The Journal of Music not only supports artists in their work, and provides them

with a considered reponse but also advances public understanding of what musicians
and composers are doing.

At the annual TradTalk traditional music conference last year, in a discussion on

contemporary sean-nós singing, the artist Iarla Ó Lionáird drew on a recent Journal
of Music essay by Adrian Scahill, 'Sean-nós on its own terms'.

What Ever Happened to Britten in Ireland?

For example, consider our annual coverage of the New Music Dublin festival. Every
year, we dedicate considerable resources to covering as much of this large, multi-
concert festival as possible, and we are the only publication who has covered it
extensively every year. We now have a public record of the work of many established
and emerging Irish composers and musicians over the past ten editions of the
festival. This record is not only publicly available but also free-to-view. It not
only helps Irish artists build their careers but also draws international attention
to the music scene in Ireland. This week, we received a message from the British
composer Laurence Crane whose work was performed at the festival, and reviewed by
us, but who could not attend. He wrote: "Hi, Really interested to read the very
comprehensive account of New Music Dublin in your latest edition. Makes me sorry
that I could not be there and experience what sounded like an excellent festival! …
Really enjoyed the whole article!"

Without publications that focus on providing expert coverage of music, what remains
is simply publicity for events.

At the annual TradTalk traditional music conference last year, in a discussion on

contemporary sean-nós singing, the artist Iarla Ó Lionáird drew on a recent Journal
of Music essay by Adrian Scahill, 'Sean-nós on its own terms'.

For example, consider our annual coverage of the New Music Dublin festival. Every
year, we dedicate considerable resources to covering as much of this large, multi-
concert festival as possible, and we are the only publication who has covered it
extensively every year. We now have a public record of the work of many established
and emerging Irish composers and musiciaRecently on the Rolling Wave traditional
music programme on RTÉ Radio 1, fiddle player and presenter Aoife Nic Cormaic
descrived it as 'the highly respected publication Journal of Music', and introduced
a discussion of an article we published last November, '10 Impossible Ideas for
Irish Traditional Music'. The Journal of Music not only supports artists in their
work, and provides them with a considered reponse but also advances public
understanding of what musicians and composers are doing.

At the annual TradTalk traditional music conference last year, in a discussion on

contemporary sean-nós singing, the artist Iarla Ó Lionáird drew on a recent Journal
of Music essay by Adrian Scahill, 'Sean-nós on its own terms'.

Without publications that focus on providing expert coverage of music, what remains
is simply publicity for events.

The Journal of Music provides a standard of critical coverage and musical discourse
that is not available elsewhere. It has three components: (i) it is written by
experts in their field, (ii) it is professionally edited, fact-checked and
proofread, and (iii) the magazine pays its contributors professional rates in order
that they can dedicate the necessary time to their writing, which in turn means we
receive a higher quality of article or review.

For example, consider our annual coverage of the New Music Dublin festival. Every
year, we dedicate signficant resources to covering as much of this large, multi-
concert festival as possible, and we are the only publication who has covered it
extensively every year.

We have now covered all ten editions and have a public record of the work of many
established and emerging Irish composers and musicians. This record is not only
publicly available but also free-to-view. It not helps these Irish artists build
their careers and also draws international attention to the music scene in Ireland.
This week, we received a message from the British composer Laurence Crane, whose
work was performed at the festival, and reviewed by us, but who could not attend.
He wrote: "Really interested to read the very comprehensive account of New Music
Dublin in your latest edition. Makes me sorry that I could not be there and
experience what sounded like an excellent festival! … Really enjoyed the whole
article!"

At the annual TradTalk traditional music conference last year, in a discussion on

contemporary sean-nós singing, the singer Iarla Ó Lionáird opened his comments by
quoting from a recent Journal of Music essay by Adrian Scahill, 'Sean-nós on its
own terms'.