1 Mervyn McLean, “A New Method of Melodic Interval Analysis,” Ethnomusicology, X,. no. 2 (1966), 174–190.Google Scholar

2 Curt Sachs, The Wellsprings of Music (The Hague, 1962), p. 168.Google Scholar

3 Further characteristics of Maori chant style are outlined in two earlier papers by the author, “A Preliminary Analysis of 87 Maori Chants,” Ethnomusicology, VIII, no. 1 (1964), 41–48, and “The Music of Maori Chant,” Te Ao Hou, XLVII (1964), 36–39.Google Scholar

4 Throughout this paper, scale notes are referred to not in music notation but in terms of intervallic distance from the tonic. This is diagrammed in Example 1. Thus a scale with the notes A B C Dߕ, where C is the tonic, would be m3 m2 T m2.Google Scholar

5 McLean, “A New Method,” and Mervyn McLean, “Maori Chant,” Ph.D. thesis, University of Otago, New Zealand, 1965.Google Scholar

6 Four songs were somehow omitted from the song type analysis and one or two counting errors were evidently also made. Interval counts by song type therefore show slight discrepancies from those by tribe. The errors are not enough, however, to affect results seriously.Google Scholar

7 The alternative explanation that poi results might be influenced by those of Taranaki is not acceptable in view of earlier findings, on statistical grounds, that the contrary is true of interval preference (McLean, “Maori Chant,” p. 253).Google Scholar

8 Pentatonic is here used in its newly accepted sense of “five note.” The anhemitonic pentatonic with its characteristic omission of the third or fourth and seventh is foreign to Maori chant.Google Scholar

9 “Transient” is a term used by the author for notes whose duration is very short.Google Scholar

10 S. Percy Smith in “The Polynesians in Indonesia,” Journal of the Polynesian Society, XXX (1921), 19–27, gives as the opinion of “most Polynesian scholars” of this date that “the Polynesians are Caucasians, though with other racial mixtures, and are a branch of the Proto-Aryan race of India.” He also states that they left India in the fourth century B.C. and migrated into Polynesia via Indonesia, eventually reaching New Zealand about 925 a.d.Google Scholar

11 Arnold Bake, “The Music of India,” in Egon Wellesz, ed., Ancient and Oriental Music (Vol. I of New Oxford History of Music) (London, 1957), p. 200.Google Scholar

12 McLean, “Maori Chant,” pp. 328–331.Google Scholar

13 The evidence put forward by S. Percy Smith in a number of publications now seems very slender, and the same is true of the work of Tregear and Newman who were the other main supporters of the theory. Edward Tregear in The Aryan Maori (Wellington, 1885), and “The Maori in Asia,” Transactions of the New Zealand Institute, XVIII (1886), 3–24, claimed to have proved a connection between Maori and Aryan languages by comparison of vocabularies. His method was lampooned by A. S. Atkinson in an article called “The Aryo-Semitic Maori,” ibid., IXX (1887), 552–576. In this article Atkinson showed that the correspondences Tregear thought he had discovered were mere surface likenesses which philology and etymology would not support. Tregear attempted a reply to Atkinson's criticism (“The Aryo-Semitic Maori: A Reply to A. S. Atkinson,” ibid., XX (1888), 400–413); but later, according to an obituary in the Journal of the Polynesian Society, XL, 244–246, he came to see that his comparisons were unsound and attempted to withdraw his book. A. K. Newman's book, Who Are the Maoris? (Christchurch, New Zealand, 1913), offers much circumstantial evidence for the theory, but it is completely undocumented and cannot be taken seriously. Recent linguistic, archaeological, ethnographic, and other evidence points to links not with India but with Southeast Asia.Google Scholar

14 This being so, Western music — if it is relevant at all — may not have influenced the adoption of scale B so much as reinforced a trend that was already present.Google Scholar

15 Nancy Falkner, “Missions,” p. 573, in A. H. McLintock, ed., An Encyclopaedia of New Zealand, III, pp. 569–574. Most of the writer's information on missionary activity was gleaned from this source.Google Scholar

16 Herbert Williams, A Bibliography of Printed Maori to 1900 (Wellington, New Zealand, 1924), Item 5.Google Scholar

17 Ibid., Items 6 and 9.Google Scholar

18 Ibid., Item 31.Google Scholar

19 Ibid., Item 37.Google Scholar

20 Ibid., Item 38.Google Scholar

21 John Elder, ed., The Letters and Journals of Samuel Marsden (Dunedin, New Zealand, 1932), p. 93.Google Scholar

22 Ibid., p. 272.Google Scholar

23 Ibid., pp. 345, 353.Google Scholar

24 William Yate, An Account of New Zealand (London, 1835), p. 199.Google Scholar

25 Hugh Carleton, The Life of Henry Williams, Archdeacon of Waimate (Auckland, 1874), I, p. 150.Google Scholar

26 William Williams, Christianity among the New Zealanders (from 1808 to 1860) (London, 1867), p. 171.Google Scholar

27 Edward Markham, New Zealand or Recollections of It (Wellington, 1963), pp. 70–71.Google Scholar

28 William Brown, New Zealand and Its Aborigines (London, 1851), pp. 82–83.Google Scholar

29 William Williams, “Journal of William Williams, August 21st, 1825 to December 18th, 1855,” typescript (Auckland Institute and Museum Library, W72C), entries for February 3 and 5, 1840.Google Scholar

30 Edward Jenningham Wakefield, Adventures in New Zealand (1908) p. 354.Google Scholar

31 William Puckey, “Journals and Letters of the Rev. William Puckey, Missionary at Kaitaia 1831–1868,” typescript (Auckland Institute and Museum Library, MS 250), p. 188.Google Scholar

