Koia nei te moana e waiatatia nei, e pāteretia nei e ngā tini iwi o Aotearoa (TWK 8:12). / This is the ocean about which the many tribes of New Zealand sing and chant.

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Me kī, he waiata tangi tēnei mō ngā kaikōrero whai mana o te ao Māori (HM 1/1998:1). / Let's say that this is a lament for the celebrated orators of the Māori world.

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Kātahi ka kī atu ki ana tamariki, kia mahia he kōauau (tētehi ingoa he whio). Ka oti, ka hanga ngā puta e toru, kātahi ka whakatangihia e te wahine rā tana waiata aroha mō tana tāne me tōna iwi (JPS 1897:104). / Then she told her children to make a flute, which they did, making three holes in it, and then the woman played her song of love for her husband and her people.

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He waiata te waiata tahanga mō te takitahi, mō te rōpū rānei, engari karekau he puoro tautoko (RTP 2015:120). / A cappella is a song for one person, or a group, but there is no accompaniment.

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He kōrero tara mō tētahi tangata, mō tētahi mahinga a te iwi, mō tētahi kaupapa ka kawea i roto i tēnei momo waiata, i te waiata paki. I ēnei rā, ka kīia e ētahi, ko ngā waiata aroha arotini he waiata paki hoki ērā. Ko Waltzing Matilda tētahi tauira o te waiata paki, he waiata nō Ahitereiria e mōhiotia whānuitia ana. I te nuinga o ngā waiata paki, he whaiwhai te korihi i ia whiti (RTP 2015:120). / A story about a person, an activity of the people, or a topic is conveyed in this song type, the ballad. These days, some also call pop love songs ballads. Waltzing Matilda, a widely known song from Australia, is an example of a ballad. For the majority of ballads the chorus follows each verse.

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He momo te waiata arotini ka takea mai i te puoro rakapioi i te ngahuru tau o te 1950. He maha ngā āhuatanga o te waiata arotini, engari ko ngā mea matua, ko tōna poto (te takiwā o te 2 ki te 5 meneti noa iho), ko tōna hanga (pērā i te whai o te korihi i ia whiti), me te rangi, he rangi māmā te hopu (RTP 2015:120). / Pop songs are a genre that originated from rock and roll in the 1950s. There are many characteristics of pop songs, but the main things are their shortness (in the vicinity of 2 to 5 minutes), their structure (such as a chorus following each verse), and the tune , which is easy to catch.

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Nō te tau 1939 i nuku atu a Tuīni ki Ākarana mō te wā poto, ā, i reira ka hono atu ia ki tētahi tira waiata, he nui te mahi pāho mai i te reo irirangi (TTR 2000:132). / In 1939 Tuīni moved to Auckland for a short time, where she joined a choir that made frequent radio broadcasts.

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He kaha kē nei tana reo waiata (TTR 2000:195). / He had a strong singing voice.

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Mai kore ake ngā pukapuka mōteatea a Tā Āpirana Ngata mā i pūmau ai ngā waiata koroua a tēnā iwi, a tēnā iwi (HKK 1999:33). / We are fortunate in having the song books by Sir Āpirana Ngata and others as a permanent record of the traditional chants of each tribal group.

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Nā ēnei kōtiro te mahi waiata poi, waiata ā-ringa hoki hei mahi moni mō te kaupapa o Rātana (TTR 1998:113). / These young women performed poi songs and action songs to raise money for the Rātana movement.

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He mema a Pirimi nō te rōpū waiata tira o Ōtaki (TTR 1998:181). / Pirimi was a member of the Ōtaki Choral Society.

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I taua wā kāore i ārikarika ngā waiata ngahau, waiata ā-ringa hoki a Tuīni Ngāwai e waiatatia ana e tō mātou kapa haka, ā, nā Hoani aua waiata i whakaako mai (Wh4 2004:79). / At that time there were many songs of entertainment and action songs by Tuīni Ngāwai being sung by our haka group and it was Hoani who taught us those songs.

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Me āta whiriwhiri i te waiata tawhito e hāngai ana ki te kaikōrero. We need to carefully select the traditional song that is relevant to the speaker. /

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Ka kōrero atu ki te kaiwhakahaere mō tana hiahia kia noho a ia hei kaituku waiata mō te reo irirangi (TWK 56:27). / She spoke to the manager about her desire to become a disc jockey for the radio.

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Ka hikitia te reo ki tana waiata whaiāipo mō te kuikatanga o tōna ngākau ki a Te Mahutu (TTR 1994:94). / Her voice was raised with her song of love for the one her heart desired, for Te Mahutu.

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Tū ana ōna kapa haka, kapa waiata, ki te manaaki i ana manuhiri (TWK 14:31). / Their haka party and choir stood to welcome their visitors.

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He mema anō a Mere nō te rōpū waiata tira o te whare karakia o Faith i Ōhinemutu me te rōpū waiata Māori hoki o Rotorua (TTR 1998:1). / Mere was also a member of Saint Faith's church choir at Ōhinemutu, and of the Rotorua Māori Choir.

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Nā Paraire i para te huarahi mō ngā momo titonga waiata ā-ringa hou, mahue atu ana i a ia ngā waiata o te ao tawhito; kāore i rite ngā rangi ki ngā rangi Pākehā nui nei te rerenga, kāore i taea te waiata te whakaōrua, ā, he mīta whakahipahipa kē te momo waiata. I whāia kētia e Paraire te momo tito kupu e taunga ana ki ngā rangi ka taea te whakaōrua, ā, i tuhituhia e ia ngā rārangi orotahi ki te tohu orooro tika; i te nuinga o te wā he mea tango mai ngā rangi i ngā waiata Pākehā. (TTR 1996:256). / Paraire was a pioneer composer of songs in the new 'action song' style, moving away from classical waiata which used small note ranges, no harmony and irregular metre. Instead, he wrote words to fit harmonised tunes written in diatonic scales and generally deriving from European songs, the rhythms adapted to fit Maori idiom (DNZB 1996:535).

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I whakamātau ia i te mahi ahu whenua, ā, i kitea hoki tana māia i reira ki ngā mahi a te tauira hōia me tana toa ki te kaea i te kapa haka (TTR 1996:62). / He tried farming and there his prowess as an army cadet and his ability to lead the haka group was seen.

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