Leah Curtis tells us about her new work The Ground, and the chance to collaborate closely with SXS Didgeridoo player Chris Williams during its creation.

Cameron Lam started out looking at the sky and pondering the stars, but his thoughts quickly turned to contemplations of death, mourning, bird song, and distant landscapes.

A conductor and composer map out a journey through Mozart's final masterpiece for Sydney Philharmonia Choirs.

Myee Clohessy discusses this year’s ambitious Bowral Autumn Music Festival.

Ahead of the SXS 2022 season launch, Tania Frazer and Chris Williams talk about commissioning works for didgeridoo and chamber ensemble, and teaching composers how to write for the instrument.

November’s playlist us brings up to date with the slew of new releases (and digital re-releases) over the past couple of months. There’s an exciting range from contemporary classical, jazz and sound art from composers who have featured before and some new faces.

Three young composers describe the new works they have written as part of Artology's 2021 Fanfare competition, which will be performed along with nine other fanfares in Brisbane this week.

Limelight has been looking at whether the music our orchestras play genuinely reflects our society, and to what extent it ought to. Our readers have responded passionately and eloquently.

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

Peter Tregear discusses the rise of identity politics and argues that if we wish to defend our orchestral culture, we cannot avoid questions of musical value.

Australians deserve to hear a great deal more music by First Nations peoples, women, gender non-conforming people, composers of colour, and our male contemporaries argues Felicity Wilcox.

Cameron Lam explores the string quartet in this month's playlist of Australian art music.