This classic study of indigenous Polynesian music, conducted in the 1960s, includes a survey of traditional songs in different styles that embody the fundamental values of Maori culture in New Zealand. Musical transcriptions, Maori texts, English translations, and extensive notes on more than 50 traditional Maori songs are included. Common ceremonial songs are represented, including elaborate laments, love songs, war chants, songs of welcome, and witty occasional songs.

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.

89450 see I90597 and I90598.

This work is a study of Polynesian music illustrated by music examples and photographs.

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.

In the engrossing book To Tatua Waka, a leading ethnomusicologist, Mervyn McLean, tells the story of his fieldwork recording waiata and other traditional Maori songs over a span of more than twenty years (1958-79). These recordings have been of great importance in revitalising Maori music in many tribal areas and have preserved the songs and the voices of many great kaumatua. McLean travelled throughout New Zealand, often in primitive conditions, showing extraordinary dedication and painstaking care in his important task and meeting and working with most of the Maori leaders of the period. To Tatau Waka includes over 80 photographs, two maps, a glossary of song types, an index of names, and (in the hard-copy book) an audio CD containing 37 waiata from his collection, performed by kaumatua whose photographs appear in the book. Sensitive writing and attention to the challenges of anthropological fieldwork gives this work wide appeal. It will be of particular interest to Maori, to anthropologists and to all those with an interest in Maori and indigenous cultures or world music.

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.