This article examines the reception of revivalism inspired by the work of Dwight Moody and Ira Sankey in the Wanganui-Manawatu region of New Zealand in the 1870s and 1880s. The success of Moody and Sankey's 1873–75 British campaign inspired interest in revivalism, and led to rapid and widespread adoption of their distinctive methods. Though it aroused opposition in some quarters, Moody and Sankey style revivalism became established as a significant feature of New Zealand religiosity at that time. Some aspects continued to appeal well into the twentieth century. This article traces the rise and growth in influence of this form of revivalism, and considers reasons for its appeal in late nineteenth-century New Zealand.

Methodist work began in ‘the Southern World’ in 1811 with the preaching ministry of Edward Eagar in the colony of New South Wales and was reinforced in 1815 by the arrival of the first Wesleyan missionary Samuel Leigh. Early attempts to reach the Australian Aborigines by William Walker between 1821 and 1825 met with little success. The Maori people of New Zealand and the Pacific Islanders of Fiji, Tonga and Samoa proved much more open to Methodist missionary work so that a relatively strong Methodist work was established throughout many parts of the Pacific by the late nineteenth century. Wesleyans also established a successful mission to the Chinese people of the Victorian goldfields in the 1850s. This paper will explicitly address Methodist missionary responses to the religious beliefs encountered in ‘the Southern World’ of the nineteenth century. It will seek to discover to what extent these religious beliefs were dismissed as pagan and superstitious and to what extent there was any attempt to understand these beliefs on their own terms. It is hoped that this paper will contribute to the Wesley and Methodist Historical Studies Working Group in its attempt to understand how ‘Methodist missionary enterprises represented and communicated with persons from other religious traditions and other cultures.’ It will also assist the broader project in which I am engaged, along with Professor Hilary Carey of the University of Newcastle (NSW) of publishing a new scholarly history of Methodism in Australia.

David Hamilton (b. 1955), a prolific composer and music educator is one of New Zealand’s most widely performed composers. His music is increasingly being performed outside New Zealand in such places as Australia, Canada, the United States, England, Ireland and Finland. Hamilton has a particular affinity for choral music, having written over 350 works for chorus. The comprehensive list that follows is organized by arrangements, multi-movement works, sacred and secular pieces. Columns include voicing, accompaniment, text sources, commission details and publication information where applicable. The composer has confirmed or provided all details pertaining to the choral works. This article is a companion to Research Memorandum Series No. 202 Winter 2012/13, “David Hamilton’s Music for Choir and Instrumental Ensemble;” and Research Memorandum Series No. 203 Spring 2013, “David Hamilton’s Music for Unaccompanied Choir.” Any works featured in either of the other articles are omitted here unless noted by an asterisk. Any works written by the composer since the publication of the other articles are included here whether unaccompanied or not.

David Hamilton (b. 1955), a prolific composer and music educator, is one of New Zealand’s most widely performed composers. His music is increasingly being performed outside New Zealand in such places as Australia, Canada, the United States, England, Ireland and Finland. Hamilton has a particular affinity for choral music, having written over 350 works for chorus. This article is a companion to Research Memorandum Series No. 202 Winter 2012/13, “David Hamilton’s Music for Choir and Instrumental Ensemble;” any works featured in that article are omitted here unless noted by an asterisk. The comprehensive list that follows is organized by arrangements, multi-movement works, sacred and secular pieces. Columns include voicing and accompaniment, text sources, commission details and publication information where applicable. Composer’s notes are designated by “CN” after the year of composition, are hyperlinked, and are listed at the end of the article. Multi-movement works are listed with the movements numbered and in italics under the title. All works are available from the composer.