Music of New Zealand
| Music of New Zealand | |
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| General topics | |
| Genres | |
| Specific forms | |
| Ethnic music | |
| Other influences | |
| Media and performance | |
| Music awards | |
| Music charts | |
| Music festivals | |
| Music media | |
| Nationalistic and patriotic songs | |
| National anthem | |
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New Zealand has a strong cultural focus on music, with many musicians and composers finding success nationally and internationally.
Pre-colonial Māori music was based around a form of micro-tonal chanting, and instruments called taonga pūoro: a variety of blown, struck and twirled instruments made out of hollowed-out wood, stone, whale ivory, albatross bone, and human bone. In the nineteenth century European settlers brought musical forms to New Zealand including brass bands and choral music, and musicians began touring New Zealand in the 1860s.[1][2] Pipe bands became widespread during the early 20th century.[3]
The New Zealand recording industry began to develop from 1940 onwards.[4] The Recording Industry Association of New Zealand (RIANZ) publishes New Zealand's official weekly record charts.[5] The Association also holds the annual New Zealand Music Awards which were first held in 1965 as the Loxene Golden Disc awards.[6]
New Zealand has a national orchestra and many regional orchestras. A number of New Zealand composers have developed international reputations. The most well-known include Douglas Lilburn, John Psathas, Jack Body, Gillian Whitehead, Jenny McLeod, Gareth Farr, Ross Harris and Martin Lodge.
Despite the country's young history on the global stage, New Zealand has managed to develop a diverse musical scene. Pop, Rock, Rap, and Reggae are all extremely popular in New Zealand, with artists in these musical genres gathering massive success. New Zealand has also maintained a strong indie music scene and has a rapidly growing Heavy Metal scene.
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Māori music[edit]
Pre-European Māori singing was micro-tonal, with a repeated melodic line that did not move far from a central note. Group singing was in unison or doubled in octaves. With origins in ancient South-East Asian cultures, the sound of these chants was described by early European settlers as "monotonous" and "doleful".[7]
Taonga pūoro[edit]
Pre-European instrumental music was played on taonga pūoro, a variety of blown, struck and twirled instruments made out of hollowed-out wood, stone, whale ivory, albatross bone, and human bone.[8] The pūkāea (wooden trumpet), hue (gourd), and pūtātara (conch shell trumpet) fulfilled many functions within pre-colonial Māori society, including a call to arms, dawning of the new day, communications with the gods and the planting of crops.[9] Taonga pūoro have been revived over the past thirty years by Dr Richard Nunns, Hirini Melbourne, and Brian Flintoff.
European settlers brought new harmonies and instruments which were gradually adopted by Māori composers. The action song (waiata-ā-ringa) was largely developed in the early 20th century.[10]
In the mid to late 20th century, Māori singers and songwriters like Howard Morrison, Prince Tui Teka, Dalvanius Prime, Moana Maniapoto and Hinewehi Mohi developed a distinctive Māori-influenced style.[11] Some artists have released Māori language songs, and the Māori traditional art of kapa haka (song and dance) has made a resurgence.[12]
Pop[edit]
Popular New Zealand music has been influenced by blues, jazz, country, rock and roll and hip hop, with many of these genres given a unique New Zealand interpretation.[4][13] A number of popular artists have gone on to achieve international success including Split Enz, Crowded House, OMC, Bic Runga, Ladyhawke, The Naked and Famous, Fat Freddy's Drop and Flight of the Conchords.
New Zealand's first pop song was Blue Smoke, written in the 1940s by Ruru Karatiana.[14] Pixie Williams recorded the song in 1949 and, although it went triple platinum in New Zealand, the award for selling 50,000 copies of the song was only presented to Pixie Williams on 13 July 2011.[15]
In 1962 a television station in Auckland started screening New Zealand’s first TV music show called In the Groove, which subsequently screened on other regional channels as well. Other shows followed including On the Beat, and C'mon, all of which were hosted by television personality Peter Sinclair.[16] The advent of music television shows lead to the rise of Sandy Edmonds, one of New Zealand's first pop stars.[17]
Formed in the early 1970s and variously featuring Phil Judd and brothers Tim Finn and Neil Finn, the Split Enz achieved chart success in New Zealand, Australia, and Canada ‒ most notably with their 1980 single I Got You - and build a cult following elsewhere. The videos for some of the band's 1980s songs were among the first played on MTV.
