In the early part of the twentieth century, a young musician named Natalie Curtis began drawing attention to the music of Native Americans and African Americans, publishing collections, organising concerts and advocating their traditions as

What have music impresarios Sergey Diaghilev, Malcolm McLaren and Simon Cowell got in common? – and what sets them apart? asks Peter Rosser.

A nineteenth-century Irish flute player c. 1888 in ‘The Schoolmaster’s Moment of Leisure’, a watercolour and gouache by the American artist Howard Helmick (1845–1907) in the collections of the National Gallery of Ireland

In a masterful self-promotional effort that began in his twenties and lasted for the remainder of his career, Richard Wagner managed to develop himself into a ‘brand’ – a name, look, ideology and product that continues today.

The opinions of Edward Martyn, founder of the Palestrina Choir

Front cover (recto and verso) of the first issue of The Irish Musical Monthly, an early twentieth-century Dublin periodicalThe Irish Musical Monthly.

A period of freedom – and tension – in Chicago jazz through the playing of Anthony Braxton and the AACM

The first in a series of curious anecdotes from musical history.

Yannis Kyriakides, whose online installation forms part of Sound and Music’s first season Sound and MusicSound and Music has launched its first season.

Unlocking the Archive / Session with the Pipers /Music Recording / Casadh Arís / Temple Bar Trad / Música Nueva de Mexico / Outof Time / New Books on Music in Ireland / Winteriser / Happy to Meet, Sorry toPart / Dublin Philharmonic in USA /

The Irish harp as national symbol at Daniel O’Connell’s Monster Repeal Meeting on Tara Hill, Co.

Bernadette Greevy reads a new book on nineteenth-century Irish-born composer, Michael Balfe.

Dr Desmond Fennell, Maynooth, writes:In the March-April issue Niall Ó Ciosáin reviewed Music in Nineteenth-Century Ireland, edited by Michael Murphy and Jan Smaczny. Inevitably, Mr Ó Ciosáin felt it necessary to deal with the much...

Black Raven Pipe and Drum Band, Lusk, Co Dublin, at Killarney Oireachtas, July 1914.

Niall Ó Ciosáin reviews a new book on music in nineteeth-century Ireland, and revisits the controversy regarding the influence of nationalism on the development of Irish music.

Icon of an Age: The AnthologyZampano ProductionsJohn McCormack gave his farewell performance (a handful of subsequent morale-boosting wartime concerts notwithstanding) to a packed Royal Albert Hall in London 70 years ago this coming Novembe

This November, a festival dedicated to the music of György Ligeti, one of the giants of twentieth-century composition, takes place in Dublin.

Professor Leith Davis, Simon Fraser University, Canada, writes:First, my thanks for including a review of my Music, Postcolonialism and Gender in the May/June issue of JMI.

Dr Barra Boydell, Co-General Editor, Encyclopaedia of Music in Ireland, writes:I write on behalf of the editors and publishers of the Encyclopaedia of Music in Ireland to express our surprise that you saw fit in the March-April issue of JMI

Mícheál Ó Súilleabháin remembers a seminal figure in Irish musical life.

A review of Ross W. Duffin's new book on tuning, How Equal Temperament Ruined Harmony (and why you should care).

Ms Choona Day, Cork, writes: May I, through the courtesy of your columns, attempt to redress the neglect afforded to the music of Irish composer B’ween Kay Li (1902–1966).

Reflections on the Adorno/Berg Correspondences.

Seán Ó Riada, the Cúil Aodha choir and 'Mo Ghile Mear'.

A review of Richard Pine's book Music and Broadcasting in Ireland.

Debates about the ‘Irishness’ of a composer’s music are not new in Ireland. The subject often occuppied Aloys Fleischmann, particularly as a young man in the 1930s.

Dear Editor,A large part of Barra Ó Séaghdha’s review of Prof. Harry White’s new book (JMI July-August) was taken up with White’s theory of why nineteenth-century Ireland did not produce a classical composer of international...

Barra Ó Séaghdha reviews The Progress of Music in Ireland, a wide-ranging new book of essays by Harry White on the relationship between music, cultural history and musicology in Ireland.

‘We all felt very lonely after you had gone. Your visit was like a part of an Irish fairy tale...’. Part and parcel of the British Composer Arnold Bax’s attachment to Ireland was his warm friendship with the Fleischmanns in Cork.

A review of a recent book on the Dublin composer.

Dear EditorI’m a little puzzled to see in Jürgen Simpson’s review of Tomás Ó Canainn’s Seán Ó Riada, his life and work that there is apparently little in the book about Ó Riada’s drink problem....

In an extract from a major new book, The Cork Choral Festival 1954-2004, edited by Ruth Fleischmann, Irish composer Seoirse Bodley shares his memories of the Festival’s seminar on contemporary music through the years as well as his experien

A new book on Seán Ó Ríada's life and work.

