   #copyright

Music of New Zealand

2007 Schools Wikipedia Selection. Related subjects: Musical genres, styles,
eras and events

   New Zealand music is a vibrant expression of the culture of New
   Zealand. As the largest nation in Polynesia, New Zealand's music is
   influenced by the indigenous Māori and immigrants from the Pacific
   region. The origins of New Zealand's musical culture lie in its British
   colonial history, with contributions from Europe and America. As the
   nation has grown and established its own culture, local artists have
   mixed these styles with local influences to create music that is
   uniquely New Zealand in style.

   Music of New Zealand [  ]
   Indigenous Māori music
   Other main cultures Britain, Europe, Polynesia
   Genres Classical · Hip hop · Jazz · Country · Rock · Indie · Reggae ·
   Blues
   Organisations RIANZ · SOUNZ · CMNZ · CANZ
   Awards "Tui" NZ Music Awards; SOUNZ Contemporary Award
   Charts RIANZ offical chart
   Festivals Big Day Out · Sweetwaters · Parachute · Nambassa · Tahora ·
   Rhythm & Vines, NZ International Arts Festival
   Media Radio with Pictures · C4 (music channel) · Radio Hauraki ·
   Concert FM
   Notable songs Po Kare Kare Ana · Slice of Heaven · Ka Mate · Not Given
   Lightly · Six Months in a Leaky Boat
   National anthem God Defend New Zealand

   (also  God Save the Queen)

Traditional Forms

Māori music

   Main article: Māori music
   Māori music consists of waiata, (literally songs), as well as haka,
   ("war" dances). Interestingly, the first white colonisers of New
   Zealand reported that the Māori had no singing/vocal music at all; they
   had chants and a peculiarly intoned vocalisation at the end of lines of
   poetry (perhaps related to the imene tuki of the Cook Islands),
   especially dirges honouring the dead, but did not 'sing' as such. For
   this reason the chord harmonies and tune structures of the Māori song
   repertoire as it evolved are derived from western music, in particular
   church music. As the Māori have an oral history, it was only when Sir
   Apirana Ngata wrote down and recorded waiata and traditional poetry
   early in the twentieth century that any of this music was preserved or
   became widely known.
   Māori culture group at 1981 Nambassa festival.
   Enlarge
   Māori culture group at 1981 Nambassa festival.

   The overall traditional musical performance is now known as kapahaka,
   which often involves actions performed with sticks that are thumped or
   the poi - a small ball on the end of a string - that are twirled in the
   hands and slapped to provide rhythmic accompaniment. While the guitar
   has become an almost universal instrument to accompany kapahaka
   performances today, traditional instruments, which are primarily
   woodwind, can give hauntingly eerie sounds. Some modern artists have
   revived the use of these traditional instruments and are writing and
   performing original instrumental Māori music that has a unique sound.

   A list of folk music genres includes the Māori styles: Haka, Oro,
   Patere, Waiata. See also: http://waiata.māori.org.nz

Folk music

   Performers in 1906
   Enlarge
   Performers in 1906

   Pioneer Folk Music

   The early European ( Pākehā) settlers had folk music similar to, and
   shared with Australia's. The tradition is invigorated with several
   festivals, especially the annual Tahora gathering.
   http://www.michealyoung.com/musicFestivals.htm
   Twilight bagpipe band practice, Napier.
   Enlarge
   Twilight bagpipe band practice, Napier.

   Brass Bands

   New Zealand has a proud history of Brass Bands, which hold regular
   provincial contests, and often celebrate cultural events. The NZ
   National Band has earned international accolades.
   http://www.brassnz.co.nz/index.htm

   Highland Pipe Bands

   New Zealand is said to have more pipebands than Scotland; historical
   links are maintained by Caledonian Societies throughout the country.
   The nation is often reminded of its colonial heritage by the stirring
   sounds of bagpipes at military commemorations and parades.

