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This music for eleven silent films,including Treasures / Nga Taonga, for clarinet, cello, and piano, would be most suitable for chamber music groups, including secondary school performers.

• Buchanan: Film Music; facsimile 

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Hineputehue translates literally as the woman of the sound of the gourd, and she is the Maori goddess of peace. The work was written in 2001, at the time of President Bush’s State of the Union address shortly before the invasion of Afghanistan, and suggests the fragility rather than the celebration of peace, particularly in a pre-European environment.

A number of instruments used in Hineputehue are made of gourds – the gourd, which carried food and water, is a symbol of peace. These include the poi awiowhio, a very quiet bird lure which is swung around the head, the tiny koauau ponga ihu or noseflute which ends the piece, the hue puru hau, a large gourd which is blown across its top opening and the gourd rattles played by the quartet. Two other wind instruments frequently made from gourds, the nguru and the ororuarangi, are also used. Other instruments are the putatara or conch shell trumpet, traditionally used for signalling, the pu kaea or war trumpet, a nguru niho paraoa or flute made from a whale’s tooth, the pumotomoto, associated with birth, and tumutumu (tapped percussion).

There is a similarity between the stringed instruments of the quartet and the gourds, in that they are made from plant material, with sound emitted through sound holes. Another link is the ku, the only stringed instrument known to Maori, which is a small musical bow played like a jaws harp (jews harp) using the mouth as a resonating chamber. The idea of ororuarangi, which can be translated as spirit voice (or double stopping in a different context) has had some influence on this piece as in the parallel movement of the strings.

• Whitehead: Hineputehue; computer-set 

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• Whitehead: Hineputehue; computer set 

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• Whitehead: Hineputehue; computer set 

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• NZIAF: Gillian Whitehead Portrait; part 2 

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• Whitehead: Bright Silence  Year: 2002 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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Hineteiwaiwa is a wahine atua – a Maori goddess – the exemplary wife and mother who provided the pattern that all women follow. She assists at the entrances into and the exits from the world, with rituals concerned with tattooing of the lips prior to marriage, with the raising of tapu, and she is credited by some iwi with the introduction of weaving into the culture. Generally, she supports the role of women in traditional society. Hineteiwaiwa was written at the time that Tungia Baker, herself an exemplary wahine toa, or woman of strength, was dying, and is dedicated to her memory. In the improvisatory sections, which are guided and shaped by the taonga puoro player, there are few indications in the score. Generally, the improvisations involve the percussionist. Maori texts, devised and sung by the Kaikaranga, may be integrated into these sections. Also embedded in the improvisatory sections of the piece is a separate vocal composition by Aroha Yates-Smith, woven around the attributes and quality of Hineteiwaiwa.

• Whitehead: Hineteiwaiwa; computer set 

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• Whitehead: Hineteiwaiwa; computer-set 

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• Whitehead: Hineteiwaiwa; computer-set 

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This children’s dance theatre work choreographed by Rangimoana Taylor is based on taniwha (sea-monsters) Whataitai and Ngake, a traditional Maori legend from the Wellington region.

• Helen Fisher: Works 1  Year: 1992 

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• Whitehead: the Children of Rangi and Papa; facsimile 

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• Whitehead: The Children of Rangi and Papa; facsimile 

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• Alfred Hill: Three Works for Piano Quartet  Year: 2002 

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