This account of an ethnomusicologist's experience conducting fieldwork offers a glimpse into the life of New Zealand's Maori people through his documentation of traditional songs. The audio recordings included span 1958 through 1979, a time when many of the culture's traditions were fading. Sensitive writing and attention to the challenges of anthropological fieldwork shed light on postcolonialism in New Zealand and its effects on Maori and Polynesian cultures and the continuance of traditional music.

Vols. for 1892-1941 contain the transactions and proceedings of the society.

This account of Maori traditions, dictated by elders in the 1850s, was published with an English translation in 1913-15.

Tatau is a beautifully designed and richly illustrated retelling of the unique and powerful history of Sāmoan tattooing, from 3,000 years ago to modern practices. The Sāmoan Islands are virtually unique in that tattooing has been continuously practiced with indigenous techniques: the full male tattoo, the pe‘a, has evolved in subtle ways in its design since the nineteenth century, but remains as elaborate, meaningful, and powerful as it ever was. This cultural history is the first publication to examine Sāmoan tatau from its earliest beginnings. Through a chronology rich with people, encounters, and events it describes how Sāmoan tattooing has been shaped by local and external forces of change over many centuries. It argues that Sāmoan tatau has a long history of relevance both within and beyond Sāmoa, and a more complicated history than is currently presented in the literature. It is richly illustrated with historical images of nineteenth- and twentieth-century Sāmoan tattooing, contemporary tattooing, diagrams of tattoo designs and motifs, and with supplementary photographs such as posters, ephemera, film stills, and artefacts.

Known affectionately as "The Red Book," Bruno Nettl's The Study of Ethnomusicology became a classic upon its original publication in 1983. Scholars and students alike have hailed it not just for its insights but for a disarming, witty style able to engage and entertain even casual readers while providing essential grounding in the field. In this third edition, Nettl revises the text throughout, adding new chapters and discussions that take into account recent developments across the field and reflecting on how his thinking has changed or even reversed itself during his sixty-year career. An updated bibliography rounds out the volume. A classroom perennial and a must-have for any scholar's bookshelf, the third edition of The Study of Ethnomusicology introduces Nettl's thought to a new generation.

Centring the voices of Indigenous scholars at the intersection of music and education, this co-edited volume contributes to debates about current colonising music education research and practices, and offers alternative decolonising approaches that support music education imbued with Indigenous perspectives. This unique collection is far-ranging, with contributions from Chile, New Zealand, Australia, Canada, Malaysia, India, South Africa, Kenya, and Finland. The authors interrogate and theorise research methodologies, curricula, and practices related to the learning and teaching of music. Providing a meeting place for Indigenous voices and viewpoints from around the globe, this book highlights the imperative that Indigenisation must be Indigenous-led. The book promotes Indigenous scholars’ reconceptualisations of how music education is researched and practised, with an emphasis on the application of decolonial ways of being. The authors provocatively demonstrate the value of power-sharing and eroding the gaze of non-Indigenous populations. Pushing far beyond the concepts of Western aesthetics and world music, this vital collection of scholarship presents music in education as a social and political action, and shows how to enact Indigenising and decolonising practices in a wide range of music education contexts.