in both disciplines to revisit the way their fields think about orality, oral history methods, transmission, narrative, power, ethics, oral history theories and politics. Indigenous knowledge and experience holds important contributions that have the potential to expand and develop robust academic thinking in the study of both oral history and tradition.--

This book considers indigenous-language translations of Romantic texts in the British colonies. It argues that these translations uncover a latent discourse around colonisation in the original English texts. Focusing on poems by William Wordsworth, John Keats, Felicia Hemans, and Robert Burns, and on Walter Scott’s Ivanhoe, it provides the first scholarly insight into the reception of major Romantic authors in indigenous languages, and makes a major contribution to the study of global Romanticism and its colonial heritage. The book demonstrates the ways in which colonial controversies around prayer, song, hospitality, naming, mapping, architecture, and medicine are drawn out by translators to make connections between Romantic literature, its preoccupations, and debates in the nineteenth- and early twentieth-century colonial worlds.

Sixty traditional Maori songs of Tuhoe sung by Kino Hughes are presented in this book and CD collection. The text of each song is given in both English and Maori along with a musical transcription. Kino Hughes was an outstanding singer, orator, and respected Kaumatua who, determined to preserve for future generations all the songs he knew, asked these authors to compile this magnificent record. The introduction includes information on Kino Hughes, on the people of the Tuhoe Maori tribe, on the song categories used, and on the music. This important record of Maori music includes photographs, a glossary, notes on the texts, transcriptions, and an index of song types. Includes 2 CD-ROMs.

This account of an ethnomusicologist's experience conducting fieldwork offers a glimpse into the life of New Zealand's Maori people through his documentation of traditional songs. The audio recordings included span 1958 through 1979, a time when many of the culture's traditions were fading. Sensitive writing and attention to the challenges of anthropological fieldwork shed light on postcolonialism in New Zealand and its effects on Maori and Polynesian cultures and the continuance of traditional music.