In 1985, Neil Finn formed pop rock band Crowded House in Melbourne, Australia. The other founding members were Australians Paul Hester and Nick Seymour. Later band members included Neil's brother Tim Finn and Americans Mark Hart and Matt Sherrod. Originally active from 1985 to 1996, the band have had consistent commercial and critical success in Australia and New Zealand[18][19][20] and international chart success in two phases, beginning with their self-titled debut album, Crowded House, which reached number twelve on the US Album Chart in 1987 and provided the Top Ten hits, Don't Dream It's Over and Something So Strong.[21][22] Further international success came in the UK and Europe with their third and fourth albums, Woodface and Together Alone and the compilation album Recurring Dream, which included the hits Fall at Your Feet, Weather with You, Distant Sun, Locked Out, Instinct and Not the Girl You Think You Are.[23][24] Queen Elizabeth II bestowed an OBE on both Neil and Tim Finn, in June 1993, for their contribution to the music of New Zealand.[25]
New Zealand's top-selling pop song of all time was How Bizarre by OMC. The song went to number one in New Zealand, Australia, Canada, Ireland, South Africa and Austria. It spent 36 weeks on the United States Billboard's Hot 100 airplay charts, peaking at number 4. It reached number five in the United Kingdom, and it made the Top 10 in Portugal and Israel.[26]
In 2008, folk parody duo Flight of the Conchords found international success with their eponymous album. The album debuted at number three on the U.S. Billboard 200 chart, selling about 52,000 copies in its first week. In New Zealand, the album debuted at number two and rose to the number one spot the next week. The album was certified 2x Platinum in New Zealand on 23 August 2009, selling over 30,000 copies.[26]
Radio Airplay[edit]
Despite the vitality of New Zealand bands in the pub scene, for many years commercial radio was reluctant to play locally produced material. By 1995 only 1.6% of all songs played on commercial radio stations were of New Zealand origin.[27] Many New Zealanders felt that a quota system was needed to compel radio stations to play more New Zealand music and in 1997 a government Kiwi Music Action Group was formed to promote this goal. The group initiated New Zealand Music Week to encourage radio to play more New Zealand music. In 2000, this morphed into New Zealand Music Month. Since then, local music content on commercial radio has slowly increased.[28]
Progress was slow, however, and the government threatened to impose a compulsory New Zealand music quota on radio stations. In order to avoid being forced to play a certain percentage,[29] the radio industry voluntarily adopted a 10 percent target which was achieved in 2000. By 2005 New Zealand content averaged between 19 and 20 percent.[28]
Rock/Alternative/Indie[edit]
Kiwi rock is a term used informally to describe New Zealand rock music and the culture surrounding rock music in New Zealand.
A strong rock scene developed in New Zealand in the 1960s. The more famous bands included The La De Das, Ray Columbus & The Invaders, and The Fourmyula. The first rock'n'roll hit by a New Zealander was Johnny Devlin's hit Lawdy Miss Clawdy, which sold 100,000 copies in 1959-60.
Some of the more influential bands in the 1970s were Th'Dudes (whose guitarist Dave Dobbyn formed DD Smash in the 1980s), Dragon, Hello Sailor and Split Enz, fronted by Tim Finn, and later, his brother Neil Finn, who went on to form Crowded House.
Independent music in New Zealand began in the latter half of the 1970s, with the development of a local punk rock scene.[30] Bands of note included The Scavengers, the Suburban Reptiles, Proud Scum and Nocturnal Projections. One of the most important New Zealand punk bands 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.
The 1980s saw the emergence of independent labels like Propeller Records in Auckland and the Flying Nun record label in Christchurch which were highly influential in the development of modern New Zealand rock music. 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 which championed the Dunedin Sound. During the early 1980s the label's distinctive jangle-pop sound was established by bands such as The Chills, The Verlaines, The Dead C, Sneaky Feelings, The Bats and The Jean-Paul Sartre Experience.
