ABSTRACT This essay proceeds in three parts. The first part introduces a Māori waiata (a ceremonial song, with movements) that occurred in the debating chamber of the New Zealand parliament in 2017 on the Third Reading of Te Awa Tupua (Whanganui River Claims Settlement) Bill. The resulting statute confers legal personality on the Whanganui River. The second part advances a way of approaching musical appreciation as a mental activity which, by joining sound to musical meaning not only makes musical sense of sound, but can also, in so doing, be said to participate in the process of making music. Crucial to the move from making sense of music to making music, is the notion that music is inherently a metaphorical way of thinking about sound; one in which the music metaphor operates by making sound humanly meaningful. The third part – proceeding from the idea that music operates as metaphor and, like all metaphor, produces meaning by translating abstractions into concrete conceptions – posits music as a bridge (a joint or articulation) between eras, cultures and social strata that might otherwise struggle to find meaningful points of connection and communication. The hope is that we might come to understand law making music in the sense both of ‘law making’ music and law ‘making music’.

中文翻译：

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立法音乐

摘要本文分为三个部分。第一部分介绍了2017年在新西兰议会辩论厅对《旺阿努伊河索偿解决案》进行三读时发生的毛利怀塔塔（一首仪式歌，带有动作）。由此产生的法规赋予了旺加努伊河法人资格。第二部分提出了一种将音乐欣赏作为一种心理活动的方式，通过将声音与音乐含义结合起来，不仅使音乐具有声音感，而且在这样做时也可以说是参与音乐创作的过程。从音乐的意义到音乐的发展，至关重要的一点是，音乐本质上是一种隐喻的声音思考方式。音乐隐喻通过使声音具有人类意义而起作用。第三部分-从音乐作为隐喻起作用的观点出发，像所有隐喻一样，通过将抽象化为具体概念来产生意义-将音乐视为时代，文化和社会阶层之间的桥梁（联合或清晰），否则可能会产生挣扎寻找有意义的联系和沟通点。希望是我们可能会从“法律制作”音乐和“法律制作音乐”的意义上理解法律制作音乐。