Classical music

Composers

   Isolated geographically from the rest of the world, the formal
   traditions of European classical music took a long time to develop in
   New Zealand. Composers such as Alfred Hill were educated in Europe and
   brought those late Romantic Music traditions to New Zealand and
   attempted to fuse the two. Douglas Lilburn, working predominantly in
   the third quarter of the 20th century, is often credited with being the
   first composer to 'speak' with a truly New Zealand voice and gain
   international recognition for it. He has had some influence on the
   direction of New Zealand music since then. Diverse musical currents in
   the world such as the European avant-garde to American minimalism have
   influenced particular New Zealand composers to varying degrees. With
   significant acceleration New Zealanders have found their own style and
   place with people such as Jack Body, Gillian Whitehead, David Farquhar,
   Dorothy Buchanan, Anthony Ritchie, Ivan Zagni, Martin Lodge, Nigel
   Keay, and Ross Harris leading the way. Increasingly, there are more
   cross-over composers fusing Pacific, Asian and European influences
   along with electronic instruments and techniques into a new sound:
   Gareth Farr, Phil Dadson and composer co-operative Plan9 among them.
   The latter provided much of the ambient music used in the The Lord of
   the Rings film trilogy.

   In 2004, Wellington composer John Psathas achieved the largest audience
   for New Zealand composed music when his fanfares and other music were
   heard by billions at the opening and closing ceremonies of the Athens
   Olympiad. In the same year, he took the Tui Award for Best Classical
   Recording at the Vodafone NZ Music Awards and the SOUNZ Contemporary
   Award at the APRA Silver Scrolls.

   There are several 12 month Composer-in-Residence positions available in
   New Zealand, notably with the Auckland Philharmonia Orchestra and at
   the University of Otago ( Mozart Fellowship).

   For more information, links and resources about NZ Composers and
   compositions, the SOUNZ Centre for New Zealand Music at sounz.org.nz
   has comprehensive services.

Orchestras, Choirs & Other Performing Ensembles

   New Zealand has a number of world-class orchestras, ensembles and
   choirs, notably the New Zealand Symphony Orchestra (NZSO), the Auckland
   Philharmonia Orchestra (APO), the New Zealand String Quartet, the Tower
   New Zealand Youth Choir and Tower Voices New Zealand.

   There are also a number of semi-professional regional orchestras
   presenting their own concert series each year. These include the
   Southern Sinfonia in Dunedin and the Christchurch Symphony Orchestra.

   Chamber Music New Zeland is an organisation that promotes concerts
   throughout New Zealand providing a performing platform for local and
   international artists.

Soloists

   Prominent New Zealand musicians performing at home and abroad include
   Michael Houstoun, David Guerin & Jeffrey Grice.

Popular music

   The most popular styles of the late 20th century were rock and hip hop,
   both genres garnished with New Zealand's unique Pacific influences. By
   the 21st century, roots, reggae, dub and electronica were all popular
   with local artists. New Zealand has maintained a thriving alternative
   scene for several decades.

   Māori have also developed a popular music scene, and incorporated
   reggae, rock and roll and other influences, most popularly including Te
   Vaka, who have Māori, white and other Polynesian members. New Zealand
   reggae bands like Herbs, Katchafire and Fat Freddy's Drop are highly
   popular. The 1990s saw the rise of hip hop groups like Moana & the
   Moahunters and the Upper Hutt Posse, primarily based out of South
   Auckland (see below).

Rock

   Distanced from overseas cultural centers, the New Zealand rock scene
   began in earnest during the 1960s, when the British Invasion reached
   the country's musicians. A number of garage bands were formed, all with
   a high-energy performing style. Though few became internationally (or
   even nationally) famous, they stirred into life a number of fertile
   local scenes, full of musicians and fans. Much of their material has
   been collected by John Baker for his Wild Things collections.

   Perhaps the most well-known contribution by a New Zealander to the
   world of popular music is the enduring Rocky Horror Show musical,
   written by Richard O'Brien, and first performed on stage in London,
   mid-1973.

