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| 11 | <Metadata name="pj.Title">Nga Moteatea - correspondence</Metadata>
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| 12 | <Metadata name="pj.Year">1963 - 1972</Metadata>
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| 13 | <Metadata name="pj.Location">LITERATURE</Metadata>
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| 14 | <Metadata name="pj.Media">Correspondence</Metadata>
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| 15 | <Metadata name="pj.Provenance">Pei Te Hurinui Jones</Metadata>
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| 16 | <Metadata name="pj.Notes">Correspondence</Metadata>
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| 230 | <Content></Content>
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| 231 | <Section>
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| 256 | </Description>
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| 257 | <Content><pre>
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| 258 | 23 December, 1969 ilikMariyn McLean, Anthropology Department, The University of Auckland, Box 2175, AUCKLAND. Dear Mervyn, In a paragraph of my Preface to Ngi Witea- pqa XIhereI introduce your Preface on Maori Onalo,:ake mention of what I understand to Z0410,3emn the case regarding your"Deetorate; and ine. your thesis was on the eaNeet of Maori The final proofs of the above volume are { now being printed,'and I should like to hear from YOWasto whether my statement regarding your '-tithmals'is correct or not. I should have asked oerification earlier. Compliments of the Season. Kindest re6Erde-. PEI TE H. JONES.
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| 259 |
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| 260 | </pre></Content>
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| 261 | </Section>
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| 288 | <Content><pre>
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| 289 | ,/23 December, 1947---. ?,k1hanks foouorrections of the7P7r6Ofs 4Aongs.,272 The corrections have been Obsietth the Printer's Copy which I have 4inipostsd.:to'.Masterprint Press Ltd. Your copy. cit4hisAiWor proofs Of Ngn Moteatea III is being4etur404 to you by parcel post. I have. aggressed tharcel-. to the University. will note I have sOst\_itnt siCircile-round for Circumvent;'Circle round' fang one of. the Dictionary meanings of\_Arnio D. Page 8) ,t1640PiailY I picked-:on Circumvent because I. 904Aldprehe military' character of the AmioWhenuaexpedition called for a synonym will-7 ;warlike, meaning , which 'circle round' does not have;.11ne of, the four dictionaries r am us- thftiga liSteatea translations (Collins 'Inn,HciAnd-Ofrioe' Dictionary' - 1964;pawe 96) 7/1APnekbheeanings given to Circumvent ,Ige,WINiflet74iroundjby stratagem', which meaning beik4lecrinee the. Manner in which the Amio- 11fied. -'progressed in its marches around= cr '040 suopose Collins' dictionary Ia , so rather than put in a leneAVA0WWeiplain why Amio was translated as AI: Wit; I have falle7k on 'Circle rounki, ,' NXX44A.egards to all in your new home at Tnlingliaby the sea. 6.-7mr,var 446 440' - AO;
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| 290 |
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| 291 | </pre></Content>
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| 292 | </Section>
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| 319 | <Content><pre>
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| 320 | " 23 Dec;embar,:1969 Dear. Sir, tti'Sk; NGA'.NOTEAT I forward herewith theSellowing:? 1. Corrected Proofs of Song4272'.:to, 300 .1. Iii 2, TYpresorigt of Indices.' , ...---- 3. TransC ,iption of Songs r42 -and 217 ,.',. which form part of MervynSpIOan's Rrefao?, ', 1 have just noticed thntWfiaii fox,' warding corrected proofs of Songs 258 to 271 by registered mail on the 6th November, 1969, I inadvertently described the 'Song numbers as 244 to 257A, Will you please verify receipt of Song! 258 to 271, RECEIPT FOR REGISTERED HAIL WO Sank. WIC NOTt?tots goes, Yours faithtul3y, PEI TE 13. JONES
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| 321 |
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| 322 | </pre></Content>
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| 379 | <Content><pre>
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| 380 | . Box 78, TAUMARUNNI. November, 1969 I have now completed the proof reading of the last batekof songs for Nga Moteatea 111, comprising Songs 272 to3000 and I forward herewith your copy for checking. .1 have completed my Preface and sent it on to the :.4,11nte;.S':' am now compilin the indices , and they should be typed and reads for the printer:, by the time you have checked the song proofs am, returned them td as. Kindest re8ards Poi H. Tunes
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| 381 |
