This festival brings traditional, hip-hop and indie music out of the city centre and into venues across Dublin's north side for afternoon concerts and masterclasses suitable for all the family.

A Stockhausen festival is being held at the University of Birmingham to accompany the staged premiere of Mittwoch aus Licht.

Two new operas by the Irish composers Benedict Schlepper-Connolly and Garrett Sholdice will be performed back-to-back in the Project Arts Centre next month, on 24 and 25 August.

Béal have issued a call for scores of text-based pieces that respond to the work of composer Robert Ashley for this year's Béal Festival.

Stephen Graham talks to Irish composer Jennifer Walshe ahead of the world premiere of her opera Die Taktik, which will take place at Staatstheater Stuttgart on 14 June.

NI Opera have teamed five Northern Irish composers and playwrights to commission five opera shorts, to be premiered at the end of June in Belfast.

The Veronica Dunne International Singing Competition's gala concert of opera at Dublin Castle with Cara O'Sullivan takes place on 21 April.

The Arts Council has announced details of deadlines for a number of funding and grant opportunities for musicians and composers.

The application deadline for the second round of Sky Arts funding for young artists is approaching. Applicants should be aged between eighteen and thirty and based in the UK or Ireland.

Nico Muhly's opera delves into the dark side of the internet, but the subject matter longs for riskier, less guarded treatment, writes Dónal Sarsfield.

Seventy years after the release of Citizen Kane, George Rafael looks at the close, if often tempestous, relationship between the film's director, Orson Welles, and its composer, Bernard Herrmann – and how they changed the way filmmaker

The digital medium will set radio free, but will it change the essence of radio, asks Benedict Schlepper-Connolly

Garrett Sholdice discovers an opera that finally feels like the best cinema.

When innovative music is seen as a moral threat to society

If we want new opera to relate to our twenty-first century experience, we must return to first principles, says Christopher Fox