Relevant bibliographies by topics / New Zealand composers

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'New Zealand composers'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "New Zealand composers"

1

WHALLEY, IAN. "Traditional New Zealand Mäori Instruments, Composition and Digital Technology: some recent collaborations and processes." Organised Sound 10, no. 1 (April 2005): 57–65. http://dx.doi.org/10.1017/s1355771805000671.

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This paper examines the integration of traditional New Zealand Mäori instruments with digital music technology, and the use of these instruments in making new works. The focus is on the work of performer/composers Hirini Melbourne and Richard Nunns, as well as recent collaborations that Richard Nunns has undertaken with some composers and musicians in genres other than Mäori music. Aesthetic, practical and cultural considerations in the composition process are explored.
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Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (January 2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.

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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1; Krets for orchestra9; Respiro for clarinet and tape2; Zeugma for ensemble3; Toreuma for string quartet4; Verto for voice, cello & percussion5,6,7; Emutatio for voice, chorus and orchestra5,8,9. 1Kyberia, 2Lars Hilde (cl), 3Affinis Ensemble, 4Arditti String Quartet, 5Berit Ogheim (voice), 6Lene Grenager (vc), 7Cathrine Nyheim (perc), 8Oslo Chamber Choir, 9Norwegian Radio Orchestra c. Christian Eggen. Aurora ACD 5021.TAILLEFERRE: Works for piano. Cristiano Ariagno (pno). Timpani 1C1074.‘Sweetly I Rejoice: Music based on Songs and Hymns from Old Icelandic Manuscripts’ by HILDIGUNNUR RÚNARSDÒTTIR, MIST THORKELSDÒTTIR, THÒRDUR MAGNÚSSON, JÒN GUDMUNDSSON, ELÍN GUNNLAUGSDÒTTIR and STEINGRÍMUR ROHLOFF. Gríma Vocal Ensemble. Marta Gudrún Halldórsdóttir (sop), EThos String Quartet. Instrumental Ensemble c. Gunnstein Òlafsson. Smekkleysa SMK31 (2-CD set).‘I Start My Journey’: Sacred music by Anon, SMÁRI ÓLASON, ELÍN GUNNLAUGSDÒTTIR, STEFÁN ÓLAFSSON, JAKOB HALLGRIMSSON, BARA GRÍMSDÒTTIR, HRÒDMAR INGI SIGURBJÖRNSSON, GUNNAR REYNÍR SVEINSSON. Kammerkor Sudurlands c. Hilmar Örn Agnarsson. Smekkleysa SMK17.‘New Zealand Women Composers’. DOROTHY KER: The Structure of Memory. JENNY McLEOD: For Seven. GILLIAN WHITEHEAD: Ahotu (O Matenga). ANNEA LOCKWOOD/Lontano: Monkey Trips (1995). Lontano c. Odaline de la Martinez. LORELT LNT116.SPAIN-DUNK: Phantasy Quartet in D minor. BEACH: String Quartet in one movement. SMYTH: String Quartet in E minor. Archaeus String Quartet. Lorelt LNT114.SAARIAHO: Du cristal…a la fumée1–3; Nymphaea4; Sept Papillons2. 1Petri Alanko (alto fl), 2Anssi Karttunen (vlc), 3Los Angeles PO c. Esa-Pekka Salonen, 4Kronos Quartet. Ondine ODE 1047-2.
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3

Kerr, Elizabeth. "Women composers in New Zealand in the 19th and 20th centuries — An ancient culture and a “young country”?" Contemporary Music Review 11, no. 1 (January 1994): 325–32. http://dx.doi.org/10.1080/07494469400641281.

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4

Koudal, Jens Henrik. "Musikkens betydning på en større gård i mellemkrigstiden." Kulturstudier 4, no. 1 (May 29, 2013): 6. http://dx.doi.org/10.7146/ks.v4i1.8138.

