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• Whitehead: Aria from Outrageous Fortune; computer set 

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• Whitehead: "Aria" from Outrageous Fortune; computer-set 

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• Tuhonohono: Music by Gillian Whitehead 

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• Tuhonohono 

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In the tradition of the Maori, the indigenous people of New Zealand, Hine Raukatauri is the goddess of music and dance. She is embodied in the form of the female case-moth, who hangs in the bushes and sings in a pure, high voice to attract the male moths to her. Her hair is found as a fern, the hanging spleenwort, and her voice is heard in the sound of the putorino, an instrument known only in Aotearoa (the Maori name for New Zealand). The putorino is an instrument that can be played in various ways – as a flute, as a trumpet and as a means of enhancing or altering the human voice.

Hineraukatauri is written for two performers, one playing conventional flutes (piccolo, C and alto flutes), and the other for taonga puoro (instruments). The score features three different putorino, which, like all taonga puoro, (and also the songs and chants) have a small pitch range, rarely exceeding a fourth, which varies from instrument to instrument. Three putorino are used in this piece – one made of albatross bone and two of wood, and both the flute and trumpet voices are used. Other instruments used are a karanga manu (bird-caller), a purerehua (swung bull-roarer) and tumutumu (tapped instruments.)

The flute player’s part is notated, but the music for the taonga puoro is improvised; there are areas when the flute player is encouraged to improvise with the taonga.

• Whitehead: Hineraukatauri; facsimile 

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• Gillian Whitehead: Hineraukatauri; video 

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• Whitehead: Hineraukatauri 

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• NZIAF: Gillian Whitehead Portrait; part 1 

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• Tuhonohono: Music by Gillian Whitehead 

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• Tuhonohono 

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• Sound Barrier  Year: 2006 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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• Luca Manghi: Quays  Year: 2012 

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Hinetekakara is the ancestress of Aroha Yates-Smith, the kaikaranga (singer) who provided the idea and the text of this piece. Hinetekakara lived on the shores of Lake Rotorua with Ihenga, her husband or father, an eponymous ancestor of the Te Arawa people, when the land was still being settled after the arrival of the Te Arawa canoe from central Polynesia. The four cadenzas, for bassoon, alto flute, flute, cello and bassoon, and bassoon link improvised sections, in which all the instruments participate. The singer initially invokes, accompanied by putatara (conch shell trumpet), the spirit of Hinetekakara, then addresses rituals following the death of her future father-in-law (with putorino), and then the birth of her son (with pumotomoto, an instrument used to assist at child-birth). A voiceless improvisation on pupu harakeke (flax snail), an instrument presaging danger, is followed by Ihenga’s anguished lament as he finds the murdered body of Hinetekakara by the lake, by the place named for her, Ohinemutu, meaning the end of the woman. Finally, she is farewelled as her spirit returns to the afterworld.

• Whitehead: Hinetekakara; computer-set 

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• Whitehead: Hinetekakara; computer set 

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• Tuhonohono: Music by Gillian Whitehead 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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• Gillian Whitehead: Arapātiki CD  Year: 2012 

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Performed at the ‘Ang Ponarey Cambodia Fundraising Concert’, St Andrews on the Terrace, Wellington, 17 June 2006, by Ramonda Taleni and Richard Nunns

• Tuhonohono: Music by Gillian Whitehead 

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• Whitehead: The Journey of Mataku Moana; computer-set 

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• Under the Southern Cross: works for cello 

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• Australian Cello  

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• Tuhonohono: Music by Gillian Whitehead 

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