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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.
Daycare centres may not be grand venues, but that doesn’t mean art events staged in them should not be ambitious, says Paul Clark.
What’s the secret of the success of Brent’s music service? A belief that music education is never over, writes Clair Tomalin.
How do you get from first gig to internationally recognised festival? Amy Pearce of EFG London Jazz Festival shares her tips.
A pilot project in rural North Yorkshire believes it’s landed on an effective and affordable model for delivering music tuition to children in isolated areas.
Since Cornwall Council closed its schools music service, an independent service has emerged that is no longer at the mercy of politicians, writes Gareth Churcher.
Partnerships with local authories are crucial to Orchestras Live’s work. Henry Little reveals how they’ve maintained relationships through challenging economic times.