The April-May issue of
The Journal of Music is
now available.
Subscribe for our new rate of €22/$29.95/£19.50.
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The April-May issue of
The Journal of Music is
now available.
Subscribe for our new rate of €22/$29.95/£19.50.
Receive six issues in the post
plus full online
access
www.journalofmusic.com/subscribe
The X
Factor
Why music is the winner, by Stephen Graham
A Few Days in the
Sun?
The rise and fall of the Irish new-music scene, by Toner
Quinn
The End of the
Critic?
Is the era of the critic coming to an end? The digital
age seems to suggest it is, writes Michael Quinn
The Princes of
Serendip
Memory works in strange ways, finds Ciaran Carson in
his latest article on traditional music.
Why the Arts are
Funded
The challenges facing the funding of the arts go beyond
the current economic situation. In the absence of clear guiding language from
policy documents, and an ambition to try and do everything, arts councils thrash
about during a crisis, wreaking bigger change than the numbers alone would
justify. All artists can do is read the tea-leaves after the cup of funding is
drained, writes John McLachlan
Beyond
Murder
A new book on the composer Gesualdo shows that the
composer was centuries ahead of his time, writes Raymond Deane
Like
Smoke
The Orchestra of St Cecilia’s ten-year series of Johann
Sebastian Bach’s church cantatas culminated this year. Benedict
Schlepper-Connolly reflects on their allure.
That's All There
Is
Garrett Sholdice discovers an opera that finally feels like
the best cinema.
From
Memory
Morton Feldman was closely associated with a number of
visual artists, particularly those of the New York School. This aspect of his
work will be the subject of a new exhibition at the Irish Museum for Modern Art
in April–June 2010. A collection of essays will also be published, including
this memoir by composer Kevin Volans
Wagner,
Inc.
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. Nicholas Vazsonyi examines the innovative ways in which the
composer achieved this, using every means available.
Mo Chluais
Oscailte
Breandán Ó hEaghra tells how he discovers new
sounds