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The beginnings and development of a New Zealand music: The life ...

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26<br />

1<br />

PREAMBLE<br />

<strong>The</strong> society into which Douglas Lilburn was born was not one that<br />

would encourage, nor even be able to develop, the idea <strong>of</strong> composition as<br />

a pr<strong>of</strong>ession.<br />

In matters <strong>of</strong> art, letters <strong>and</strong> <strong>music</strong>, <strong>New</strong> Zeal<strong>and</strong>, in the<br />

first decades <strong>of</strong> the twentieth century, was still very much the young<br />

British colony. Attitudes <strong>and</strong> tastes that had developed in the<br />

pioneering years <strong>of</strong> the nineteenth century prevailed. 1<br />

Music, in the main, was equated with entertainment.<br />

<strong>The</strong> concept<br />

<strong>of</strong> concert <strong>music</strong> for art's sake had yet to find full acceptance in a<br />

community that historically had looked to <strong>music</strong> to provide relaxation,<br />

rather than enrichment, after a day's hard manual labour.<br />

had wanted sensual, not intellectual recreation.<br />

<strong>The</strong> pioneer<br />

This not surprising preference accounts for the unsurpassed<br />

interest in that least abstract <strong>of</strong> all <strong>music</strong> forms, light opera.<br />

was a popular medium that had dominated colonial <strong>music</strong>al <strong>life</strong> from as<br />

This<br />

early as the 1860s through to the second decade <strong>of</strong> the twentieth century.<br />

Amateur operatic societies had pro<strong>life</strong>rated, <strong>and</strong> a spate <strong>of</strong> overseas<br />

opera companies had toured the country during this 'Golden Era' <strong>of</strong> <strong>New</strong><br />

Zeal<strong>and</strong> entertainment. 2<br />

For accounts <strong>of</strong> the early histories <strong>of</strong> <strong>music</strong>al activity in Auckl<strong>and</strong>,<br />

Wellington, Christchurch <strong>and</strong> Dunedin respectively, see:<br />

i) ANNABELL, Angela Ruth. Music in Auckl<strong>and</strong> 1840-55; with<br />

reference to aspects <strong>of</strong> <strong>music</strong> in the Bay <strong>of</strong> Isl<strong>and</strong>s area both<br />

before <strong>and</strong> after 1840. Unpublished MA thesis, University <strong>of</strong><br />

Auckl<strong>and</strong>, 1968 •<br />

.... H) MORIARTY, J .M. Wellington I s <strong>music</strong> in the first half century <strong>of</strong><br />

settlement: a particular aspect <strong>of</strong> Victorian <strong>New</strong> Zeal<strong>and</strong>.<br />

Unpublished MA thesis, Victoria Universi~y <strong>of</strong> Wellington, 1967.<br />

iii) WATSON, Helen M. Music in Christchurch. Unpublished MA thesis,<br />

Canterbury University College, 1948.<br />

lv) PEARSON, Ethel. <strong>The</strong> history <strong>of</strong> <strong>music</strong> in DUnedin to 1925.<br />

MA thesis, Otago University College, 1941. Published as<br />

CAMPBELL, Margaret (pseud.), Music in Dunedin: An Historical<br />

Account <strong>of</strong> Dunedin's Musicians ·<strong>and</strong> Musical Societies from the<br />

Founding <strong>of</strong> the Province in 1848 Dunedin, Charles Begg, 1945.<br />

2 See HURST, Maurice. Music <strong>and</strong> the Stage in <strong>New</strong> Zeal<strong>and</strong>:. A Century <strong>of</strong><br />

Entertainment 1840-1943 Wellington, Charles Begg, 1944.

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