Journalist, critic and memoirist, Thomas Larson explores his affinity for music and language and the ambiguity that results when the two artistic expressions mix.

Composer Michael Norris (Associate Professor at Victoria University of Wellington) describes the creative inspiration behind his 2019 work Rerenga, exploring the influence of native New Zealand music and culture.

Composer and PhD candidate Celeste Oram offers a thoughtful meditation on indigenous musical practices and post-colonial crises of cultural identity.

Professor Jack Boss, University of Oregon, presents a music-theoretical study of Schoenberg's string sextet Verklärte Nacht, focusing on the composer's use of motive and construction of narrative.

Jonathan Dunsby, Professor of Music Theory at the Eastman School of Music, University of Rochester, reflects on a striking case of musical forgery, while recalling his own encounter with Webern's Op. 27.

Professor of Music at the University of Alberta, Alexander Carpenter explores the performance difficulties presented by Schoenberg's melodrama Pierrot lunaire, recalling memorable productions.

J. Daniel Jenkins, Associate Professor of Music Theory at the University of South Carolina, contemplates the nature and function of liner notes, focusing on the wealth of material that has accompanied landmark collections of Schoenberg's music.

Scholar-practitioner Dr Claire Fedoruk, Professor of Musicology at Azusa Pacific University and member of the Los Angeles Master Chorale, reflects on the ensemble's recent staged performance of Orlando di Lasso's Lagrime di San Pietro.

Josephine Frieze, Associate Principal Percussion with the Royal Liverpool Philharmonic Orchestra, reflects on her role in different orchestral repertoire, as well as the practical reality of life as a professional orchestral musician during the corona-virus outbreak.

Silent film specialist Robert Constable, an Australian pianist, composer and former music educator, provides a glimpse into the world of Buster Keaton.

Pianist and contemporary music specialist Matthew Schellhorn reflects on the release of his latest album, the final stage in a project that began with an archival 'treasure hunt' by English music scholar Jonathan Clinch. 

Composer and Professor of Music at UNSW Sydney, Andrew Schultz offers a wide-ranging account of the significance of water - as a physical and metaphorical force - across his oeuvre.

The teaching of music fundamentals is a cornerstone of the liberal arts model for higher education in the United States and across the globe. Here UCSD educators and doctoral candidates Celeste Oram and Michael Matsuno suggest how we might broaden our awareness of the social and inter-personal impact of theory teaching on students’ musical training.

Associate Professor at Duke University, composer John Supko reflects on his compositional practice and the chain of associations it sets in motion. Read his impressionistic account - thoughts, distractions, reflections - here.

Australian composer Andrew Schultz is Professor of Music at the University of New South Wales, Sydney. Here he reflects on the issue of space: both the practical realities and aural analogies that inspire his compositional process.

A musician and educator, Chi Ying Lam describes the community music project ‘Every Life Is A Song’, designed to create songs about the lives of different communities across Hong Kong.

Tessa Romano, Lecturer at the University of Otago, explores the music of a wave of female composers across Aotearoa New Zealand.

Andrew Perkins reflects on his training and career as a New Zealand composer, including those artists - musicians, poets, painters - who have inspired him along his journey towards a national musical idiom.

Susan Broadhurst, Professor Emeritus at Brunel University, London, discusses the ENO's 2016 production of Wagner's Tristan and Isolde, directed by Daniel Kramer.