After the rejection of repetition by many modernist composers in the mid twentieth century, the extreme repetition of minimalism seemed inevitable. But, writes John McLachlan, composers don't always know when to stop.

The idea of a common language in composition is a thing of the past: the world of contemporary music is now entirely chaotic, the result of individualism, tradition and cosmopolitanism pulling, irreconcilably, against each other.

A concert in Donegal found unity in the vitality of contemporary Irish composition's diverse strands.

Recent concert and competition jury experiences suggest to John McLachlan that only the best music sparks disagreement, and that mediocre work enjoys consensus.

Composers are afraid of using the basic building blocks of their trade.

Now that we no longer have a common practice in music, novelty moves in different directions and at different speeds, all depending on the context.

Being cut off is a state of mind, writes composer John McLachlan

The challenges facing the funding of the arts go beyond the current economic situation.

Promoters of art mislead audiences by suggesting that there is meaning where there is none. Sometimes you just have to trust the artist, writes John McLachlan

ISCM World New Music Days, Visby, Växjö and Gothenburg, Sweden, 24 September – 4 October 2009

How is music written? A short bit, then extended, and soon the whole piece is there? John McLachlan discusses the subtle paths from conception to finished work.

The future of the orchestra is in composers’ hands

The discourse around music serves only to divide us

No discussion of Lithuanian composers can avoid the political dimension

What we can learn from contemporary music festivals in Portugal and Finland

John McLachlan asks if we have what it takes to develop a thriving contemporary music scene.

John McLachlan's regular column on composers and composing

The sixth RTÉ Living Music Festival, featuring Arvo Pärt, took place on 15-18 February 2008 under the artistic direction of composer James McMillan. John McLachlan was there.

John McLachlan reports back from the ISCM World Music Days in Hong Kong.

John McLachlan looks at the achievement of the Crash Ensemble as they celebrate their 10th anniversary.

Composer John McLachlan argues that there is a sixth musical parameter which never gets mentioned in musicology or theory

Terry Riley in Drogheda and Benjamin Dwyer's Guitar Concerto No. 2

We might as well start by stating that this article will not provide any solution to the problem of how to compose in your own historical time.

The inaugural Printing House Festival of New Music and the Electro Acoustic Revue at the NCH.

Composer John McLachlan's regular comment column on the new music scenes in Ireland and abroad – includes a review of 'Opera', a new CD of work by British composers performed by Irish musicians Darragh Morgan (violin) and Mar

Journeys at home and abroad.

John McLachlan looks at the significance and origins of musical titles.

Sligo New Music Festival, 24-26 March 2006.

'Open form', Luigi Nono and Morton Feldman.

The fluffy halo of 'classical' music, what composers think, Symphony Sessions and a new work from Elaine Agnew.

'Concert hall versus everywhere else'.

Innovative musicians and composers face a danger of evolving ever more styles and musical languages that, even if they are artistically sound, have little connection to any audience, writes composer John McLachlan.

Gerald Barry's new opera.

The Sligo New Music Festival and a composer's voice.

On the meeting of music and words in In the Ranelagh Gardens, the collaborative project of poet Macdara Woods and composer Benjamin Dwyer.

The first concert of the Young Composers' Collective and new music from Northern Ireland.

The Kronos Quartet and Tony MacMahon in Dublin and guitar and flute music by John Buckley.

Three concerts in Dublin and a recent release of music by Ian Wilson.

Style, John Wolf Brennan and Fergus Johnston.

Dear Editor,In your last issue (March–April), David Flynn introduced the YCC (Young Composers' Collective).

The premiere of a new work by Stephen Gardner and recent CDs of the music of Frank Corcoran, Eric Sweeney and John Gibson.

Raymond Deane: Violin ConcertoRTÉ National Symphony OrchestraCond.

Helix Arts Centre, Dublin, 20–22 February 2004The first RTÉ Living Music Festival was held in October 2002 and centred on the music of Berio.

Music by Jürgen SimpsonLibretto by Simon DoyleOpera Theatre Company; cond. Philip Walsh; dir.

Music by Ian WilsonLibretto by Lavinia Greenlaw Opera Theatre Company; cond. David Brophy; dir.

Vicar Street, 23 May 2003Michael Gordon – I Buried PaulConlon Nancarrow – Selected StudiesJulia Wolfe – Big, Beautiful, Dark and Scary Donnacha Dennehy – Streetwalker (world premiere) – Steve Reich – Electric Counterpoint...

NCH, 14th April 2003Elaine Clarke (vn), Malachy Robinson (db), Roy Holmes (pf), Ruth Hickey (b.cl), Kate Ellis (vc), and the Elysium TrioJürgen Simpson – Piano Piece I Simon O’Connor – Dedicated to Death Donnacha Costello – r.i.3.1...

NCH, 13th April 2003The Composers EnsembleStravinsky – La Marseillaise Barry – ‘______’ Ives – Sonata No. 4 / ‘Children’s Day at Camp Meeting’Barry – In the asylumLehár – Waltz from the Merry...

Vox 21Bank of Ireland Arts Centre, Dublin 2, 23rd January 2003Dwyer – Quasi una fantasia Boulez – Dérive I Carroll – Three Chunky Lumps Deane – March oubliée / Catacombs / Seachanges (with Danse Macabre) Mostly Modern...

A preview of John McLachlan's Composers' Choice on 4th February 2003 at the NCH, Dublin.

Contemporánea, Project– Space Upstairs, December 2002. Barrett – Liquid Crystal (2000); Alcorn – Crossing the Threshold (2001); Dennehy – Glamour Sleeper (2002); Nordin – calm like a bomb (2000); Siegel – Guernica;...

Avanti! Ensemble, Project – Space Upstairs, December 2002. Alcorn — Making a Song and Dance (1989); Edlund — Cose ballano i cinghiali (2000); Wilson — Eat, Sleep, Empire (2002); Adderly — Triologue (1987 rev. 2002); Rasmussen...

The Living Music Festival, 26th October Mahony Hall, The HelixLondon Sinfonietta and London Sinfonietta VoicesBirtwistle — Nenia: the Death of Orpheus (1970)Mauricio Kagel — Match (1965)Rob Canning — The Garden of Forking Paths (2002)Lucian

Dear Editor,Just writing to compliment you on the latest issue of the JMI. I'm sure that a lot of the time you might wonder if anyone is reacting as they read.

It is essential that composers place a proper value on their work – even if society is slow to do so...

Composer John McLachlan asks what needs to change in the modern concert.