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| 382 | </pre></Content>
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| 383 | </Section>
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| 384 | <Section>
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| 410 | <Content><pre>
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| 411 | . Box 78, TAuaauaui. 6 Novaizbev, 1389 asarpririt pross Ltd., P;,BOx PLYMOUTH." Dar ti#8, NGA 111 I forward herein the following:- 1.,Norrec'OOd:.Proofs of ,:oncs ? 2..Coiraaieroo1s of Preface b Mervyn McLean .-114.:,akice is to be printed so az to follo, thz Preface 'for which the typescript is ibruarded herein. gil TYP0064i4 of my Preface (In Maori znd Ltglish). As in Nga Noteatea 11 thu two texts are to be printzd on alternate paces - 3cori on the loft hand pea d. the Lnglish on the right hand side. Yours faithfully, T, h. JON
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| 412 |
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| 413 | </pre></Content>
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| 442 | .4 -0iAKAMZHANA ;Kotahl rau 0 torn na waiata kua whnkarripopotoLia ki t;noi cIpuku. 0 7,nei waiata u 70 kua trila an3 o Tc Zpiruna Guta ;3) Xpiti o ug Journals o to Polynesian soeiety o whai aka not :- J. Vol. 17/4 Supplement Waiatu (sonLA) 201 ki to ?159 " " 18/1 a " 58/2 II It 601, II 0 " 216 ' 240 24' " " 200 261 270 .Ko nga a1uta 27i to ?92 i oti an3 to uhakakaupapu Tr: /pLrana u to nuinsa o nda thmIrama; 20 na waiata 293 lot 'to 300, kilor,k\_Iltu oti na whakam3rama ha rbkoluinga tong matonza 1 to 14 o EBrao, 1910. Ko na waahi nuke 1 apiri o ag whakamilrumu kua waitahutla 11 ngu rota o tabu ingou, p7nai NgE uhakatikatika Kua ealtawu 1na1ane1 ng0 tangatu uhakukuupupa i nos waiata mo n0i kiupupa tuturu o .ialato ma rya k3varo whaka- marsulawai,ta. Ko na a/1406a 1 Luhi mai ki ahau mo nA,waiata ko to Ua Te Kcni 2., 0 T.8a, ak me h.,?' Batley, o Taihape. Na rungs I taro: thua, ara i to moo kua ALniti ruwa ngu etlagata hui mai I Btohl kat,ro whaknuliama kua thiriwhiria iho e au kriore he tikanga a ala al Ztoh1 (Tian.) atu o g; waiata noi roto i nga Journals o to Polynesian Society, Ipirana taku c1 tZia hot haarahi 0 tOnO atu lahakuarama o na waista kia tukuna mai. NO '0hakumBromo Kul nga ahak'upoko o 611 waiata nui mu na whokumilruma Ito A naa'kupu, SD na ingoa, no na r7r3adi porn 4315 to kuupapa 1 o ngrpukopuka a run 1 tats al 1 ngu tau 1829 ma to 1061 Neg lot me a plitou auiata. Ho male: na iwi ho. elitou 0nreaiuta o tine. pukapuka, he nobs hold nig. rorenga o 042 ualatu. ono 1 to ;(Itulics)
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| 443 |
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| 444 | </pre></Content>
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| 472 | <Content><pre>
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| 473 | (Italics) (1) N ,a1ata Tangi. 2, nulni Aitpukapuka Iraiata 1 wharZr711L1tia ra o Aplrana 1 roto 1 Ngi eitoatea 1, shad: ;1 v111, Ito to ralInga na3 o ni,11 weiat0 9 Vaud pukapuka ho volata tangs. Ka 2hakor'irrincitla ki rarO 1ba tusi nel 'potato not Ko Zzel loom waiata o 53 Sol roto 1 anol pukapuka; 290 o shah ako not to ratans o nal ingoo o n817, Sal ma riga nano o wa1ata, '1452:!) itti-alro. 4074.r,a1 SOi lahungunu Nana o 943.: 491ata Wong ntra) 274,276,276 230,206 203 241, 253 218 242,264,:75 (Koretnunga) (Porangabau) fi3noa14-poto. 277,277A Hat! Marla (Iyira,nak1) 254,278 99011 mutungst 230 To lAlba ?1(To".7" 3 2 2 6 2 2 " (NEXt1 Hin.-L1k1) 293 Nati l'aoa (-ru21) 228 Vitt Porou Ail tiara NE141 lb. Ngti '41agtua, To (Sonia Aon2.-whakaata Tararaak1 212,213,226,255,2570,259 265 235, 300 281,292,294 291 262 252,267 To Aroma (HWit]. Piki-ao) 216 1 1 6 1 2 3 1 1 hanzi-,h1) 220, 256 (Nati lanin6a) 233 232,257 w21-kato 296 1 204,203,206
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| 474 |
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| 475 | </pre></Content>
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| 477 | <Section>
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| 504 | lanes ) 7. 3. anui 233,240, 271,1;t14,132,088 MiharNYauri (Chatham Islands) 217' 1 ? 202 T2 110INGA (TOTAL) 53 I roto i ;Mei waiata o run nwcu i whaknuru; Ito nat namu 257ATthoo) me to 277A (1J ti Man1a-oto). Ko1 ng3 .hoknupo nihakaarama mo to whakaurunza atu 1 ;nal. wa1atn. liroa ma waiata thara mo to tnngata mato, Ko aus. wa1ata ko to Hama 271 no Abon3a-nu1 , "Ho Cana maa., nn pooh1 mete mi6m 292, "Bo Tang/ mo to Mahuatan,a o Ktratta., nu P3-nonu. (ii) pisLoriori Tekau,a-rua nga oriori kuu ttla kJ tarsi pukapuka, Ko ate o sun alata, Hama 212, i tuaruatia mo Toe whakaMtrnma an6., ko to 'Hama SA. Tones o 11 ako nai to rZrlia,si" o ng oriori ami N Iw1 atonga a Uaold 269 1 Nei 'itikl. 3110 1 ngill Tara (A1,1-rarapa) 201 1 Niciti Apo 2 1 Neat Kahu7n3ana 215,215A,251 3 NOM. Mani. 272,3 2 Egii Forou 202 1 linnso-mbakaata 2111 1 To iallau a Kai 234 1 Ahansa-nu1 270 1 13 np to Viaiate 201 to tuutehi o nza waluta o 1,to 1 ttnei pakapuka o libua rito ana 21 to color/ a lioka o Paku2u Cantata. 145), arE ana nHa k5rero kJ na wt o n65 atua cuwnito a to ((tort. He toura60 an5 loll port 1 a :noka To pakuru a Apa aaiata To Vann