Formed in Dunedin in 1986, The Dead C had an experimental, lo-fi guitar and soundscape-oriented take on rock music. The band became known internationally through their releases on the Philadelphia record label Siltbreeze, especially the 1992 double LP Harsh 70s Reality.[31]
Rock band Shihad was formed by vocalist/guitarist Jon Toogood and drummer Tom Larkin in 1988. The band's musical style was originally indebted to San Francisco Bay Area thrash metal bands such as Metallica and Megadeth, although the band found wider popularity over the following decade playing a mixture of modern rock, post-grunge and pop-rock. With the release of their seventh studio album Beautiful Machine, Shihad ranked first equal for most Top 40 charting singles for a New Zealand artist in the New Zealand charts, with 19.[32]
New independent labels developed in the 1990s, including IMD and Arclife in Dunedin, Failsafe Records and She'll Be Right Records in Christchurch, Capital Recordings, Stink Magnetic and Loop in Wellington, and Arch Hill Recordings, Lil' Chief Records and Powertool Records in Auckland.
A new alternative pop sound is typified by the likes of The Brunettes, Goldenhorse, The Phoenix Foundation, and Lawrence Arabia. A Low Hum has had a big influence bringing new artists to the attention of alternative music fans in New Zealand by putting on nationwide tours and a music festival, Camp A Low Hum, selling fanzine style booklets with free CDs, and releasing artists like The Enright House and Disasteradio on its label.
Independent music in New Zealand has mainly been supported by student radio stations such as bFM, and RDU, and fanzines like Opprobium and Clinton.
Hip hop[edit]
The genesis of New Zealand hip hop began with the rise of the hip hop culture in the United States.
Many of New Zealand's first hip hop performers, such as Dalvanius Prime, whose Poi E was a major hit, were Māori. Poi E had no rapping, but marked a shift from reggae and funk favoured by 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.
The first major New Zealand hip hop hit was Hip Hop Holiday by 3 The Hard Way. Sampling the song Dreadlock Holiday by 10CC, it went to number one for several weeks in 1993 and was also an Australian hit.
In the 1990s, the New Zealand hip hop scene grew with the added input of Pacific Island musicians, creating a local variant style known as Urban Pasifika, a term first coined by producer Alan Jansson for the influential Proud collection in 1994. That compilation, featuring Sisters Underground and OMC, helped set the stage for the next decade of New Zealand hip hop. 'Protest' content was still present, but lyrical and musical emphasis had largely evolved into a more chart-friendly sound.
In 2005, Savage, a New Zealand Samoan hip hop artist, had back-to-back number one hits with Swing and Moonshine, the latter featuring US artist Akon. Swing was used in the 2007 film Knocked Up and sold more than 1.8 million copies in the United States, making it almost double platinum. The song also appeared on the US compilation Now That's What I Call Music! 29.
Roots/Reggae/Dub[edit]
Formed in 1979, Herbs are a New Zealand reggae vocal group and the 11th inductee into the New Zealand Music Hall of Fame. In 1986, the song Slice of Heaven with Dave Dobbyn reached number one on both the New Zealand and Australian charts. In 1989, Tim Finn joined them for the Parihaka festival and, in 1992, Annie Crummer fronted the hit single See What Love Can Do. Herbs are considered pioneers of the Pacific reggae sound, having paved the way for contemporary New Zealand reggae groups such as Breaks Co-op, Fat Freddy's Drop, Katchafire, Kora, The Black Seeds, and Trinity Roots.
Electronica[edit]
The earliest electronica in New Zealand came out of Auckland and Wellington in the early 1980s. Wellington's The Body Electric produced a hit called Pulsing which spent four months in the national Top 50.
The explosion of the club scene in Auckland in the era led to a surge in the recording related recording activity, and in 1988 Propeller Records released New Zealand's first House record, Jam This Record. Much of the activity during this era centred around Reaction Records and Pagan Records. The compilation, We'll Do Our Best, on Propeller Records was an early sampler of this. The most prominent act during this period was The Car Crash Set, which released several singles and an album in the mid-1980s.
There were sporadic recordings over the next few years: notably the work of Joost Langeveld, Angus McNaughton, and DLT. The Future Jazz scene (the term was first coined in Auckland in the early 1990s) developed in Auckland around the Cause Celebre nightclub and the work of Nathan Haines, with two notable early releases including Freebass Live At Cause Celebre and Haines' Shift Left.
