A community-driven work responding to the Barossa’s unusual history, and its hidden musical treasures, leads to Ntaria in Central Australia and Brandenburg in East Germany.

Many people are intimidated by new music because of a lifetime of sonic conditioning – a challenge Ensemble Offspring takes in its stride

A new opera about the Princes in the Tower concludes they were murdered – but not by Richard III.

How the Adelaide Symphony Orchestra is redressing the gender imbalance.

Writing a psychedelic violin concerto using sampling and looping proved a trippy trek for Gordon Hamilton.

Don’t be scared; when musicians say there are no limits and embrace the adventure, they will feel free, says Keyna Wilkins.

Cameron Lam's latest playlist explores the range and expressive qualities of the clarinet family.

The outpourings of over 200 women formed the basis of a song cycle or musical ‘blog’.

The media executive and composer reveals the myriad threads weaving through his program for Adelaide Festival's Chamber Landscapes at UKARIA.

Creating a symphonic song cycle from Behrouz Boochani’s No Friend but the Mountains.

The Korean-born singer, improviser, and educator shares her knowledge gained through years of creative collaboration with Indigenous and non-Indigenous Australian musicians.

Soundstream’s recent concert EMERGE emphasised new ideas, new methods, and new ways of interacting with music.

Challenging scenarios for collaborative, COVID music making.

Dynamic new music projects are emerging from lockdown, Julian Day reports.

Peggy Glanville-Hicks should be a national icon. So why is she not better known? Hugh Robertson, Label Manager at ABC Classic, explains how the ABC is raising the profile of Australian women composers.

Professor Cat Hope examines gender equality and empowerment in Australian music culture in this year's Peggy Glanville-Hicks Address.