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| 505 |
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| 506 | </pre></Content>
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| 534 | <Content><pre>
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| 535 | 1C,hoto.ariki, nano not 1 tito tZnoi oriori, 10 to valuta 209 he priori, i anakunula e Ta Apiruno o ro to i ngii ',data o Porou. Re mou whakuoruha un5 na. kupu a To?:41nu 1 a la to kI al u ruatokuu net sou i 0000 utu o to tau 1948 o tone rongonga xlaakamutunza 1 tZnol a wulatatla ono. a To fititnau a Thakalrl-ora; o to 1 tZrn nu raou ako tonal Orlorl. la, "K. to )(urn tInel kua tiro i u ratan kl to pt.. Ko hei whoua kau Znui ka Ganumin nti ki koncit koi k000l ka n6a moo, to to a anako o to ora ktora; :too rivo i a riu.:' -,T1oto?taiita212 mu to 215A t, orlor1 u mau tonu ant. to waiatatigi.::/irt ant boil atehi kaupopa tool to Fah/ anea-tt , nu To Ko:Aktangi 1 onakazbitUtiti nzt kupu. To ro pawn pol. :Maroa al to ,aiatatia 0 tonoi oriori, Plnep1no to loira, hits to tura. whanuko to boo i taro i Ave-rue." Ko tanulnea 0 net orlorl not no to Toi-rtwhiti. rua ant no to'4aauauru, art no Valanea-nul ( ;lama 270), ma 116t1 Apa (Noma 280) Bo to orlor1 a Nttl Apa no ilharau-rand. Ko tong ktrero imatu mai 1 i4enua-kuro tai Tura-nakl, ka buria haorotla ,o41,0kapu o to ooiatu kiu whitl 1 itiia OUn o to Taihauauru,irmata utu 1 to te,. c ,alunGo-nul ha shu thako-to-toneu a tutuki-non atu kol I ra o olai 0 Pao-ktOrlki; a tool "Ka raruu, e '.vino Ka rarapa net kanoni, ho tai-rarapu." lif mow valuta ka/ tZnoi pukapuko, too taut o whul eke nol:- N6a 101 , LiisT ',Salute To Milo. :144tti Kahu-ngunu --, 203 1 (Nati Tama-to-ran,l) 249 1 Neal iTrldairo-too (N. To 4aNsilta) oo7 1 ho-whakasies, 265 1 229 EUINGA 5 To
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| 536 |
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| 537 | </pre></Content>
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| 538 | </Section>
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| 539 | <Section>
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| 565 | <Content><pre>
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| 566 | .5; v Bgn Widata 7,1Inkuutu Tuunu ' toru nia waiata panel. n671 4/v.:kauk?, nu nboo ao aaa ama ~r47 8e to 248 no to Noma 206 na NgTiti Kurra-nt,unu 21 0a1-rara-,:a. :o ,114,4Gtero rima),olzmOs0 waiata koi roto 1 tZnoi. pukupuka, 2ointi Hka 'Auiata. To pupa 210 1 221,22Z 222,224 2 5 u Num., 1 21 Go 2:.4; na Atoka 0 To 'ithoka- t3hixanip/ iinn01 M6 to 22:, nu T. Wu1u-ranz,-1 0 To Abanau Apu-nut nia Kama 222 0 to 224. He waiata Tool 1 uhakatuotao ai anai angata i roto 1 a riium waiuta mo ngrx pakonga a o ua lot 1087, mau-boroborotaneu, mo aga 25roro mo na olunca4'Uehi I t;teld o raua, 1 o rZun r7noi. I roto waiata pritero o huoro tool unu a vi7uo k3roro whaketunau; aooei ue ritenga ho whakaar1 i to minna kttu o to 0.,Igkori. A ko1 ;tett elirTtngi ka burl tats ako kua 015,1?ngI'3,5rort mo ahuatunga rangatira, mo nea wa i too 41 2/ to pakunga o o raua Opuna. 601 arc hors to pttoro n To ,Adurang/ 1 trOfaia 01 0- .Hoi komel re, kla muu 21 to pukonE,a; 106!.karua not ko Muru-akaka, ko Ub1-hou. Itaaoreo Zun not ko Uonaku, ko To Ahoulla .'to 55 riri ate ei " (281ata 224) vi Ko to Hoangu ate o totatt Ko to roanga utu u nga waiata not o rue-takaa ma 0103, ko-onoi e whai oho 'O01 ako 1; NE111- To Arawa (Tapuika) Te.Wpakatollea (6-potiki) Pa Wane. a Apa-pui
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| 567 |
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| 568 | </pre></Content>
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| 569 | </Section>
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| 570 | <Section>
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| 571 | <Description>
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| 572 | <Metadata name="Title">12</Metadata>
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| 596 | <Content><pre>
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| 597 | 11 11 .elate is W,sha OAS) Waiata Kai-oraora (Cursing Song) .Heats Ean., (Mfama-te-rani) 20 1 SgOII T 2G0 1 Burl-papa) 641 1 3 (b) tc. Apakura (A Song of Griof) 'guts Fora. 211 1 (0) Ho Waiata 600918 (A gone of pAy\_dr?,?,,,) Ts Arawa (Sui.-taha) 236 1 (6) -He tfaiata K"akia (A Sono Tara-saki 264 1 (a) Ho,Wiiata kakamaka Hou-kai. (A Song for a Feast presentation) 26boa 244 1 (f) He iaiata Ki U3kai (A Song of Degradation) Ngati KAbu-gsunu 207 1 (g) Hsiftiata m," Gal-piro (A Drinking Song) Porou 214 1 (1,)'Bo4Wiliata no itua (An Ancient Song) aS-.04-kokiri 292 1 (i)7Ho TAU (A Chant) To Ati Ara, 'fern-saki 55(3 1 (j). 113 Tangs Tawhiti (A 1,au,nt from Afar) 21boA 243 1 (2) Ka Atehu (A Song of c Love Charm) Taao o46 1 (1) Ho Teni Atahu (A Diching Lament) Tri-ranga (Tel ,Aa-thici ) 200 (0) HaMatu (A Prophetic Song) 4al-rerapa CG7 (.) 310 daiata mo Le Kenai-rere (A Song About the dingod hoopla) Tara-naki 282. 1 (o) Bo (liata Aroha( A Song of Love) Waato 240 1 To Arawa, Njiti Piki-ao 237 1 2
