An orchestra playing less new music, writes Adrian Smith, is out of step with contemporary culture. Has the amount of contemporary music being played by the RTÉ National Symphony Orchestra been in decline in recent years? Smith undertook an analysis of recent programming.
What makes a political folk opera work? Do traditional musicians go far enough in their experimentations? And what is the 'social side' of classical music? Toner Quinn reflects on a range of questions raised by the musical riches at this year's Kilkenny Arts Festival.
Gearóid Ó hAllmhuráin's reissued book 'A Short History of Irish Traditional Music' stands the test of time, writes Aileen Dillane, and contains new material on female musicians as well as the expanding presence of Irish music studies.
Is the NCH embarking on a ground-breaking curatorial experiment by embracing non-classical genres? Nothing could be further from the truth, writes Adrian Smith.
The suicide bombing at Manchester Arena was the second such attack at a music event in two years. What is to be the role of music in this 'age of anger', asks Toner Quinn.
The recent RTÉ Lyric FM three-part radio series on contemporary Irish music had honesty and many good stories, writes Dónal Sarsfield.
Music critic Tim Rutherford-Johnson's new book on modern composition since 1989 covers a massively broad range of creative musical approaches and techniques, writes John McLachlan, and will inspire a new generation.
Five years old this June, The House Presents, a salon-style monthly evening in Dublin's north inner city, is all about drawing out the art that is already around us, writes Anna Murray.
Michael Dervan's new book, 'The Invisible Art: A Century of Music in Ireland 1916–2016', is, like the Composing the Island festival last September, an attempt at addressing the ‘invisibility of composers in Irish life’ – but not all composers, writes Toner Quinn.
What are the philosophy and aims that make Music Generation different? A new report shows how the programme goes beyond simply training future musicians to contributing to the holistic development of children and young people, writes Gwen Moore.
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