   Back home, a more mainstream hard rock sound had developed in New
   Zealand by the early 1970s, exemplified by bands like Human Instinct
   with Billy T.K., Space Farm, Living Force, Dragon, and Hello Sailor.

   New Zealand's size meant that many of the country's more prominent
   mainstream bands found their largest audiences in Australia. Of these,
   perhaps the most successful has been Split Enz, founded by Tim Finn and
   Phil Judd in the early 1970s. The addition of Tim's younger brother
   Neil after Judd's departure led to a more accessible style and several
   big hits. After the demise of Split Enz, Neil Finn went on to found the
   highly successful Crowded House.

   In the mid-1990s, the Otara, Auckland group OMC, led by Pauly Fuemana,
   scored a worldwide hit with the song "How Bizarre," which to this day
   is noted for its beats-and-acoustic-guitar production. Locally, the
   single sold over 35,000 copies (3½ times platinum), a figure not
   exceeded in New Zealand as of 2005.

   Other mainstream rock acts from New Zealand to have achieved success
   include Th'Dudes, Shona Laing, The Exponents and Dave Dobbyn. More
   recent mainstream bands include The Mutton Birds, Strawpeople, Bic
   Runga, Shihad, The Feelers, Zed, Goodshirt, The Hybrid and The Datsuns.

   Following international trends, New Zealand's own hard rock scene
   became popular in the late 1990s and early 2000s. Among the most active
   cities in modern New Zealand rock and punk are Christchurch, Palmerston
   North, Wellington, and Auckland. Important bands include Elemeno P, The
   Mint Chicks, The Rock and Roll Machine, Deja Voodoo, The Gladeyes and
   The Checks.

Alternative and independent music

   New Zealand's alternative and independent music scene has been
   favourably regarded abroad despite frequent marginalization locally. As
   well as gaining international critical acclaim, many of New Zealand's
   alternative artists have been cited as influences by American groups
   such as Pavement, Yo La Tengo and Sonic Youth. A willingness to
   experiment, a keen sense of melody, and a DIY attitude are
   characteristic of New Zealand's independent artists. Geographical
   isolation and the reliance on inexpensive equipment are also frequently
   cited as influential factors.

   Independent music in New Zealand began in the latter half of the 1970s,
   with the development of a local punk rock scene. This scene spawned
   several bands of note, including The Scavengers, the Suburban Reptiles
   and Nocturnal Projections. The most important New Zealand punk band was
   The Enemy, formed by lo-fi pioneer Chris Knox. After a reshuffle of
   personnel, many of the band's songs were recorded over 1979-1980 as Toy
   Love. The same musicians formed the basis for later groups such as The
   Bats and Tall Dwarfs.

   By this time the Flying Nun label had risen to prominence in New
   Zealand. The Clean, hailing from Dunedin, was the first major band to
   emerge from the Flying Nun roster. The South Island cities of Dunedin
   and Christchurch provided most of the first wave of Flying Nun's
   artists. During the early 1980s the label's distinctive jangle-pop
   sound was established by leading lights such as The Chills, The
   Verlaines, Sneaky Feelings, The Bats and The Jean-Paul Sartre
   Experience. Other prominent bands to emerge later via Flying Nun
   included The Headless Chickens, Straitjacket Fits, The 3Ds, Bailter
   Space, the Able Tasmans and The D4.

   Since the early 1980s, several small independent labels have been
   established in New Zealand, notably Bruce Russell's Xpressway label.
   Important Xpressway artists included This Kind Of Punishment, Alastair
   Galbraith, The Terminals, Peter Jefferies and The Dead C. All of these
   artists became part of an emerging international underground scene, and
   were typically more popular with foreign collectors than local
   enthusiasts.

