This book is the best introduction available to Maori music &– the instruments played, the songs and dance styles and what they were used for, performance, composition, teaching, etc. Based on 30 years of fieldwork that yielded 1300 recorded songs and hundred of pages of interviews and eyewitness accounts, this is a classic book.

Maori music records and analyses ancient Maori musical tradition and knowledge, and explores the impact of European music on this tradition. Mervyn McLean draws on diverse written and oral sources gathered over more than 30 years of scholarship and field work that yielded some 1300 recorded songs, hundreds of pages of interviews with singers, and numerous eye-witness accounts. The work is illustrated throughout with photos and music examples.

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

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

With Multicultural Perspectives in Music Education, you can explore musics from around the world with your students in a meaningful way. Broadly based and practically oriented, the book will help you develop curriculum for an increasingly multicultural society. Ready-to-use lesson plans make it easy to bring many different but equally logical musical systems into your classroom. The authors_a variety of music educators and ethnomusicologists_provide plans and resources to broaden your students' perspectives on music as an important aspect of culture both within the United States and globally.

This volume studies the relationships between government and the popular music industries, comparing three Anglophone nations: Scotland, New Zealand and Australia. At a time when issues of globalization and locality are seldom out of the news, musicians, fans, governments, and industries are forced to reconsider older certainties about popular music activity and their roles in production and consumption circuits. The decline of multinational recording companies, and the accompanying rise of promotion firms such as Live Nation, exemplifies global shifts in infrastructure, profits and power. Popular music provides a focus for many of these topics—and popular music policy a lens through which to view them. The book has four central themes: the (changing) role of states and industries in popular music activity; assessment of the central challenges facing smaller nations competing within larger, global music-media markets; comparative analysis of music policies and debates between nations (and also between organizations and popular music sectors); analysis of where and why the state intervenes in popular music activity; and how (and whether) music fits within the ‘turn to culture’ in policy-making over the last twenty years. Where appropriate, brief nation-specific case studies are highlighted as a means of illuminating broader global debates.

The Oxford Handbook of Children's Musical Cultures is a compendium of perspectives on children and their musical engagements as singers, dancers, players, and avid listeners. Over the course of 35 chapters, contributors from around the world provide an interdisciplinary enquiry into the musical lives of children in a variety of cultures, and their role as both preservers and innovators of music. Drawing on a wide array of fields from ethnomusicology and folklore to education and developmental psychology, the chapters presented in this handbook provide windows into the musical enculturation, education, and training of children, and the ways in which they learn, express, invent, and preserve music. Offering an understanding of the nature, structures, and styles of music preferred and used by children from toddlerhood through childhood and into adolescence, The Oxford Handbook of Children's Musical Cultures is an important step forward in the study of children and music.

International scholars explore the hip hop scenes of Europe, Canada, Japan and Australia.

This ground-breaking book examines the multifaceted dynamics between copyright law and music borrowing within a rich diversity of music genres from across the world. It evaluates how copyright laws under different generic conventions may influence, or are influenced by, time-honoured creative borrowing practices. Leading experts from around the world scrutinise a carefully selected range of musical genres, including pop, hip-hop, jazz, blues, electronic and dance music, as well as a diversity of region-specific genres, such as Jamaican music, River Plate Tango, Irish folk music, Hungarian folk music, Flamenco, Indian traditional music, Australian indigenous music, Maori music and many others. This genre-conscious analysis builds on a theoretical section in which musicologists and lawyers offer their insights into fundamental issues concerning music genre categorisation, the typology of music borrowing and copyright law's ontological struggle with musical borrowing in theory and practice. The chapters are threaded together by a central theme, ie, that the cumulative nature of music creativity is the result of collective bargaining processes among many 'musicking' parties that have socially constructed creative music authorship under a rich mix of generic conventions.