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| 598 |
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| 599 | </pre></Content>
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| 600 | </Section>
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| 602 | <Description>
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| 603 | <Metadata name="Title">13</Metadata>
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| 604 | <Metadata name="Image">3E01-06_Part_2-012.png</Metadata>
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| 628 | 7. '.:(111,11) '(p)-110 waiata mo to lacidu ii to PU . (A. Song Abouis. Covut. BsZt1 ynbunga, Tara-nuki 257 1 (q) Heiata Ahnkauruara entinulis Song) vhatl Toa 289 1 (g4)Ho wainta to rukan,,a 1 Manga-toa :.(A Song for thu Satan ut Mama-tou) 1 (a) E. waiata Tuu-titotito (A Provoking Song) 225 1 (t) Fin Walita mo to Wa1rua (A Song ;or tEE35171t o fla 21 1 (u)iio Weinta (A Song) Ngatt itua-nni \_\_1 vii Sga aungi o to 20 o ahe, 1926, ha tubia a Ta Aplrana hi Lana KhakaLE ame mo 1Pga US',ensoa 1, "KEoro unE i hlte he /ohunga 1 Nuini nui" no tZril muL1 mo to tuhituh1 1 nia eulata i nge walata taoLito o (a-all. No Caned winoi kum oti 1 a TEkutu Mervyn MoLennt, tuhi o tuna nei pukaouka tau1ru mo ugE rangi o ng3 waist. r1. Hot mutt aka ne1, t roto 1 tronei pukapuka , nga Oruro whakumarama a a1bn Mervyn McLean i uukuna mei ui o is 1 to 12 o no7 ra o P;OuUro, galanet ngii Oruro 1 lita whahukaupapatio ai u is mo tuna tollwhskeditautuu ;thesis) 1 whagachluhia at k1 u is to tohu lakuta no,nga hang1 iatu cc 11 atu (DeL;reu or Doctor of Mua1c). poi To Hurinui o Hopetama, 1919
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| 629 |
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| 630 | </pre></Content>
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| 658 | <Content><pre>
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| 659 | THE UNIVERSITY OF AUCKLAND BOX 2175 AUCKLAND NEW ZEALAND TELEPHONE 747,10 Department of Anthropology 17th Juno, 1969 Dr. Pei To H. Jones, Box 78, TAUMARANUI. Dear Pei, Many thanks for your letter and the two sheets of transcription. It turns out that I needn't have bothered you after all. My main worry was over the unslurred grace notes but I see I have included a foot-note to say that they take their time from the preceding note, so this makes it all right. It is so many years now since I did the transcription that I bad forgotten this. I have made no alterations, so the blocks can stay as they arc. Yours sincerely, /1o1AA Mervyn McLean. . Since the blocks have been completed I have assumed you will not want the transcription back.
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| 660 |
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| 661 | </pre></Content>
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| 688 | </Description>
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| 689 | <Content><pre>
|
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| 690 | . Box 78, TAUMARUNU I. 16 June, 1969 Dr Mervyn McLean, DPartmentof Anthropology, '14017niversity of Auckland, ,40. Box 2175-, 'ATICKLAN:-, The blocks of the transcriptions of Songs 142 sM4217 have been completed, but as I have not reached #WIlnal proof Jptagewith Nga Motestea 111, there should 1W4ifficultyjf you were to make a few alterations to '2the'!:t174ilacriptiotv of 217. I think it would be as well to have the trans7114044rinted4o your satisfaction, and I accordingly 1 return'yOU the t-,sheets of the transcription to culable you to make tiWnece ary changes. Yours faithfully, PEI TE H. JONES.
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| 691 |
|
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| 692 | </pre></Content>
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| 720 | <Content><pre>
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| 721 | THE UNIVERSITY OF AUCKLAND BOX 2175 AUCKLAND NEW ZEALAND TELEVIIONE 74740 Departmert of Anthropology 4th June, 1969. Dr. Pei fe Hurinui Jcs, Box 78, VAUMARANBI. Dear Pei, I want to make a few small\_ alterations to the transcription of 217 "Kaore hoki kola to mamaeu that I did for the Preface of Nga ':.Mb,teatea III. Could you send it to me? If this is difficult (. if the transcription is with the printer) I'll do another one. If the blocks have already been made then we'll just forget about it since the changes are small and not strictly essential. However I would like to do this if possible. Best regards, idWrt Mervyn McLean.