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The meaning of music at a large farm during the inter-war periodThis article investigates music as culture from a historical, ethno-musicological perspective. Jens Henrik Koudal bases his work on the preserved music collection and large private archives of Christian Olsen (1881–1968), who was born and spent most of his life on the farm Torpelund in Zealand, Denmark. From Olsen’s collection, it is possible to make a historical reconstruction of the rich musical life that took place on the farm, and the purpose of the article is to examine what the musical activities meant to the Olsen family’s social and cultural identity; i.e., both their self-conceptualisation and their marking of identity towards their surroundings. The article’s method is rooted in a ‘broad’ concept of culture, along with Christopher Small’s concept ‘musicking’ and new musicology’s tendency to focus on the practice of music-making rather than on ‘great’ composers and books of music. Torpelund is compared to similar settings in England (e.g., East Suffolk around 1900, according to Carole Pegg) and Western concert halls (around 1980, according to Christopher Small).During the inter-war period, the Olsen family gathered together a circle of diverse people, including relatives, friends, business connections and other musicians, who all participated in the “musicking” as equals. Their repertoire consisted of classical and romantic art music from c. 1780–1890, plus the family’s old folk-dancing music (arranged by members of the family). In its own opinion, the circle’s music-making was a ‘higher’ kind of music that established clear distinctions towards lower social classes, towards other races (e.g., blacks with their ragtime and jazz) and towards modern music (e.g., art music and popular music). Specific to Torpelund are three concepts, which also characterise the social and cultural identity of the Olsen family: conservatism, privacy and exclusivity. The musical practices of the Olsens at Torpelund indicate that, during the inter-war period, the family represented a particular amalgamation of the peasant family, the part of the country (northwestern Zealand) and an international, middle-class education.
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Koudal, Jens Henrik. "Musikkens betydning på en større gård i mellemkrigstiden." Kulturstudier 4, no. 1 (May 29, 2013): 6. http://dx.doi.org/10.7146/ks.v4i1.8136.

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The meaning of music at a large farm during the inter-war period This article investigates music as culture from a historical, ethno-musicological perspective. Jens Henrik Koudal bases his work on the preserved music collection and large private archives of Christian Olsen (1881–1968), who was born and spent most of his life on the farm Torpelund in Zealand, Denmark. From Olsen’s collection, it is possible to make a historical reconstruction of the rich musical life that took place on the farm, and the purpose of the article is to examine what the musical activities meant to the Olsen family’s social and cultural identity; i.e., both their self-conceptualisation and their marking of identity towards their surroundings. The article’s method is rooted in a ‘broad’ concept of culture, along with Christopher Small’s concept ‘musicking’ and new musicology’s tendency to focus on the practice of music-making rather than on ‘great’ composers and books of music. Torpelund is compared to similar settings in England (e.g., East Suffolk around 1900, according to Carole Pegg) and Western concert halls (around 1980, according to Christopher Small). During the inter-war period, the Olsen family gathered together a circle of diverse people, including relatives, friends, business connections and other musicians, who all participated in the “musicking” as equals. Their repertoire consisted of classical and romantic Viennese music from c. 1780–1890, plus the family’s old folk-dancing music (arranged by members of the family). In its own opinion, the circle’s music-making was a ‘higher’ kind of music that established clear distinctions towards lower social classes, towards other races (e.g., blacks with their ragtime and jazz) and towards modern music (e.g., art music and popular music). Specific to Torpelund are three concepts, which also characterise the social and cultural identity of the Olsen family: conservatism, privacy and exclusivity. The musical practices of the Olsens at Torpelund indicate that, during the inter-war period, the family can be seen as a particular amalgamation of the peasant family, the part of the country (northwestern Zealand) and an international, middle-class education.
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Zhang, Xingrong, and Helen Rees. "Wandering through Yunnan, a New Soundworld: Remembering New Zealand Composer Jack Body." Ethnic Arts Studies 29, no. 1 (February 28, 2016): 142–49. http://dx.doi.org/10.21004/issn.1003-840x.2016.01.142.

