Since 1858, music has always been an integral part of the Kīngitanga movement in New Zealand. As this music tradition evolves with the introduction of new musical idioms, genres and digital technology, so too do the practices of composing new works. The objective of this research was to construct a model for combining waiata, taonga pūoro and New Zealand electroacoustic music, in order to create new works that enhance the Kīngitanga music tradition. Developing a model for composing and integrating these idioms within a Māori context presented problems, as traditional Māori music conflict with contemporary Western forms. To generate a framework and practical model for composing hybrid music, an examination of selected New Zealand works was first carried out through: a) the collection of 50 traditional and contemporary waiata relating to the Kīngitanga b) the collection of 10 New Zealand taonga pūoro works and c) a collection of 10 New Zealand electroacoustic music. An analysis of the music and compositional processes of each idiom implementing the ‘de-construct in order to re-construct’ approach to understand how they work musically and compositionally was accomplished. To demonstrate the outcome of my models, six original compositions were presented exploring different aspects of musical composition. These models focused on sound architecture and explored a) communicative relationships between composer, performer, and audience b) Holistic Co-hear-ence, implementing the horizontal and vertical layering model, and c) technical approaches using digital technology. To comply with Māori principles of composition and performance, each model and new work demonstrated Kaupapa Māori , Wairua and Te Mana - Te Ihi - Te Wehi - Te Tapu . The findings and original contributions of this research provide a model that combines two musical traditions and three music idioms, and in turn, may guide contemporary composers in creating new works that extend the Kīngitanga music tradition.