Drum and bass[edit]
Drum and bass became popular in New Zealand during the 1980s. With support from British acts and local pioneers like Riddle, Geoff Presha, and Jay Bulletproof, drum and bass clubs like Herzog, The Box, and Fu in Auckland soon attracted a dedicated following.
The drum and bass scene in New Zealand was supported by the now defunct Real Groove magazine, and grew in popularity with outdoor New Year's Eve festivals such as Alpine Unity and Phat.
In the late nineties a number of independent labels began releasing electronica, including Chris Chetland's Kog Transmissions, Simon Flower's Nurture Records, Loop Recordings, and, importantly, Joost Langeveld's Reliable Records. Other artists, like Roger Perry, Soane, Greg Churchill, Stephen Hill, and Rob Salmon have found success with offshore labels.
Salmonella Dub, Concord Dawn, Tiki Taane, Shapeshifter, Pitch Black, Bulletproof, and Optimus Gryme have all had international success.
Blues[edit]
The history of blues in New Zealand dates from the 1960s. The earliest blues influences on New Zealand musicians originated with white British blues musicians like The Animals and The Rolling Stones, and later the blues-tinged rock of groups such as Led Zeppelin. The first American blues artist to make a big impact in New Zealand was Stevie Ray Vaughan in the early 1980s. Other blues-related genres such as soul and gospel almost completely by-passed New Zealand audiences, except for a handful of hits from cross-over artists such as Ray Charles. While New Zealand does not have its own blues style, it does have some fine blues musicians.
Heavy metal[edit]
New Zealand has several well-known heavy metal bands including Blindspott, 8 Foot Sativa, In Dread Response, Dawn of Azazel, Sinate, Beastwars, Ulcerate and The Datsuns, with most metal bands playing death metal. Wellington Black Metal band Demoniac was among the first to receive international recognition, releasing three albums on the French Evil Omen and Osmose labels. The band eventually relocated to the United Kingdom where guitarists Herman Li and Sam Totman went on to form the popular power metal band DragonForce.
More recently Ulcerate, who are signed to high profile US label Relapse Records have received wide international recognition for their blending of brutal death metal with post-rock influences.[33]
In recent years, a distinct trend has emerged amongst New Zealand's death metal scene of a deliberately old-school, raw "war metal" sound coupled with aggressive, militaristic lyrics and images, typified by bands such as Dawn of Azazel, Vassafor and Diocletian, all of whom have received attention within the international underground.
Darkwave/Gothic/Industrial[edit]
New Zealand has maintained a small dark music scene which dates back to the 1970s and 1980s via iconoclastic bands such as Nocturnal Projections, Children's Hour, Fetus Productions, The Skeptics, Hieronymus Bosch and Winterland. New Zealand darkwave bands such as N.U.T.E, Dr Kevorkian & the Suicide Machine and The Mercy Cage enjoy international acclaim.
The dark scene in New Zealand supported itself via various self-funded groups such as Circadian Rhythms and Club Bizarre, both of which are now defunct. They organised events to promote dark arts, music and fashion. Most New Zealand dark releases are independent, self-funded or funded by the various support networks of artists and musicians, and following the closing of the last of the darkwave/gothic/industrial clubs in 2008, there are no longer regularly-scheduled scene nights in any city in the country. Although in recent years Creative New Zealand (New Zealand's Arts Council) has shown support of some darkwave-experimental artists such as Jordan Reyne, the genre remains largely unacknowledged by the local music industry and many of the bands and musicians survive on overseas sales via internet and wider-reaching darkwave fan networks.
European folk music[edit]
Brass bands[edit]
New Zealand has a proud history of brass bands, with regular provincial contests. The New Zealand National Band has earned international accolades.
The Band Of The Royal Regiment Of New Zealand Artillery is a military brass band based in Auckland. It is a Territorial (part-time) Sub Unit of the New Zealand Army and its members are all New Zealand Defence Force personnel. It represents the New Zealand Army at military functions and celebrates its 150th anniversary in 2014.
Highland pipe bands[edit]
New Zealand is said to have more pipebands per person than Scotland;[34] historical links are maintained by Caledonian Societies throughout the country.
