Abstract:
A single musical instrument, such as the cello, while maintaining its traditional role for orchestra and chamber groups, is constantly developing its musical function: moving into popular music and being moulded by the demands of composers and performance practice. This study charts the cello's changing character and its musical sound, function, and image in New Zealand through the literature, scores, recordings and opinions of New Zealand musicians: performers, composers, teachers, instrument makers and students.
The concept of a distinctive New Zealand sound and character is analysed throughout the thesis. The environment of the cellist in the country is traced over the past 150 years in the areas of professional opportunity, composition style, education standards, performance practice, popular music and local instrument making. The effects of rising standards and the worldwide influence in these areas with respect to reputation and the ability to earn a living from the profession are discussed.
It can be considered that a New Zealand national musical character is the constant evolution of musical practices, a collage of individual influences. The relatively short history since our colonisation and our internationally infused lifestyle has left very little time and distance to develop what could be considered something exclusively New Zealand. Any distinctive New Zealand performance traits are to do with its small-scale society with limited teaching and performance positions and the therefore disproportionate influence of new arrivals, the background Britishness and the matrix of characters and personality. Aspects of New Zealand composition, however, continue to remain exclusive to New Zealand. In the light of this evidence, a New Zealand voice should perhaps be considered to be a process rather than an absolute, a debate comprised of patterns in attitudes and perceptions.
