Abstract:
Since the 1960s New Zealand composers have shown an interest in working native birdsong into their music. This thesis examines a selection of eight works by eight New Zealand composers in order to investigate the why and how of their birdsong use. The works are considered in the wider context of the history of Western art music and 20th Century developments in particular. The methodological approach is primarily interview based, but also involves documentary research, particularly in the consideration of the work of Douglas Lilburn. Each of the works is subjected to a descriptive analysis. In addition, a number of other works are discussed in less detail. Included in the study is an electroacoustic work of the author, entitled Kokako Triptych, which is an original work composed with a full knowledge of these New Zealand compositions. It is accompanied by an explanatory account of its composition.
