Hand on Heart Talk Fiddle-player and author Caoimhín Mac Aoidh looks back at ‘The Inside Track’ traditional music seminar, which took place in Glór in Ennis last November.
The Chosen Ones The Sligo New Music Festival and Composers’ Choice.
A Foobarian Approach to Music Technology The teaching of music technology in second-level education.
The Real Alternatives A review of two new piping albums.
Must Music be Accessible? The accessibility of music is a political issue, not an aesthetic one, writes composer Raymond Deane
For Two Euros More? Traditional musician Diarmaid Moynihan reports on some 'creative' attempts at publicity that his band witnessed during their recent trip to Germany.
An Interview with Fiddle-Player Frankie Gavin In 1976, Frankie Gavin, made one of the outstanding fiddle albums of the latter half of the twentieth century, Traditional Dance Music of Ireland with bouzouki player Alec Finn. Since then, through his solo and duet work, as well as performances with the group Dé Danann, he has proved to be a unique, creative talent as well as one of Ireland’s most dynamic traditional musicians. His influence on Irish traditional fiddle playing, in technique, style and repertoire, has been profound.With Dé Danann recently disbanded, the Galway fiddle-player has just released a four-CD collection of live performances, featuring Stephane Grappelli, Gary Hastings, Joe Derrane, Máirtín O’Connor and Carl Hession. Here, Toner Quinn interviews the virtuoso about his recordings through the years and his projects for the future.
Meeting Ó Riada A new book on Seán Ó Ríada's life and work.
New Music: Style Crisis The premiere of a new work by Stephen Gardner and recent CDs of the music of Frank Corcoran, Eric Sweeney and John Gibson.
Composition and Criticism Last November, JMI published an article by composer and pianist Patrick Zuk on the ‘rather chaotic state of contemporary composition and criticism’. A response by composer Ian Wilson was published in the Jan-Feb issue. Here, Patrick Zuk offers his response to Ian Wilson’s criticisms.