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McTAVISH, S. M., C. E. POPE, C. NICOL, K. SEXTON, N. FRENCH, and P. E. CARTER. "Wide geographical distribution of internationally rareCampylobacterclones within New Zealand." Epidemiology and Infection 136, no. 9 (November 21, 2007): 1244–52. http://dx.doi.org/10.1017/s0950268807009892.

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SUMMARYDuring the southern hemisphere winter of 2006 New Zealand experienced a significant increase in the number of reported cases ofCampylobacterinfection. In total, 112Campylobacterisolates from eight district health boards (DHBs) located across New Zealand were submitted for PFGE, MLST and Penner serotyping analysis. Distinct clusters ofCampylobacterisolates were identified, several of which were composed of isolates from up to five different DHBs located on both the North and South islands of New Zealand. One sequence type, ST-474, was identified in 32 of the 112 isolates and may represent an endemic sequence type present in New Zealand. The spatial pattern of genotypes, combined with the generalized increase in notifications throughout the country is consistent with a common source epidemic, most likely from a source contaminated with the dominant sequence types ST-474 and ST-190 and may also represent widely distributed stable clones present in New Zealand.
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Destegul, Umut, Grant Dellow, and David Heron. "A ground shaking amplification map for New Zealand." Bulletin of the New Zealand Society for Earthquake Engineering 42, no. 2 (June 30, 2009): 122–28. http://dx.doi.org/10.5459/bnzsee.42.2.122-128.

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A ground shaking amplification map of New Zealand has been compiled from data held by GNS Science. The resulting map is being used in RiskScape, a tool for comparing risks at a given site from a variety of hazards by estimating potential losses. A GIS-based geological map with national coverage has been composed from several sources, and is used as the base data. Geological maps from the QMAP project (an ongoing project to digitally compile 1:250,000 geological maps for all of New Zealand) have been used where available, supplemented with detailed geological maps at scales ranging from 1:25,000 to 1:50,000 for the larger urban areas. Gaps in the QMAP series have been filled by the 1:1,000,000 ‘Geological Map of New Zealand’. Every geological polygon in the composite geological map has been assigned one of the ground shaking amplification (or site) classes from the New Zealand Standard for Structural Design Actions – Earthquake actions (NZS 1170.5) to produce the result map. These conform to the site class definitions in NZS 1170.5, which describes five classes with respect to ground shaking amplification. Assignment of these classes was straightforward for rock sites but more involved for soils where, for example, at boundaries between weak rock and deep soil sites a buffer zone of shallow soil was applied.
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Benade, Leon, and Nesta Devine. "Tomorrow’s School’s Review." Teachers' Work 15, no. 2 (December 20, 2018): 85–86. http://dx.doi.org/10.24135/teacherswork.v15i2.276.

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Wide-ranging changes proposed by the Tomorrow’s Schools Independent Taskforce (2018) seek to end the 30-year period known as ‘Tomorrow’s Schools’, or, what we earlier referred to as the ‘Thirty Years War’ (Devine, Stewart & Benade, 2018).Tomorrow’s Schools (New Zealand Taskforce to Review Education Administration, 1988) emerged from the reform period of the mid-1980s, propelling New Zealand to the forefront of neoliberal policy-making. The current taskforce, composed of notable educationists, has endeavoured to arrive at proposals that emphasise educational interests rather than the competitive commercial interests promoted by Treasury in 1988.
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Carter, Jane C., and Alexander L. Garden. "The gap between attitudes and processes related to ‘family-friendly’ practices in anaesthesia training in New Zealand: A survey of anaesthesia supervisors of training and departmental directors." Anaesthesia and Intensive Care 48, no. 6 (November 2020): 454–64. http://dx.doi.org/10.1177/0310057x20958716.

