In this excerpt from The Sound of Tomorrow: How Electronic Music Was Smuggled Into The Mainstream, Mark Brend explains how the appearance of the first electronic musical instrument in 1906 set the tone for discussions about electronic music

New Sounds, a contemporary music programme on New York's WNYC station, has announced that Crash Ensemble has topped a recent listener poll.

Through her songs, the New York musician Laurie Anderson resembles an anthropologist – but it is the ambiguity of her instrumental work that catches Alan Murphy's ear.

Enda Bates' music for hexaphonic guitar brings together his formal training and rock influences.

Mary Halvorson's music expands the definition of free jazz rather than fitting neatly into the genre.

Commissioned to compose a work in response to 9/11, John Adams confronted the question: can modern classical music still be the transcendental force we need it to be? by Barra Ó Séaghdha

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

"If you don’t have a friend who is an artist, you’re wasting your time." – Morton Feldman was closely associated with a number of visual artists, particularly those of the New York School.

Breandán Ó hEaghra hears the Cross Border Orchestra of Ireland in New York

In February 2006, Steve Reich came to Ireland for the fourth RTÉ Living Music Festival of which he was the featured composer. In this article, published at the time, Bob Gilmore discusses Reich's work and the ideas around it.