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The challenge to nurture and support cultural and music education outside London is on. Ian Thomas assesses a model that brings together several music services across four local authorities.
Virtual violins and computer-based guitars need more than just the right sounds if they’re to work for deaf musicians. Richard Burn describes his research into accessible virtual instruments.
Do freelance musicians get the weekend off? And how many trains do they actually have to take? Emma Donald takes us on a visual tour of her working week.
Creative industries growth continues to outstrip other sectors, but music, performing and visual arts are faring less well than in previous years.
Want to make it as a composer? Stop asking ‘why me’ and start asking ‘why not me’, advises Sandy Nuttgens.
Orchestra Tax Relief is imminent. Sean Egan explains how it will work and urges those eligible to start planning now.
A new website is sharing the experiences of an EU-wide project to make contemporary music accessible to wider audiences.
Sales of CDs and vinyl may not be suffering as much as some predicted as the popularity of online streaming continues to rise, new figures suggest.
Label boss Alya Marquardt reveals why she would persist with challenging music and learn to be happy in her own skin if she were at the start of her career once again.
A new ‘Centre for Music’ on the current Museum of London site hopes to be the Tate Modern of music.
David Curtis reveals how the Orchestra of the Swan has secured funding from trusts based as far afield as New York.
Jane Beese has the enviable job of Head of Music at the Roundhouse. She tells us how she got it.
Around 40,000 historic instruments, including the world’s only octave contrabass serpent, are to be made publicly available via the Royal College of Music’s new online database.
Tired of the same old conversations about audience development, Victoria Johnson has decided to shake things up.
Plans to support London’s smaller music venues aim to reverse the declining number of performance opportunities for up-and-coming artists and bands.
Programming a music festival with over 300 events can’t be easy, but Donald Shaw knows exactly how it’s done. He gives us the low-down and shares his top tips for making it as a programmer.
Struggling with a growing library of video files, London Symphony Orchestra urgently needed a new system. Chris Rogers explains why a web-based solution was ideal.
The second year report on the In Harmony initiative finds positive engagement but a lack of conclusive data about the success of the programme.