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Gender inequity persists within the anaesthetic workforce, despite approaching numerical parity in Australia and New Zealand. There is evidence, from anaesthesia and the wider health workforce, that domestic gender norms regarding parental responsibilities contribute to this. The creation of ‘family-friendly’ workplaces may be useful in driving change, a concept reflected in the gender equity action plan developed by the Australian and New Zealand College of Anaesthetists. This study aimed to explore the extent to which a family-friendly culture exists within anaesthesia training in New Zealand, from the perspective of leaders in anaesthesia departments. An electronic survey composed of quantitative and qualitative questions was emailed to all supervisors of training, rotational supervisors and departmental directors at Australian and New Zealand College of Anaesthetists accredited training hospitals in New Zealand. Twenty-eight of the 71 eligible participants responded (response rate 39%). The majority (61%) agreed with the statement ‘our department has a “family friendly” approach to anaesthesia trainees’; however, there was a discrepancy between views about how departments should be and how they actually are. Several barriers contributing to this discrepancy were identified, including workforce logistics, governance, departmental structures and attitudes. Uncertainty in responses regarding aspects of working hours, parental leave and the use of domestic sick leave reflect gaps in understanding, with scope for further enquiry and education. To redress gender bias seriously through the development of family-friendly policies and practices requires supportive governance and logistics, along with some cultural change.
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Dissertations / Theses on the topic "New Zealand composers"

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Rakena, Te Oti. "The synthesis of Polynesian and western traditions in contemporary New Zealand composers /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Murray, David, and n/a. "Raffaello Squarise (1856-1945) : the colonial career of an Italian maestro." University of Otago. Department of Music, Theatre Studies and Performing Arts, 2005. http://adt.otago.ac.nz./public/adt-NZDU20061024.140003.

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This work examines the life of Raffaello Squarise (1856-1945), an Italian maestro who was a leading musician in the city of Dunedin, New Zealand, from 1889 until his retirement in 1933. Squarise worked as a professional in a predominantly amateur musical environment, and this thesis demonstrates his widely-felt presence and discernible influence in Dunedin�s cultural life, through his activities as a violinist, teacher, conductor, and composer. Furthermore, it illustrates the nature of the active musical culture in Dunedin, through Squarise�s participation in established local practices and the contrast provided by the �otherness� of his Italian ethnicity. The thesis shows that a two-way adaptive process took place between Squarise and the Dunedin community, as each engaged with the unfamiliar culture of the other. The success of Squarise�s musical career in the antipodes, it is argued, was based upon his willingness to adapt to the cultural, intellectual, and musical environment of his adopted home. The method used in this study is that of interpretative biography: it conveys the experience of the individual while emphasizing context through the subject�s interaction with his environment. The sources of the research are mainly archival, and include Squarise�s personal papers, newspapers, the archives of local music organizations, and music ephemera. These are augmented by interviews undertaken with some of the few people (nearly sixty years since his death) who knew Squarise. The thesis is a study of the public more than the private man, but the sources are extensive enough to provide a thorough representation of Squarise�s professional activities.
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Smith, Felicity. "The Music of Rene Drouard de Bousset (1703-1760): a Source Study and Stylistic Survey, with Emphasis on His Sacred Output : a thesis submitted to the New Zealand School of Music in fulfilment of the degree of Master of Music in Musiology." New Zealand School of Music, 2008. http://hdl.handle.net/10179/1114.

