Pondering the inconsistency of memory, Guy Noble argues that rather than hold a grudge, it’s better to forgive and forget.

Sydney composer-pianist Andrei Hadap earns a $5,000 cash prize and will have his winning work debuted by the Willoughby Symphony Orchestra.

Staging a commercial musical can help finance a potentially loss-making opera, but has Opera Australia tipped the balance too far?

Creative Australia's withdrawal of Khaled Sabsabi from the Venice Biennale is not an isolated incident, argues Samuel Cairnduff. It's part of an emerging trend.

Perhaps it’s time, argues Margaret Seares, to start rebalancing the priorities between corporate drivers and artistic imperatives. 

Australia’s arts sector faces a watershed moment. It has the opportunity to become the leading space for discourse – but only if there are major changes in cultural leadership.

Travel is nowhere near as relaxing as it’s made out to be, argues Guy Noble. So, he has a novel solution – just send him your photograph.

Being a composer is not about sitting in a room writing complex symphonies, says Matthew Hindson. It's about making music that connects.

Now more than ever, the future of music is in the hands of young and emerging creatives, argues David Boyce. AI can only rehash the past.

Sick and tired of unsolicited calls and ID checks, Guy Noble turns the tables on call centres.

Decades of funding cuts have created a chasm between the priorities of arts company boards and artists, argues Heather L. Robinson. We'll all pay the price.

There is no singular way to be Australian, argues music critic and writer Giselle Au-Nhien Nguyen, so there is no one way Australian music should sound.