'And in a moment the Celt within me stood revealed,' wrote the English composer Arnold Bax on reading Yeats in 1902. But what really was Arnold Bax's relationship with Ireland?

Benjamin Dwyer discusses the treatment of classical music in some recent books on Irish culture.

Dear Editor,Fintan Vallely is quite right to regard The Keeper’s Recital as an important contribution to recent writing on music in Ireland.

Dear Editor,What dreary horror to see Patrick Zuk occupying 30 per cent of a 34-page magazine again (JMI, July/August 2003). In this format the potential wisdom of his words becomes just an unmemorable gripe, however revelatory.

...

A major new book on Irish classical music in the twentieth century.

Students of the Hispanic Studies and Music Departments of Sheffield UniversitySt Nicholas’ Collegiate Church, 17 May 2003Torrejón de Velasco/Calderón – La Púrpura de la RosaWhile North America at the turn of the eighteenth...

In some recent writing on the history of music in Ireland, several Irish scholars have claimed that nationalist ideologies had a stultifying influence on the development of classical music here.

The life and work of an Irish composer.

In the second part of his survey of music in 17th and 18th century Dublin, Douglas Gunn looks at music publishers, instrument makers, and composers Richard Woodward and Philip Cogan.

Dear Editor,Let me open this response to Tom Munnelly’s review of my new edition of The Petrie Collection of the Ancient Music of Ireland by remarking that I have no problem agreeing with much of his criticism of Petrie.

A Eagarthóir,Richard Pine notes in his article ‘The National Ear’ that if the term ‘heritage music of Ireland’, rather than ‘traditional music’, was adopted as a title for our single-melody structured musical inheritance,...

The story so far: in the first extract from his book on music and broadcasting (JMI Vol. 3 No.

A review of The Petrie Collection of the Ancient Music of Ireland, edited by David Cooper.

Early music specialist Douglas Gunn looks at th work of Farmer, Birchensaw and the Roseingraves.

In the first of two extracts from his forthcoming book, Ceol-Áras: music and broadcasting in Ireland 1926-2001, Richard Pine describes the context of musical life in Ireland when RTÉ was established.

Dear Editor, In defending Harry White against what I perceived as a personal attack by Patrick Zuk I have come under attack myself from four sides. As the arguments of Patrick Zuk, Barra Ó Séaghdha, Séamas de Barra and Eoin Hegarty are...

Dear Editor,Axel Klein’s letter in the last edition of the JMI, which censures both the manner and force of Patrick Zuk’s review of Musical Constructions of Nationalism, struck me as being distinctly odd.

Dear Editor,In his letter to the last issue of the JMI, Axel Klein does not address a single point in Patrick Zuk’s review of Musical Constructions of Nationalism.

Dear Editor,I was intrigued by Axel Klein's response to Patrick Zuk's review of Harry White’s writings on music and nationalism. It is noteworthy that Dr Klein does not take issue with any specific point raised by Zuk.

Dear Editor,Given how pertinent the issue of nationalism is for all who are interested in Irish cultural life, a lively discussion in these pages on the subject would have been welcome in the wake of my recent review of Musical Construction

Dear Editor,In a downright tour-de-force, Mr Patrick Zuk has turned a lengthy book review into a vicious attack on the views of Harry White on the development of music in the history of ideas in Ireland (JMI, March-April 2002, pp. 25-30).

Dear Editor,Ian Wilson rightly points out in his recent article (JMI, May-June 2002, pp. 5-11) that excessive vocal vibrato, apart from sounding ugly, militates against precision of execution and justness of intonation.

In the second part of his review of Musical Constructions of Nationalism, a new book edited by Michael Murphy and Harry White, Patrick Zuk discusses the ideas on music and Irish cultural history of musicologist Harry White.

In the light of a recent weekend of music from the 2nd Viennese School, Conor Kostick looks at the ideas on music of philosopher Theodor Adorno.

In the first part of a two-part review of Musical Constructions of Nationalism, Patrick Zuk discusses the contributions of Michael Murphy and Joseph Ryan and the questions they raise about the influence of nationalist ideologies on musical

Myths, misinterpretations and the quixotoc nature of Ravel's personality.

As a student in UCC in the sixties, Nollaig Ó Gadhra gained a unique interview with Seán Ó Riada which was subsequently published in a college journal.

All good things are three – behold 'Corcoran's Law of Musical Thermodynamics'.

A review of the reissue of Donal O'Sullivan's Carolan: The Life, Times and Music of an Irish Harper.

A review of a collections of articles and essays on the composer Aloys Fleischmann, compiled by his daughter Ruth Fleischmann.

Composer Raymond Deane tackles the ongoing 'Ó Riada myth'.