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Rene Drouard de Bousset (1703-1760) was an admired composer and an organist of renown. This thesis examines this musician's life and work, and attempts to bring Bousset's music, hitherto largely unknown, to the attention of musicologists and performers today. Primarily a source study, the thesis makes a survey of all known copies of Bousset's published works, addressing questions of dates, reprints and corrections. Historical context and musical style are also discussed. Particular emphasis is given to Bousset's sacred music in the French language two volumes of sacred cantatas and eight settings of Odes sacrees by Jean-Baptiste Rousseau - and its place within the French tradition of Psalm paraphrase settings. The figure of J.B. Rousseau is also examined, as the librettist of Bousset's Odes, and as an important literary contributor to French music at the turn of the eighteenth century. The source study is supplemented by a catalogue in the style of the Philidor Oeuvres database produced by the Centre de Musique Baroque de Versailles, containing all Bousset's known works, extant and lost. This exposition of Bousset's compositional output is prefaced by a biographical overview assembled principally from eighteenth century publications and archival documents. Volume II of this thesis comprises a critical performing edition of Bousset's first volume of Cantates spirituelles (1739).
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Jennings, Janet. "A composer-teacher in context: Music for the performing arts faculty in a New Zealand secondary school." The University of Waikato, 2008. http://hdl.handle.net/10289/2605.

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This thesis examines the processes and outcomes of a composer-teacher's practice in the context of a New Zealand secondary school. The research was undertaken by the composer-teacher/researcher as a case study that integrates an investigation of the context with four action research music composition projects developed as a creative response to that context. Chapters One to Three comprise the background theory. Chapter One provides an introduction and overview of the research; Chapter Two explains and justifies the research methods. Chapter Three peels away and examines five layers of the secondary school context identified as significant in shaping the perceptions of the participants: approaching the context in a multi-layered way enabled coherent synthesis and appraisal of the relevant literature. Chapters Four to Seven comprise the four action research music composition projects. Each action research project focuses on a music score composed by the composer-teacher/researcher for a specific group of students at Macleans College, Auckland. The composition, production, and performance processes are investigated from the perspectives of all the participants. Each music project comprises a four part progression - plan (composition process), data (music score), data analysis (recordings of performances, surveys, and interviews with all participants) and reflection (feedback, and feedforward into the next project). Each phase of the research generated significant outcomes, such as the four original music scores. Chapter Eight summarizes the themes, issues, and patterns that emerged, and makes recommendations for further research. A model of co-constructive practice emerges from this research: teacher and students co-construct artistic worlds through performance. The model is not new (it is common practice, adopted by generations of musician-teachers) but is rarely acknowledged and currently un-researched. This research demonstrates the validity of the practice from both musical, and teaching and learning perspectives, and examines the strengths and limitations of the model. At its best, the creative processes co-constructed by a teacher with her students are shown to provide a crucible within which intense and creative learning experiences occur. Students of all levels of ability are shown to gain confidence in this context, and subsequently develop skills with apparent ease. The co-constructive model is limited in that it cannot meet the musical needs of all students: co-construction should be considered as one model of practice, appropriate for use in association with many others. This research provides 'virtual access' to a particular world of performance practice, revealing the secondary school context as a realm of authentic and valid musical practice.
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Shieff, Sarah. "Magpies: negotiations of centre and periphery in settings of New Zealand poems by New Zealand composers, 1896 to 1993." 1994. http://hdl.handle.net/2292/2413.

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The thesis will show that a distinctive New Zealand voice in the arts may be found not in an "essence", as has sometimes been suggested, but at chronologically specific intersections of discourses. Each of the six works I examine has been made in New Zealand and is a mixture of music and language. As generic hybrids, combinations of music and language make appropriate objects of study for a thesis that explores a specific local dialogue between the 'mixture' and the 'essence', the 'hybrid' and the 'authentic', the 'indigenous' and the 'exotic', the 'local' and the 'imported', the 'centre' and the 'periphery.' Like acquisitive magpies, New Zealand artists constantly collect and select their material. They sift, save, reject and synthesise, and in so doing they create new combinations out of old ingredients. One of the characteristics of New Zealand poetry is that it has often been combined with music. There have been many collaborations between poets and musicians since colonial times. These collaborative texts occupy a complex space between art forms, just as New Zealand artists negotiate between orientations, positioning themselves between different cultural traditions. In its own process of selection, the thesis selects six works for close analysis which represent not only different periods but also different forms of synthesis. Each work represents 'New Zealand', yet what this means in practice is different in each case.
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Brain, Corisha. "A social, literary and musical study of Julie Pinel's 'Nouveau recueil d'airs serieux et a boire' (Paris, 1737) : a thesis submitted in fulfilment of the requirements for the degree of Master of Music in Musicology, New Zealand School of Music." 2008. http://hdl.handle.net/10179/914.

