The article examines ‘Rerenga’, a ten-minute work for taonga puoro, live electronics and orchestra, exploring its materiality-informed sonic design, ‘unreproducibility’, tikanga-informed aesthetics and a compositional shift from Western concerto conflict towards symbiosis, alongside reflections on irirangi, notation and the composer’s own creative tensions within a cross-cultural space.
The article analyses Jenny McLeod’s Tone Clock Pieces I–VII, showing how her development of Peter Schat’s tone-clock theory extends pitch-class set theory into a perceptually coherent, interval-economical chromatic language that shapes harmony, form and musical character across the cycle.
This article argues that Douglas Lilburn’s evolving harmonic language, from his early English folksong-inspired modality through to his 1960s experimental electronic works, is unified by a concern with harmonic stratification, the superimposition of registrally distinct, internally tonal layers whose conflicting logics generate an expressive ‘frisson’. It traces its roots and introduces a framework for the different kinds of stratification encountered.
The article explores the mathematical and algorithmic underpinning of tone-clock theory, especially the concept of ‘12-tone steering’, where a pitch-class set is transposed and inverted to create all twelve notes once and once only. It also shows how we might generalise this beyond 12-TET.