Diversity of view and focus is becoming something of a hallmark in these early instalments. One theme which arises often in this issue is the position of composers and composition in society and culture. If, as Alwynne Prichard points out in the first of a two-part article, the market is everywhere, where then is music? In turn Andrew Hugill questions who it is composers really create for. Looking at composition from a social perspective Susanna Eastburn addresses under-representation of many parts of society in the art form. What about music without a composer? Luke Deane considers the implications of the process of sonification by which data is translated into audio. Consciously or not, all composers either process, interpret or address the contemporary world around them. Tansy Davies goes in eyes open – tackling one of the defining events of the present century – the 9/11 attacks in her first opera – here she talks about what that means for her both as an artist and personally.
The work of folk musicians’ reflects a multitude of cultural influences just like other contemporary genres and ahead of the third folk music showcase at Club Inégales next month in association with the Institute of Composing we hear from Katch Holmes about the similar challenges they face.
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