The Compleat Academic? Summer 2011
The Nature of the Symphony May 2011
International Music Conferences - the Exchange of Ideas Sept 2010
So you want to write a symphony? Nov2009
TRANSPOSITION & the written symbols of musical pitch Nov 2009
Practice Makes Perfect May 2009
Rehearsing and Recording April 2009
The Youth Orchestra in Reverse October 2008
The Brass Band in Britain July 2008
Youth - the Golden Age of Music April 2008
Music Librarians - a specialised kind of craftsmanship March 2008
Composers’ originals amended by conductors January 2008
Youthful Prodigy or Late Developer? December 2007
The Real Horn - a new enlightenment? November 2006
Elgar Symphony No 2 May 2006
Unusual instruments in the orchestra April 2006
Getting beyond his station in life? Feb 2006
Towers of Babel? Jan2007
Musical Post-Codes - Regional Sounds November 2006
Orchestral colour in the 21st century - fashion in new sounds - October 2006
Fallen by the Wayside? - Neglected Instruments September 2006
The nature of music as a meaningful language August 2006
A composer’s own most memorable performances July 2006
Never-to-be forgotten concerts June 2006
THOUGHTS ON ELGAR'S 149th BIRTHDAY June 2006
Needs no handle to its name! June 2006
AM I CAPABLE OF PLAYING THIS MUSIC? May 2006
ARTHUR BUTTERWORTH’s Desert Island Discs May 2006
Reith Lectures - April 2006 - Barenboim A universal language or a divisive art ?
A World without orchestras – computers rampant? April 2006
Insidious Decline - Arthur Butterworth fights a rear-guard action April 2006
Plenty of the plain March 2006
AGEING AUDIENCES FOR CONCERT MUSIC March 2006
CONCERT-PERFORMANCES ... THIRSTY WORK? November 2005
Inspiration - "In The Air"? Sept 05
DOES COMMISSIONED MUSIC STAND A BETTER CHANCE OF A LONG CONCERT LIFE THAN MUSIC WRITTEN WITHOUT A COMMISSION? ... June 2005
CLASSICAL MUSIC - TOO ÉLITIST ? May 2005
A COMPOSER'S PROGRESS - OR RECESSION? February 2005
SHOULD COMPOSERS TELL ? November 2004
REVERSE TRANSCRIPTION - a matter of black and white?- October 2004
THEY DON'T MAKE THEM LIKE THAT ANY MORE June 2004
THE CRITICS’ PRIME CONCERN April 2004
REAL MUSIC …. OR JUST FOR SHOW? ... January 2004
ORCHESTRAL CONCERTS: DISASTERS IN WAITING November 2003
A DECEIVING MIRROR October 2003
AN AGE OF ANXIETY August 2003
ANGLO-SAXON OPERA? May 2003
STYLE IN ORCHESTRATION Februrary 2003
ARTISTRY, CRAFTSMANSHIP or DRUDGERY? Writing an orchestral score November 2002
The Art Nouveau of Orchestral Sound October 2002
OLD LAMPS FOR NEW? September 2002
How do we win audiences August 2002
Composers - for Love or Money? May/June 2002
Overtures and Encores April 2002
LISTENERS - Professional or Amateur? March 2002
WALTON-BRITTEN, a musical north-south divide? February 2002
WILL THE AUDIENCE MIND STANDING UP? January 2002
ORGAN RECITALS - a contemporary view December 2001
THE LOQUACIOUS CONDUCTOR November 2001
PERCUSSION and the BRASS BAND October 2001
Adrian Smith and the Slaithwaite Philharmonic Orchestra Sept 2001
MUSICAL SPORTS DAYS Aug 2001
TRANSCRIPTIONS - A CHANGE OF COLOUR? July 2001
The amateur orchestra - a British phenomenon ? - June 2001
Rival Muses - May 2001
Why does a composer revise a work? April 2001
Does Originality have Value? March 2001
A LITTLE HAYDN? - GOOD February 2001
An Un-Nerving Business? January 2001
Music at Christmas December 2000
WORDS, WORDS - IDLE WORDS ? Arthur Butterworth reflects on Programme Notes November 2000
WHY CAN'T MUSIC STUDENTS DO HARMONY? October 2000
Only the Purest Sound September 2000
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