|
|---|
| 722 |
|
|---|
| 723 | </pre></Content>
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| 751 | <Content><pre>
|
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| 752 | . Box 78, TAUMARUNUI. 12 June, 1969. ,.140,423ooth, .=.:SeeSterY. Inc,; ..Pipox 5195, Dear John, NGA MOT.:ATEA 1. I understood you to say that this book is to be reprinted. If this is the case I would like to have an . Arpati list printed as per sheet ( in duplicate) attached. ,1114ifeide cover should also have PART 1 printed on it inlithe same way as the second volumg?MPART 11 printed write cover. With kind regards, .' PEI TN H. JONE3 I suppose: the Reprint will be done by the Offprinting or phot000py method, and it would be too much to ask the printer:4U. make the corrections as set out in the errata sheet.
|
|---|
| 753 |
|
|---|
| 754 | </pre></Content>
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| 755 | </Section>
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| 783 | .10TEATX11-; PART 1 xvii 'Afiegand paragraph, first line, and 7111-. 'Vet paragraph, fifth line :- taoredotal should read sacerdotal paragraph, fourth line :- 45ga to be inserted between nga and o Line 5 of song:- insert i after non Line 9 of song :- For ihiwa read Ohiwa Line 2 of song :- Add 0 son at end of line Line 7-of song:- 1i'er,I0 rand ra Note'14, second Ilne:- For rocahotu read mahora 161 Note 24,-thiro line:- For dwelierh rond 366 Lino-f song:- For lo ra toe 174 Line 4 of aultimnte ,paragraph of headnote:- Paete i R and substatute 205 Note 14 lino two:- For firau read Tirua ?:209 note 25 :- Insert Rohe daiaila at beginning of note Line 1 of tong:. For in read An Second paragraph, first line:- Fur a read to 291 1o 5 of nong:- For allesraptt read 12124t ;.f4292 Note 4 :- Should read as follows:- (4) Takla rant - Ii to n. 126, su rangi" (t) Note 1 foa c'einted should read Note 5 land Note: 5,7,9, 10 to read 7,9,10 11 Note 4 :- Second word:- For days road cay.
|
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| 784 |
|
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| 785 | </pre></Content>
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| 1045 | <Content><pre>
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| 1046 | PS HUSIC OF ::TORI CHANT IrTRODUCTORY aia;ARK6 Most readers of Mg5 Matestca will know that there ere two kinds of Maori music. The kind with which most people arc familiar - known as Action Song dates only from about the first decades of the present century. In its present form it is little more than a MEorified Thrm of ,:fthern popular music. The other kind of Maori music has a long tradition dating back to the beginnings of the EFori people en , - today it remains associated with the old values and insti- tutions of Maoridom. It exhibits, in conseguence, great tenacity of style. It is with the older form of music that this book and this preface is concerned. Since, so far as the writer is aware, there is so generally accepted name which incorporates the whole of the older song tradition, it will be called here Paori chant. This term is used as inclusive of waists, paere, pao, and. all the other forms discussed. It is used in preference
|
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| 1047 |
|
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| 1048 | </pre></Content>
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| 1076 | <Content><pre>
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| 1077 | to the term Mori song which could also include Action Bong. Until, now, scholarly attention to MiTori chant has mostly been directed towards the words. air 3pirana Ngata,for example, in the Prefaces to both Vols. I 2 of NgR M6teatea dealt with the chants exclusively from a literary point of view. This did not mean that the importance of the music had been overlooked. In the Preface to Ngata expressly pointed out that "there can be no proper rendering of Maori sos without capturing the air." Only Since-the advent of the tape recorder, however, has it been possible either to record a sufficient number of melodies for study or to undertake the much more difficult task of devising a notation that could handle the material. AESTUTIC VALUY. Before going on to discuss the style of Mori chant it may be worthwhile to say a word or two about the aesthetic value of the songs. That the songs have great merit from a literary point of view is well attested by Sir rpirana Ngata and others. That they have equal value musically is not so widely recognised.
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| 1078 |
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| 1079 | </pre></Content>
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| 1106 | </Description>
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| 1107 | <Content><pre>
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| 1108 | 3. From the start it ought to be made clear that .judgements of musically untrained persons about the socalled "monotony" of Mori chant should be disregarded. :Such judgements are made in terms of Western culture whose values are quite different from those of Mori chant. They form no more valid a means of comparison than would (say) Chinese music or Japanese music,both highly developed forms in their own right but virtually incomprehensible to most untrained Western listeners. As the conclusions which follow will demonstrate, ;AaTiori music was, and in its traditional form is, an advanced form of music with its own rules and its own values. SORG TYPEd The classification traditionally adopted for the chants is one of function, with most of the finer points literary rather than musical in nature. The tangl (or lament) for example, can be sub-classified as a song of grief, sorrow, longing, self-pity, regret etc. depending on context. This is quite fully treated by Sir 1Tpirana Ngats in the Prefaces to parts 1 2. Musically, it is possible to put each type of chant into one of two broad groups according to whether it is sung or recited. Amongst the sung types of chant are
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| 1109 |
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| 1139 | 4. the waieta of all kinds including the Tangi, Waiata erohe (love song), and 'Yeiata whai7leo (sweetheart song); the Oriori (lullaby) and the reoPueli7),The recited songs include the P7tere (historical or genealogical tour), Whakaareara pa (watch song), Kaioreora (abusive song), Tauparapara (recitation before speaking) and Kerakia (incantation). In addition to these there exist a few others perhaps best described as semi-sung. Notable amongst these is the Karanga which is the generic name for the calls of all kinds performed by women on the marae. It includes whiri (greeting calls) and Poroperoaki (farewell calls). The sung type of chant differs from the recited in 'the following ways:- 1. It is melodically organised. That is to say, it has a recognisable cir made up of net;ee definite enow h in pitch to be capable of arrangement in the form of a scale. Risaand falls of pitch may become eateblished in some recited songs but they cannot be arranged in Scale form. 2. The melody of sung items can he melismatic, more than one note can be sung per syllable. Recited songs `. by 'contrast are always sellable and melisma cannot occur. 3. Sung items nearly always have a much slower tempo