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This thesis discusses the life and work of the eighteenth-century French composer, Julie Pinel. Pinel’s extant music comprises one collection of music, Nouveau recueil d’airs sérieux et à boire à une et deux voix, de Brunettes à 2 dessus, scène pastorale, et cantatille avec accompagnement, published in 1737, of which a critical edition has been produced in volume II of this thesis. There is little information regarding Pinel’s life and work, however, the preface and privilège included in her Nouveau recueil provide some clues as to Pinel’s biography. Her life and music are examined, with reference to the social, literary and musical environment she was working in. An added dimension is that Pinel was working as a professional musicienne at a time when women were beginning to find their voice and place in professional society. Pinel claims authorship of the majority of the poems in her collection, and the rest come from anonymous sources. Pinel’s literary and musical output illustrates her obvious knowledge of the current trends in eighteenth-century France, with most of her poetry written for a female poetic voice, displaying many of the fashionable themes of the day. Her music displays a variety of styles, ranging from simple airs in binary form, traditionally found in most French airs sérieux et à boire, to the operatic, and the fashionable rococo styles.
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Books on the topic "New Zealand composers"

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Thomson, John Mansfield. Biographical dictionary of New Zealand composers. Wellington: Victoria University Press, 1990.

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Ngoingoi Pēwhairangi: An extraordinary life. Wellington, N.Z: Huia, 2008.

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A life set to music: The autobiography of Edwin Carr, New Zealand composer. Auckland, N.Z: Blanchard Press, 2001.

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Asia, Pacific Festival and Composers' Conference (1984 Wellington N. Z. ). Asia Pacific voices: Selected papers from the Asia Pacific Festival and Composers' Conference, December 1984, Aotearoa, New Zealand. Private Bag, Wellington, N.Z: Dept. of Music, Victoria University of Wellington, 1986.

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Asia Pacific voices: Selected papers from the Asia Pacific Festival and Composers' Conference, December 1984, Aotearoa, New Zealand. Private Bag, Wellington, N.Z: Dept. of Music, Victoria University of Wellington, 1986.

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Ewen, Cameron, and Manaaki Whenua-Landcare Research New Zealand Ltd., eds. The cost-benefits of applying biosolid composts for vegetable, fruit and maize/sweetcorn production systems in New Zealand. Lincoln, N.Z: Manaaki Whenua Press, Landcare Research, 2004.

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Book chapters on the topic "New Zealand composers"

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Shepherd, Patrick. "Kiwis on ice: Defining the ways in which the New Zealand identity is reflected in the Antarctic-inspired works of four New Zealand composers." In Antarctica: Music, sounds and cultural connections. ANU Press, 2015. http://dx.doi.org/10.22459/amscc.04.2015.14.

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Giles, Paul. "Reorchestrating the Past." In The Planetary Clock, 316–56. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857723.003.0008.

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Taking its title from Australian novelist Alexis Wright’s description of her novel Carpentaria as a ‘long song, following ancient tradition’, this chapter considers how antipodean relations of place interrupt abstract notions of globalization as a financial system. The first section exemplifies this by focusing on Australian/American director Baz Luhrmann, whose version of The Great Gatsby (2013), filmed in Sydney, resituates Fitzgerald’s classic novel within an antipodean context. The second section develops this through consideration of Wright’s fiction, along with that of New Zealand/Maori author Keri Hulme, so as to illuminate ways in which spiral conceptions of time, where ends merge into beginnings, contest Western epistemological frames. In the final section, this ‘long song’ is related to the musical aesthetics of Australian composer Peter Sculthorpe and English composers George Benjamin and Harrison Birtwistle. The chapter concludes by arguing that musical modes are an overlooked dimension of postmodernist culture more generally.
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McKay, David O. "The New Zealand Mission." In Pacific Apostle, edited by Reid L. Neilson and Carson V. Teuscher, 113–35. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042850.003.0007.