Classical/Art music[edit]
The formal traditions of European classical music took a long time to develop in New Zealand, due to its geographical isolation. Composers such as Alfred Hill were educated in Europe and brought late Romantic Music traditions to New Zealand. He attempted to graft them on to New Zealand themes with one notable success, the popular "Waiata Poi". However, before 1960 New Zealand did not have a distinct classical style of its own, having "a tendency to over-criticize home-produced goods".[35]
Douglas Lilburn, working predominantly in the third quarter of the 20th century, is often credited with being the first composer to compose with a truly New Zealand voice and gain international recognition for it. Lilburn's Second Piano Sonatina was described as "a work which seems to draw on the best of Lilburn's past...specially suited to New Zealand."[36] He also pioneered electronic music. Lilburn and other composers working during the late 1950s and 60s, including Edwin Carr, developed a new direction in New Zealand music that was distinctly separate from its influences.[13]
With significant acceleration New Zealanders have found their own style and place, with composers such as John Cousins, David Farquhar, Jenny McLeod, Jack Body, Gillian Whitehead, Anthony Ritchie, Martin Lodge, and Ross Harris leading the way.
Diverse musical currents in the world from the European avant-garde to American minimalism have influenced particular New Zealand composers to varying degrees. 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, Philip Dadson and composer co-operative Plan9 among them. The latter provided much of the ambient music used in 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 2004 Summer Olympics. 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 twelve-month Composer-in-Residence positions available in New Zealand, notably with the Auckland Philharmonia Orchestra and at the University of Otago (Mozart Fellowship).
Orchestras and chamber music[edit]
The New Zealand Symphony Orchestra is New Zealand's national orchestra and is funded by the Ministry for Culture and Heritage. The Auckland Philharmonia Orchestra is New Zealand's second professional orchestra. There are also a number of semi-professional regional orchestras presenting their own concert series each year. These include the Opus Chamber Orchestra in Hamilton, the Vector Wellington Orchestra, the Christchurch Symphony Orchestra (CSO) and the Southern Sinfonia in Dunedin.
The New Zealand String Quartet and the NZTrio both perform locally and internationally. The NZTrio specialises in contemporary art music.
Choirs[edit]
New Zealand has a strong choral tradition. The Anglican cathedrals in Auckland, Wellington and Christchurch have choirs of a high standard and there are also a number of secular New Zealand choirs including the New Zealand Youth Choir, Voices New Zealand Chamber Choir, City of Dunedin Choir, Auckland Choral Society and Christchurch City Choir. Many of these choirs perform around New Zealand and compete against other choirs internationally.
Opera[edit]
New Zealand has produced a number of internationally famous opera singers, including Dame Kiri Te Kanawa, Sir Donald McIntyre, Simon O'Neill, Jonathan Lemalu, Teddy Tahu Rhodes, Anna Leese, and Dame Malvina Major.
New Zealand Opera is the country's sole professional opera company. The company stages up to three operas a year in Auckland and Wellington and features international as well as New Zealand soloists.
Soloists[edit]
Prominent New Zealand musicians performing internationally include pianists Michael Houstoun, Jeffrey Grice, John Chen, and singer Hayley Westenra.
Musical theatre[edit]
The most well-known musical theatre production written by a New Zealander is the Rocky Horror Show musical, written by Richard O'Brien, and first performed on stage in London during 1973.[37]
See also[edit]
- New Zealand music festivals
- New Zealand Music Awards
- Nature's Best, a two-disc compilation album of thirty New Zealand popular music songs
- List of bands from New Zealand
References[edit]
- ^ McLintock, Alexander, ed. (April 2009) [originally published in 1966]. "Music: General History". from An Encyclopaedia of New Zealand. Te Ara – the Encyclopedia of New Zealand. Retrieved 15 February 2011.
- ^ McLintock, Alexander, ed. (April 2009) [originally published in 1966]. "Music: Brass Bands". from An Encyclopaedia of New Zealand. Te Ara – the Encyclopedia of New Zealand. Retrieved 14 April 2011.
- ^ McLintock, Alexander, ed. (April 2009) [originally published in 1966]. "Music: Pipe Bands". from An Encyclopaedia of New Zealand. Te Ara – the Encyclopedia of New Zealand. Retrieved 14 April 2011.