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| 1140 |
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| 1169 | <Content><pre>
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| 1170 | 5. than recited ones. This results both from melisma and the greater tendency to dwell upon certain Dotes. The latter is particularly in evidence in the "drags" which are discussed later under the heading of performance. Recited songs on the other hand, particularly kfTskia, sometimes rattle along at tempos in excess of 300 syllables per minute. 4. The characteristics of sung items which make for slower tempo, have their effect also on metre and rhythm. example the durational values of the notes employed in recited song tend to be fewer than those of the sung items. Often, indeed, there are only two - long and short. PERFORMANCE 1. Breathing. With most songs it is customary for. the performer to sing without any breaks for breathing such as occur at the cadence points in European songs. When two -or more people are singing this is easy to achieve since the singers concerned can take breath at different moments during the song. In the case of the solo singer however, to sing without break is impossible. It is for this reason that solo singing - except for a few song types such as the tauparapara - is not greatly favoured. A solo
|
|---|
| 1171 |
|
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| 1200 | <Content><pre>
|
|---|
| 1201 | 6. singer makes the best of things by singing for as long a time as possible on one breath. When he does take a breath, it way or may not be at the end of a line; It is more likely to he in the middle of a line and nay even be in the middle of a word. 2. Yeanini,less syllabifina and leader solos. Part of the technique for getting on to the right note at the beginning of a musical phrase involves the extension of the previous line by the addition of meaningless syllables. 'This excursion takes the singer above the note to which he is 'going. These often highly melismatic sections of meaningless syllabifying usually occur at the end of each repetition of the basic melody (See later under Form) bridging the end of one repetition and the beginning of the next. The device is commonly known as the drag. In group performance, the "drag" is usually performed solo by the leader while the rest of the group take opportunity to catch a breath. Frequently these leader solos are highly ornamented and are often responsible for much of the beauty of the song. 3 "Riding in. When a singer, who for some reason 'has temporarily dropped out, wishes to sing again with the rest, he often rides in" to the rote which the rest are singing by beginning a 3rd or 4th higher and filling in to the unison. This riding in" to a note seems always
|
|---|
| 1202 |
|
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| 1203 | </pre></Content>
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| 1231 | <Content><pre>
|
|---|
| 1232 | 7. to take place from above a melody note rather than from below. The added notes - since they are incidental to the performance and occur at different places each time :the'song is performed - are not generally thought of as forming part of the melody. Ambiguity of song beginnings. Very often, sinners Teguire a phrase or two to establish the melody. In both ;solo and group performances the beginning of a song may seem rhythmically vague and uncertain in comparison with the remainder. The tendency is, in fact, common enough to be considered a part of the style. Not infreguontly the beginning differs from the basic melody, as later established, melodically as well as rhythmically. In such a case the tendency is usually for the beginning to be of narruae :range. Singing faults. There is a highly developed termi- nology of singing faults associated with the traditional chant. Faults may be melodic, rhythmic, or textual in :their nature. (a) Melodic 'Rangi-rua' (literally two melodies) or rallelilim. Here, one singer gets on toe note a /ith or 5th apart from the rest and sings throughout in parallel tervals. (b) Rhythmic 'Taupatupatu' (literally, up and down) out of beat.
|
|---|
| 1233 |
|
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| 1234 | </pre></Content>
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|
|---|
| 1263 | O. Textual 'Haug whakahua', faulty pronunciation, 'Haug kama', faulty enunciation or articulation and 'kUnanunanul, uncertainty as to words. OTHER CHARACTERISTICS OP STYLE 1. Scale. The melodic organisation of Ygbri waiata centres as a rule around a fixed intoning note or 'oro' -as it has been called. If the notes used in a chant are Written out consecutively in the form of a scale, the 'oro' will be found somewhere close to the middle. Since each departure from the 'oro' is ordinarily followed by a return to it,the 'oro' is invariably the most frequently occurring J-note of a melody. In most cases it is also the final and often it starts the song as well. In musical terms, the 'oro' can thus be thought of as the tonic, and the melody as a whole can be described as centric. Usually there are fewer notes in the scale than is generally the case with European song. It is not uncommon for songs to have only 3 or L. notes. 2. Range In keeping with the small number of notes commonly employed in the scale of the traditional chant, the melodic range is correspondingly smell. From the lowest note to the highest, the range of the Maori chant seldom exceeds the musical interval of a. 4th.
|
|---|
| 1264 |
|
|---|
| 1265 | </pre></Content>
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| 1294 | 3. Melodic intervals. Mgori melody for the most part employs melodic intervals no larger then a Minor 3rd and the bulk of the melodic movement is by Major and Minor 2nds. It might be expected that with so few notes, such limited range and such small melodic steps there might after all be something to the criticism of "monotony" which is often levelled at :Maori chant. Such a view however would be altogether too facile and quite unjustified since it fails to take account of the frequently non-diatonic nature of the melodic intervals employed in waiatn. Another way Of saying this, is that the melodies of Maori chant need not conform to the major and minor modalities of the European scale system. Since at each step in a i5ori melody the next note may be a Minor 2nd, Major 2nd, or Minor 3rd. either upward or downwaftl there are clearly more possibilities than would exist if' the melody 'acre limited by the demands of the major or minor modes. lodic diversity is thus obtainable without need of .increasing either melodic range or the size of the melodic interval. At this stage something might be said about the vexed question of quarter-tones. Several early writers expressed the opinion that Maori music employed quarter tones and others today haire uncritically followed suit.