32 William Williams, “Journal,” p. 930.Google Scholar

33 James Buller, Forty Years in New Zealand (London, 1878), p. 330.Google Scholar

34 According to Percy Scholes in The Oxford Companion to Music, 9th ed. (London, 1955), p. 504, this hymn is listed in Julian's Dictionary of Hymnology as one of the most popular in 1892.Google Scholar

35 Sarah Selwyn, “Reminiscences 1809–67,” typescript (Auckland Institute and Museum Library, MS 273), IV, p. 66.Google Scholar

36 Ibid., p. 85.Google Scholar

37 Benjamin Y. Ashwell, “Letters and Journals of the Rev. Benjamin Y. Ashwell of Kaitotehe to the Church Missionary Society 1834–1869,” typescript (Auckland Institute and Museum Library, MS 9), I, p. 231.Google Scholar

38 F. H. Spencer, “Reminiscences of an Old New Zealander,” typescript (Auckland Institute and Museum Library, MS 285), p. 50. This notation is also mentioned by A. Hamilton in his Maori Art (Wellington, 1901), p. 384. He says: “A curious and rare book was published at the St. John's College Press, Auckland, called, A Book of Tunes for Hymns for Use of the Singing Classes at St. John's College. It was to serve as an introduction to the ordinary notation. The scale of C was taken as a standard, and notes were given for four part singing by means of numbers. The eight notes were thus designated: Ta Ru To Wha Ma No Tu Wa.” 1 2 3 4 5 6 7 8Google Scholar

39 Benjamin Y. Ashwell, “The Recollections of a Waikato Missionary,” in Frances Swabey, “The Biography of Elizabeth Colenso,” typescript (Auckland Institute and Museum Library, ms 75), pp. 7–8.Google Scholar

40 Richard Taylor, “Journal of the Rev. Richard Taylor,” typescript (Auckland Institute and Museum Library, MS 302), VII, pp. 166, 272.Google Scholar

41 A. H. Reed, ed., Further Maoriland Adventures of J. W. and E. Stack (Dunedin, New Zealand, 1938), p. 156.Google Scholar

42 William Bambridge, “Diary: November 6, 1842–December 2, 1842,” typescript (Auckland Institute and Museum Library, MS 483).Google Scholar

43 John Hobbs, “Diaries of John Hobbs,” typescript (Auckland Institute and Museum Library, MS 144), II, p. 167.Google Scholar

44 Ibid.Google Scholar

45 Ibid.Google Scholar

46 William Williams, “Journal,” p. 64.Google Scholar

47 William Barrett Marshall, A Personal Narrative of Two Visits to New Zealand in His Majesty's Ship Alligator, A.D. 1834 (London, 1836), pp. 45–46.Google Scholar

48 H. W. Tucker, Memoir of the Life and Episcopate of George Augustus Selwyn D.D. (London, 1879), I, pp. 132–133.Google Scholar

49 Ashwell, “Letters and Journals,” p. 232.Google Scholar

50 W. H. Lyon, “Holiday Notes 1873,” typescript (Auckland Institute and Museum Library), p. 35.Google Scholar

51 Taylor, “Journal,” II, p. 117.Google Scholar

52 Henry Williams, “Journal of Henry Williams,” typescript (Auckland Institute and Museum Library, W_72c), IV, p. 141.Google Scholar

53 Selwyn, “Reminiscences,” p. 59.Google Scholar

54 Alfred Nesbitt Brown, “Journal of the Rev. A. N. Brown,” typescript (Auckland Institute and Museum Library, MS 40), I, March 30–31, 1838.Google Scholar

55 Ibid., III, March 8, 1845.Google Scholar

56 Ibid.Google Scholar

57 Ibid., June 16, 1846.Google Scholar

58 Hobbs, “Diaries,” VII, p. 708.Google Scholar

59 Swabey, “Biography of Elizabeth Colenso,” p. 84.Google Scholar

60 John Whitely, “Journal of the Rev. John Whitely, Missionary to New Zealand 1832–1863,” typescript (Auckland Institute and Museum Library, MS 331), p. 141.Google Scholar

61 About one-fifth of the Maori scales examined by the writer did not have their finals on the tonic. Of these 48 percent had their final on the lower m2, as in the transcribed example.Google Scholar

62 Maori converts were used as teachers and lay clergy from earliest missionary times in New Zealand. Eugene Stock in The History of the Church Missionary Society in New Zealand (Wellington, 1935), p. 49, says the first Maori missionary to be ordained was Rota Waitoa in 1855. By the close of the century there were sixty-nine Maori ministers.Google Scholar

63 The same situation prevails in the Cook Islands today. On Aitutaki in the southern Cooks, for example, the older people sing hymns using a native polyphonic style called 'imene ('imene no te akamurianga, “hymns for worship”). The younger people sing so-called Sunday school hymns ('imene api'i Sabati) which have native texts but use European tunes. Some of the older girls are familiar with both styles and sing both with the Sunday school children and with the older people.Google Scholar

64 Eric Blom, ed., Grove's Dictionary of Music and Musicians, 6th ed. (London, 1954), p. 962.Google Scholar

65 Scholes, Oxford Companion to Music, pp. 34, 502.Google Scholar

66 Charles Baker, “Journal of Charles Baker, 1827–1867,” typescript (Auckland Institute and Museum Library, MS 22), IV and V.Google Scholar

67 Hobbs, “Diaries,” VII, p. 718.Google Scholar

68 Carleton, Life of Henry Williams, I, p. 150.Google Scholar

69 Arthur S. Thomson, The Story of New Zealand (London, 1859), I, p. 314.Google Scholar

70 The Greek mese and the Maori oro. Google Scholar