ANDERSEN.—-An Introduction to Maori Music. 151 
The term waiata refers more to so with some modulation, some 
g 
The term tau in part covers the same ground аз waiata, but it in part 
covers the same ground as karakia also, since it includes songs with 
that the singer, if in doubt as to what to call the song about to be sung, 
very often said “ He tau” (“а ѓам”). 
term haka includes songs with action, and these may be either 
These f 
should apparently include them in one or other of these may have quite 
another name: thus, pihe and kaha are both dirges or laments, or waiata 
tangi; hari is a song with dance; perwperu a war-song accompanied by 
subordinate, there was yet a class called rangi (rangi meaning an air or 
: j j to the putorino; rangi 
koauau, songs sung to the koauau ; rangi pakuru, songs sung whilst the 
kuru, a slender rod held between the teeth, was struck with a smaller 
rod; ngari porotiti, songs sung while twirling the porotiti or kororohu, the 
hizgig; ngari titi-touretua, songs sung for e-giving whilst playing 
the game titi-touretua, where sticks are thrown from player to player. In 
the last two the word rangi has been transposed to ngari. When sung 
to an instrument, voice and instrument were always In unison, that 
; koauau would be a song whose melody would be accompanied 
At Rotorua, during the time previous to the arrival of His Royal 
Highness the Prince of Wales, in April, 1920, the songs most commonly 
heard were tau, of the sub-class tau marae, or songs sung in the common 
meeting-ground, the marae. These were heard every time a new party 
of Maori arrived at the encampment, and every party had its own 
rticular tau, sed for the occasion. 
On аен puro the procedure was usually the same, though the 
people sat on the marae, the visitors advancing 
{ the local people an armed man ran out alone 
slowly. From the ranks of t р йч Brie ia challenge. 
by one of the visitors, who, similarly 