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| 1295 |
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| 1296 | </pre></Content>
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| 1325 | 241116,1641.geas.. 10. A good deal of the apparent strangeness of some Maori melodies can be explained by the non-diatonicism described above. For the rest, whatever may have been the case in the past, intervals of less than a half tone are not prevalent today. Most waists as et present sung, conform fairly closely to Western tempered intervals. In some 400 items analysed to date the writer has found only a few instances of genuine microtones and most of these ,ere used incidentally rather than structurally. 4. Form Most waiata use as a formal principle, the varied repetition of a basic melody. The end of each repetition is marked by the ornamented leader solo,and meuningless syllabifying referred to earlier. The end of a structural division - such as the end of a verse where there are several - the end of the song itself, and drop-outs by individuals in group performance arc all marked by a device which the writer has called the "terminal glissando". This takes the form of a characteris- tic expulsion of breath accompanied by a glissando drop of the voice over an interval of a 3rd or Lith. Recited items are through-composed and cannot be said to exhibit form in the usual sense. 5. Polyphony Mori chant is Monophonic. This means that in a group performance everybody sings the same part. There
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| 1326 |
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| 1356 | is rhythmic unison in the case of the recited songs and both rhythmic and melodic unison in the sung items. Any appearance of added parts is either fortuitous (."riding in") or is bad singing (rangirua). Accompanying instruments are not used and with the exception of the k5suau (open tube flute) appear not to have been used in the past. Informants are agreed that the lassalways played in unison with the voice part. Thus even with instrumental accompaniment, performance was still monophonic. 6. Tempo. Metre and Rhythm. With few exceptions, tempo is invariable in Mori chant. Once a tempo is established it is kept up right to the end of a song. That this should be so is fairly clearly a conseouence of the need in group performance for all the singers to he together. Much of the musical interest of r5 on chant, in both its sung and recited forms, derives from the rhythms. Typically highly complex, the rhythms give to the Western ear the impression of constant syncopation over an unchanging beat. This impression arises from the fact that although the metre of riori chant can be divisive, it is often modi' fled in such a way as to become additive. Once this is realised, it becomes possible to notate the seeming
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| 1357 |
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| 1358 | </pre></Content>
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| 1387 | 1 ,yncopations as a series of time changes rather than by tying across from one rhythmic group to another. This also greatly simplifies the problem of reading the notation. It must be clearly understood however that the time changes, as notated, must be thought of in terms of the smallest metrical unit. To give an example, the rhythmic group is five units long and no attempt should be made to force it into the confines of the divisive system by lengthening the first two quavers In other words, when the metre changes, the duration of the 2 6 beat changes also. If the metre changes\_ from 4 to 8, the beat changes from two units of length to three. 6 Istesso tempo, whereby the dotted crotchet of 8 becomes 2 equal in duration to the crotchet of 4 does not apply. CONCLUDING REMARKS The study of M5bri chant from its musical point of view, is as yet still in its infancy. At the time of writing little more than a start has been made. It is hoped that when further material has been collected 'and analysed that it will be possible not only to find out something about the ways in which the music of one tribe may 'differ from that of another, but also to go some way further
|
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| 1388 |
|
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| 1389 | </pre></Content>
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| 1446 | <Content><pre>
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| 1447 | Dear Sirs, NOA NOTEATEA 111. ;,:forward herewith corpected:, proofinf Songs 244 to 457A. 'Yours faithfully, PEI TE H. JONES,
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| 1448 |
|
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| 1449 | </pre></Content>
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| 1477 | <Content><pre>
|
|---|
| 1478 | . 6 March;. 1969 Thanks for the corrected proofs of Nga Moteatea Songs 244 - 257A. I have marked up the Printer's ropy of these proofs, and will be forwarding them on to Masterprinters Press Ltd, The next set, comprising Song:, , 258 - 271,are enclosed, together with your 30'4.,of Songs 244 - 257A. Regards,
|
|---|
| 1479 |
|
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| 1480 | </pre></Content>
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| 1508 | <Content><pre>
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|---|
| 1509 | THE UNIVERSITY OF AUCKLAND BOX 2175 AUCKLAND NEW ZEALAND - TELEPHONE 740 2E FEB 69 Dear . 9erewith the selleyo of Seaga 244-2574 with my corrections added. Reards,
|
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| 1510 |
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| 1511 | </pre></Content>
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| 1539 | <Content><pre>
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| 1540 | , Dear Bruce, 9 October,196E Hereeith is a proof set of Songs for checkinE. I should have 4Or'another sat to permit of one set r'.,11 by you when you send this tOttrej':checkinc. As it is I pro-the entaseddcopgy after I I'Cilached. it with the Printer's Proof. -Attached hereto are copies of 1,-;tters. b:--ilasterprinte;'s Press Ltd. You will 1Ilatl have made provision fora Fore, (:)k the same length as the one you for the 71 ;:c7t,iatea 11. I am hopin.; iMyou will find time to contribute' the eword 6r- this volume. Kind retards to all
