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• Jack Body: Vox Populi/ Bamboo Music 

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• New Directions in New Zealand Music  Year: 1979 

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• New Zealand Electronic Music 

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• New Zealand Electronic Music 

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This work could also be performed as Duo for Soprano and Cello.

• Duet for Soprano and Cello; facsimile 

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• Besser: Duet for Soprano and Cello; facsimile 

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• Jonathan Besser: Duet for Soprano and Cello 

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• Jonathan Besser: Duet for Soprano and Cello 

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• Blake: Ribbonwood is Home-Series 1; facsimile 

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• Christopher Blake: Ribbonwood is Home  Year: 1998 

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Salm, the Gaelic word for ‘psalm’, is a two movement work based on the psalm singing tradition found most commonly in the Western Isles of Scotland. This work for full orchestra won the Ian Whyte Award in 1978

• Cresswell: Salm; facsimile  Year: 1988 

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• Lyell Cresswell: Orchestral Music 2  Year: 1992 

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• Ronald Tremain: Seven Medieval Lyrics (excerpts) 

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• Tremain: Seven Medieval Lyrics; cassette  Year: 1974 

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• Edwin Carr: The Snowmaiden; computer-set 

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• Music by Edwin Carr  Year: 1978 

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• New Zealand Composers  Year: 1995 

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• Carr: The Twelve Signs; facsimile 

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• New Zealand Music for Creative Dance (Volume Two) 

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• Edwin Carr: Orchestral Music  Year: 1995 

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This work was originally created in 1970 as a music theatre piece incorporating live and taped sounds and actions evocative of ancient erotic rituals, traces of which, I believe, still survive in the communal memory, dormant memories which may be evoked by sound. The score of that version was published in Source: Music of the Avant-Garde Issue No.9. I then made this second, longer version for tape alone.

Over a period of two years I assembled sounds which were, for me, highly sensuous. Rather than consciously working out a structure for them, I let the shape of Tiger Balm emerge on an unconscious level, letting the sounds arrange themselves, as if dreamed, and I found that they moved in a flowing transformation process. Very often a sound merges with its successor, blending together through shared characteristics which are frequently evocative of the tiger’s presence.

The sound used (a cat purring, a heartbeat, gongs, jews harps, a tiger, woman and plane) are all literal, and with the exception of speed change on the gongs and jews harp, none are modified. I find that the less I manipulate sounds, the stronger is their presence and their power for me. (Notes for the LP release on Opus One in 1981).

• Annea Lockwood: Tiger Balm 

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• Ruth Anderson: State of the Union Message 

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• Whitehead: Tirea; facsimile 

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• Whitehead: Tirea; facsimile 

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• Gillian Whitehead: selected works 

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