Long-form reporting and analysis on teaching, learning, policy and practice across music education.
A fly tower may be ugly, automated systems eventually break and a missing loading bay can compromise a venue for decades. Frank Yeung and Kenny Wong draw on projects in Hong Kong and Singapore to explain how performing arts venues are planned in practice.
A Munich court has ruled against generative AI music platform Suno in a significant copyright case brought by German collecting society GEMA. The decision goes beyond the question of whether copyrighted music was included in AI training data, examining whether musical works can be ‘memorised’ by a model and reproduced in its outputs.
The government’s music strategy places education, access and grassroots development within a single national music ecosystem. Its ambitions have been warmly received, but sector leaders warn that long-term funding, effective coordination and meaningful involvement of practitioners will determine whether the plan delivers lasting change.
I Can Compose has published a Women’s History Month interview with pianist, composer and innovator Sarah Nicholls.