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| 1541 |
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| 1542 | </pre></Content>
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| 1570 | <Content><pre>
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| 1571 | :':. 80A 78, Mastorprint Press Ltd., TAUMAnONGI. . Box 841, 8 Ootobor, 19a6 Nen PLIMOUTS. NOA 7(01;ATeA 111 I thank ,you for your lottaf lot instant ibrearding the parcel lOntoining, Proof sots, in duplicato, of tongs -c - 287A. WiLkLragard to your inquiry as to what furthor copy and ico extent is still to oomo for this production, I wou/6 II rat of all asy that Was format of Ma Oteatoa 11 is to be foiloued, and thotorivh-rogard to the nature and oxtont of the copy I ostimato tblAeddigimitt pages will bo 41, mode up as follows,- TAM 3 Number of Poes. .4?., (4},aboit 7-Tit1e 1 :11b4DiSiriptioe Titlo Po ca (6rdornd trzlioh) 2 n(0)4000rd (4ndl) Pr4flo0,:'( Maori and English) 12 , i. Promo - "The Music of Maori Bisect. 5 PramMoription of Songs 14: and 217 C 11 :18 .14 Mervyn MoLcan 2, BacnOVAGO, . xitotIrangi o neiri uaiato 4411sori Index of Songs) .'(b Index of Songs (gAish) i60610; thirangii0 mga Mai-tito Waists, '4mo a atou Valuta. (Iodos of Song Authara and Th4ir Songm) '!. (In Maori and ;:ngliah) Pages 61 the typoscript of the preface by lorvyn i,oLoaa, and an enwolop00tainins the 6 sheets of his tramscription of Songs 14mkA7ilso. It. 1. (o) above) aro forwarded norewith. Ur 143/AMMIovan forwarding the tranacrIption of the two sang., statod'Uat,he had 'made the copioa tho oxact ate to.:, Iii the pages OfXtlateatea so that tu till be no difficulty b4)2t twroproduotion. The trenscription sha coo Olaned to go ooroWtho peso". The typosoript for the ronsi4.; iLOMS on4ioned above will be forwarded baton. cy s 2 -: i'-.9cf.,.Gal OS `. -.- ? Yours faittfully, P5I T4 11. JON-;
|
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| 1572 |
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| 1573 | </pre></Content>
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| 1601 | <Content><pre>
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| 1602 | asterprint PRESS LIMITED 113 Ell M 0 NT STREET. NEFp. U6T414, PrioNr 136-079 1 October 1968 (7) ' Dr. Pei Te h. Jones, .Box 78, Taumarunui. Nga Moteatca 111 Dear Sir, herewith further proof sets of songs 244 - 257A as requested. The Society require us to give them an estimate of costs for this production so could you advise what further copy, and its extent, is to come for this volume. Yours faithfully, Masterorint Press Ltd. . Saunders, Managing Director.
|
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| 1603 |
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| 1720 | 19 September, 196?. p4Boot4, Y. ttesisn Soeiety .3cot 5195, WELLINGTON 1, , ,',10 41 you please get In touch with the tO.,.1end me two more sets of proofs agq[44574 , both numbers inclu- ea `firt~ hai sent the correct number `'seta of proofs of the remaining Sang 258 to 300. MOTEATEA, :rPoil',arrived while I was fully OpAelLy4.thediting work on the '0101;:iind I have gust got around Ootreading of the Songs.
|
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| 1721 |
|
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| 1722 | </pre></Content>
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| 1751 | UNIVERSITY OF HAWAII Department of Linguistics 16 AUG 68 :Pei: It is very good to know that Nga Moteatea III is on the soye again. I had just written to Sid Mead a few days ago ,saying that I thought it should be the first priority on the Polynesian Society's publishing programme, and that Tainui should also be hurried up since we already have the Council's permission to print it. Is it true that you have c hecked all the references from Nga Moteatea (Grey's) that appear in the Dictionary? It would speed me up a great deal if I could assume that these had all been done, and so ignore them myself. You may be right about Colenso'sreferences being used by Williams without rechecking them7gilliams and Colenso were old enemies and the WilliamsTamily were s tassgs. n0 prepared to say anything good about Colenso, (nor perhaps Vb. fully acknowledge what they used from his work). It would be very interesting to know what became of thems. of Colenso's Dictionary, and also the mss. of his Maori legends which I have never been able to locate. Personally I have some time for old Colenso since he was one of the first to use double vowels in some words. As far as I can see the Polynesian Society is not involved at all in this issue of the Dictionary. I have Just sent back the page proofs to my Let's Learn Maori. It looks very well and I am pleased to have the job finished. I have also finished a very long article on The Polynesian Languages which will be published in a volume dealing with all the languages of the Pacific, but probably not for a year or perhaps two. You will know that Sid Mead is now back at Auckland with his P. I am gradually getting the people I want there so that we will have a very fine bunch of young scholars in linguistics and Maori Studies. I now have my eye on Bob Mahuta and Tim Reedy (Arnold's son). It is unfortunate that none of the younger people are seriously interested in the old trad itional material. Margaret Orbell is the exception but un fortunately she and I do not see eye to eye on the question of orthography. Please let me know whether I can stop checking the Grey's Moteatea references or not? Rum 120 1733 DunaghR 113noluln, 9;622 Regards ,
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| 1753 | </pre></Content>
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| 1754 | </Section>
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| 1755 | </Section>
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| 1756 | </Archive>
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