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McKay and Cannon’s steamship plied into the port at Wellington, New Zealand before dawn on April 21, 1921. They spent just over a week on the North Island, visiting missionaries, local members of European descent known as “Pakehas,” and native Maori Latter-day Saints. By the time of McKay’s visit, Maori converts and their descendants composed the majority of Latter-day Saints in New Zealand. Their traditions enamored McKay—most notably the “Hui Tau,” an annual multiday conference that included dancing, feasts, and community discussions ranging from church administration to local needs and unit organization. On many occasions, McKay was “hongied” by Maori members, an intimate nose-to-nose greeting. McKay bid farewell to the New Zealand Saints on April 30, 1921, departing for the next leg of his journey.
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Bell, Duncan. "Democracy and Empire." In Reordering the World. Princeton University Press, 2016. http://dx.doi.org/10.23943/princeton/9780691138787.003.0014.

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This chapter analyzes two renowned “new liberal” thinkers, J. A. Hobson and L. T. Hobhouse. It first highlights how they figured themselves within narratives charting the evolution of liberal thought and practice, allowing them simultaneously to pay homage to their predecessors while carving out a space for the new liberal project. It then discusses their writings about the settler colonies in Australia, Canada, and New Zealand. Their accounts of colonialism undermine neat distinctions between “domestic,” “international,” and “imperial” politics and political theory. For Hobson and Hobhouse, as well as for many of their contemporaries, the colonies exhibited characteristics of all three: constitutive elements of the empire, they were nevertheless semi-autonomous states purportedly composed of people of the same nationality and race as the inhabitants of the United Kingdom.
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Manning, Jane. "GILLIAN WHITEHEAD (b. 1941)Awa Herea (Braided Rivers) (1993)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 307–11. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0086.

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This chapter explores Gillian Whitehead’s Awa Herea. A personal and deeply felt response to the nature and folklore of New Zealand is always present in Whitehead’s music. The chapter illustrates how this is shown strongly in this cycle, for which she has composed her own text. Intimate spiritual identification with her heritage (she is one-eighth Maori) manifests itself, both in a special sensitivity to the sights and sounds of birds, beasts, plants, landscapes, and climate, and their significance in Maori culture, and in a fierce resistance to the commercial interests that threaten to destroy them. The work is divided into seven movements, some overlapping, making an exceptionally well-balanced whole.
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Samuelian, Kristin Flieger. "The Politics and Aesthetics of Extraction: Cultural Interventions in Blackwood’s and the Imperial." In Romantic Periodicals in the Twenty-First Century, 207–26. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448123.003.0011.

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Abstract:
This chapter contrasts how two late-Romantic periodicals, Blackwood’s and the evangelical Imperial Magazine, extracted and repurposed material from other sources. It focuses first on J. H. Merivale’s 1819 Blackwood’s articles that translates strategic excerpts from Giuseppe Ballardini’s 1608 Italian miscellany, Prato fiorito. These translations suggest that superstition and religious enthusiasm are fundamental components of European Catholicism. o the Catholic cultures of the Continent. In so doing, they illustrate how a discourse composed of extracts can be simultaneously fragmentary and coherent and how extraction can be a practice of both assemblage and disarticulation. Soon thereafter, the Imperial would follow suit, intermixing extracts from older devotional works with contemporary missionary narratives. Because the focus of the travel writing is often the newest worlds of Australia and New Zealand, the Imperial specifically locates evangelicalism within a project of Tory imperialism.
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