- ^ a b Swarbrick, Nancy (June 2010). "Creative life – Music". Te Ara – the Encyclopedia of New Zealand. Retrieved 21 January 2011.
- ^ "About RIANZ – Introduction". Recording Industry Association of New Zealand. Retrieved 23 January 2012.
- ^ "History – celebrating our music since 1965". Recording Industry Association of New Zealand. 2008. Retrieved 23 January 2012.
- ^ McLintock, Alexander, ed. (April 2009) [originally published in 1966]. "Maori Music". from An Encyclopaedia of New Zealand. Te Ara – the Encyclopedia of New Zealand. Retrieved 15 February 2011.
- ^ McLintock, Alexander, ed. (April 2009) [originally published in 1966]. "Musical Instruments". from An Encyclopaedia of New Zealand. Te Ara – the Encyclopedia of New Zealand. Retrieved 16 February 2011.
- ^ "Te Papa: National Museum of New Zealand: Online Resources - Taonga Puoro".
- ^ Linkels, Ad (2000). "The real music of paradise". In Broughton, S., & Ellingham, M. (eds.), World music, vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 218–229. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0.
- ^ New Zealand in Brief, Story: Creative life
- ^ Swarbrick, Nancy (June 2010). "Creative life – Performing arts". Te Ara – the Encyclopedia of New Zealand. Retrieved 21 January 2011.
- ^ a b Southgate, William (September 1977). "Current Developments in New Zealand music". Composers Association of New Zealand newsletter: 25–27.
- ^ http://folksong.org.nz/bluesmoke/index.html
- ^ http://www.johnbishop.co.nz/articles/blue-smoke-remembered-first-nz-pop-song
- ^ Kiwi music shows on TV - Timeline
- ^ http://www.nzhistory.net.nz/media/photo/sandy-edmonds-kiwi-paris-hilton
- ^ Kent, David (1993). Australian Chart Book 1970–1992. St Ives, New South Wales: Australian Chart Book Ltd. ISBN 0-646-11917-6. (NOTE: Used for Australian Singles and Albums charts from 1974 until ARIA created their own charts in mid-1988. In 1992, Kent back calculated chart positions for 1970–1974)
- ^ "Discography Crowded House" australiancharts.com
- ^ "Discography Crowded House" charts.org.nz
- ^ "Crowded House > Charts & Awards > Billboard Singles" Allmusic
- ^ "Crowded House > Charts & Awards > Billboard Albums" Allmusic
- ^ Bourke (1997)
- ^ "Artists > Crowded House" Chart Stats
- ^ Hunkin, Joanna (3 May 2007). "Finn 'sick' of PM grabbing music glory". The New Zealand Herald. Retrieved 26 September 2011.
- ^ a b "How bizarre (Ministry for Culture and Heritage)". 30-Aug-2012. Retrieved 14-November-2012.
- ^ New Zealand history online
- ^ a b Brendan Smyth, Music Manager at NZ On Air, on New Zealand Music Month Salient May 2011
- ^ New Zealand music quota for radio
- ^ Churton, Wade Ronald (1999, 2001). Have You Checked The Children? Punk and Postpunk Music in New Zealand, 1977–1981 Christchurch, New Zealand: Put Your Foot Down Publishing. ISBN 0-473-06196-1
- ^ "THE DEAD C - JON DALE". Retrieved 14 November 2012.
- ^ "Chartbitz | June 8, 2008 - RadioScope New Zealand". Radioscope.net.nz. 10 June 2008. Retrieved 15 July 2011.
- ^ Pitchfork.com The Top 40 Metal Albums of 2011
- ^ "Piping up a storm Down Under", March 2000, BBC
- ^ Sell, David (Spring 1962). "The Composer in New Zealand". Composer (9): 21.
- ^ Platt, Peter (1963). Composer (12).
- ^ http://www.guardian.co.uk/stage/2013/mar/04/how-we-made-rocky-horror
External links[edit]
- SOUNZ – Centre for New Zealand Music.
- RIANZ – New Zealand's official weekly singles and albums chart.
- CMNZ – Chamber Music New Zealand
- New Zealand Choirs - New Zealand Festival Singers
- NZCF - New Zealand Choral Federation
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