How to prepare for your next music competition
BY BOYD OWEN, AS TOLD TO STEPHANIE ESLAKE Boyd Owen won first place in the Sydney Eisteddfod Opera Scholarship in 2017. The dual Australian-New Zealand […]
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Fresh views on all things classical and new music
Understanding Berlioz, with mezzo-soprano Sasha Cooke
BY STEPHANIE ESLAKE According to Sasha Cooke, “Berlioz is just unlike anything else”. “The colour, harmony, melody in his music are beautiful, emotional and […]
7 conductors you should know about
BY ZOE DOUGLAS-KINGHORN Meet the women who are breaking new ground in the Australian conducting scene: the first ever female music director of an Aussie orchestra, the […]
You aren’t boring, so why is your bio?
BY SUSAN DE WEGER If you are serious about attracting and retaining a new audience for classical music, then you need to write about yourself […]
The piece I was born to compose
BY SEAN ROSS Winner of the Director’s Choice Award for opera in the 2014 Boston International Contempo Festival, Tchaikovsky, Angel of Music is not […]
Thomas Green: Finding a sound that is my own
BY THOMAS GREEN Thomas Green is the composer of Turbine – Collusion’s latest chamber ballet. It will premiere at MELT Festival on 23 May. Here, Thomas writes […]
Writing music for my newborn son
BY NAT BARTSCH, COMPOSER I’ve always felt that I don’t easily ‘fit’ in the music industry. For starters, I’m a female pianist and composer who […]
“Do you have perfect pitch?”
BY RACHEL BRUERVILLE “Do you have perfect pitch, or just relative?” I am sometimes asked this question, but before I can get into any […]
How do I get work writing music?
BY NATHAN LIOW During my music studies, my piano teacher and mentor Tony Gould once referred to the period immediately following graduation as “a […]
The value of a music industry placement
BY CELINE CHONG Celine Chong is the 2017 CutCommon Young Writer of the Year. Here, she writes a blog about what she’s learnt through […]