   Many more small independent labels were formed after Xpressway's demise
   in 1992, such as Bruce Russell's Corpus Hermeticum label, Campbell
   Kneale's Celebrate Psi Phenomenon label, and Crawlspace Records. These
   labels tended to focus on esoteric forms like free noise, psych-rock
   and improvisation. Artists such as Thela, Omit, Empirical, Dadamah,
   Flies Inside The Sun, Birchville Cat Motel and Rosy Parlane are
   successful proponents of this new dynamic. In the late 1980s, Peter
   King established King Worldwide, which specialised in lathe-cut
   polycarbonate records. This operation specialised in small-run
   editions, and thus attracted numerous underground bands such as The
   Dead C, Birchville Cat Motel, and Thela.

   As a response to Flying Nun's increasing commercialism in the 1990s,
   New Zealand's alternative pop tradition found a new home with
   independent labels such as IMD and Arclife in Dunedin, and Arch Hill
   Recordings, Lil' Chief Records and Powertool Records in Auckland. The
   new alternative pop sound is typified by the likes of Cloudboy, The
   Brunettes, Phoenix Foundation and Absent Mute.

   Independent music in New Zealand has mainly been supported by student
   radio stations such as bFM and RDU, and fanzines like Opprobium and
   Clinton. Internationally, New Zealand's alternative music has come to
   recognition via labels such as Homestead, Merge, Drunken Fish, and
   Father Yod.

Hip hop

   The genesis of New Zealand hip hop began from such elements as the
   release of the 1979 US gangster movie The Warriors, and the rise of the
   breakdancing craze, both of which emanated from New York City.
   Breakdancing was one of the four elements of the original hip hop
   culture. The others were graffiti, rapping and DJing.

   Considered by most to be the first hip-hop record, The Sugarhill Gang's
   " Rapper's Delight" had been a surprise American hit in 1979 and was
   released in New Zealand a year later, where it stayed on the charts for
   some time. Breakdancing and graffiti art had become relatively common
   in urban areas, like Wellington and Christchurch by 1983.

   Most of the first hip hop performers from the country, such as
   Dalvanius Prime, whose "Poi E" was a major hit, were Māori. "Poi E" had
   no rapping and was not pure hip hop. It was basically a novelty record
   intended as a soundtrack for dancing. Even so, it marked a shift from
   reggae and funk as the previously most favoured genre of Māori
   musicians.

   At first apolitical fun-rhyming, many hip-hop raps developed a social
   conscience in the second half of the 1980s. Inspired by the example of
   US outfit Public Enemy, Hip hop's new 'political' messages of
   persecution and racism resonated with many Māori musicians. The first
   entire album of locally-produced hip hop was Upper Hutt Posse's E Tu
   EP, from 1988. E Tu was partially in Māori and partially in English,
   and its lyrics were politically-charged.

   In the 21st century, New Zealand hip hop went from strength to strength
   with the added input of Pacific Island musicians, creating a local
   variant style known as Urban Pasifika. 'Protest' content was still
   present, but lyrical and musical emphasis had largely evolved into a
   'sweet', chart-friendly sound. Artists such as Che Fu and, more
   recently, Nesian Mystik and Scribe have carried the ideas and themes to
   new heights. In 2004, Scribe became the first New Zealand artist to
   achieve the double honour of simultaneously topping the New Zealand
   singles and album charts. In 2005 Savage, another NZ hip hop artist,
   had back to back number one hits with Swing and Moonshine, the latter
   featuring a USA artist called Akon. Both of the songs stayed in the
   number one spot for eight weeks each.

   Hip hop went in a new direction in the 21st Century when it mixed with
   electronica, reggae and dub music to create a sound known as Roots. The
   Roots scene had strong roots in Wellington.

Electronica

   The club scene in New Zealand has led to an upswing in dance-based
   electronica, of which the leading exponents are probably Salmonella
   Dub. Drum and bass, expoused by Concord Dawn, Pitch Black, and Module
   and roots/reggae like Katchafire, are very popular. Many of New
   Zealand's electronic artists are attempting, often successfully, to
   bridge the gap between diverse genres by including musical influences
   such as rock, jazz, soul and hip hop.
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