Articles

Remembering Tommy Peoples
A tribute to the great Irish fiddle-player who died on 3 August.
How Musicians Can Start to Afford Ireland
Singer-songwriter David Kitt is leaving Ireland because of the housing situation, and music writer and DJ Nialler9 is 'stressed and broken' by it. Boom after bust after boom, the lot of the Irish musician never seems to change. There is a way to change this, writes Toner Quinn.
Together Never Fails
From Rebecca Saunders and Séverine Ballon to Gavin Bryars and Galina Grigorjeva, the music at The Book of Hours two-day festival in Louth knew no borders, writes Brendan Finan.
A Global Ireland Without Musicians?
The Irish Government has launched a new initiative, 'Global Ireland', with international aspirations – but what does it mean for Irish music?
The Truth About Country Music in the USA
Music is playing its part in the new battle of ideas in American politics, and perhaps none more so than country. But where does it sit – on the right or the left – and who decides? Mark Allan Jackson, editor of a new book on country, challenges the perspectives on both sides.
The New Normal?
The RTÉ National Symphony Orchestra has just announced its 2018/19 season. Adrian Smith looks at the range of music on offer – from contemporary and classical to traditional – and considers some of the overall trends in programming.
Calls for National Music Policy at Oireachtas Meeting
Representatives of DIT, Music Generation, the Irish Chamber Orchestra and Comhaltas call for legislation to address issues in music education.
Strange Type of Orchestra Love
The RTÉ orchestras report has made recommendations in response to a crisis, but we have not heard enough discussion of the issues that caused it, writes Toner Quinn.
RTÉ Orchestra Report Illustrates Scale of Problems
External review recommends that National Symphony Orchestra be established as cultural institution separate from RTÉ.
No Hint of Bad Taste
Claude Debussy stands apart as a modernist – extremely popular and yet he tore up the rulebook of harmony and form, rebelling against the tyranny of the barline and heavy orchestration. Boulez described it as ‘instantaneous self-renewal’. How did he get there? His starting point was an obsession with pleasure, writes Stephen Walsh.