Week 6: Growing confidence and diversity (1980-present)

Question 1

Reason for protests of the 1981 Springbok rugby tour of New Zealand

Answer 1

Racial screening of players

Question 2

Details about Resurgences

Answer 2

Gillian Whitehead (1989), uses maths in music structure to make organized chaos, inspired by geothermal activity, believed in influence of geography/location on a person

Question 3

What young composers were told in the 1980s

Answer 3

Tonality had ended, total serialism is the way

Question 4

Started using the new musical language of transcription

Answer 4

Jack Body

Question 5

The act of recording folk music or ethnic music, transcribing it, and re-orchestrating it for Western instruments

Answer 5

Transcription

Question 6

Details about Ruaumoko

Answer 6

Gareth Farr (1997), 4 movements represents seasons with earthquakes in between, different seasons have different musical styles, eclectic!

Question 7

Details about View From Olympus

Answer 7

John Psathas (2001), uses distinctive Greek folk music scale, high energy, very difficult to play

Question 8

Represents shift towards eclecticism in New Zealand music

Answer 8

Farr, Psathas, 1990s

Question 9

Representative of the eclecticism of the 1990s

Answer 9

Free tonality, dissonance, modality, references to other cultures

Question 10

The biggest difference between New Zealand music and other music

Answer 10

Attitudinal difference! Don’t feel the burden of tradition, willing to try anything, DIY attitude - band together to get music played

Question 11

Characteristics of New Zealand music

Answer 11

Tendency towards simplicity as a reaction against European complexity/atonality (“land of C major”), reference elements from natural environment (birds, landscape, weather, earthquakes), multicultural