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Ian Parsons's blog

From Niddrie to Kürten: how Stockhausen came to define the sound barrier.

Even with The Sound Barrier in the stupendously capable hands it is in, with some of PBS's best fill-in announcers, during my absence throughout bits of November and December, I find it impos

Mosaics, transparencies and the always unexpected sounds of the new

A few weeks ago on The Sound Barrier, I described the Studio for Electronic Music at the WDR in Cologne as the Ground Zero for e

The Sound Barrier making friends: with Karen Heath, Henrik Denerin, and James Hullick!

A testament to Melbourne's continued and unwavering enthusiasm and adventure in its relationship with new music will be seen at two exciting and creative concerts coming up in the next two weeks.

Giving voice to The Sound Barrier

We have a very special relationship with vocal music.

From out of the fiery furnace .... the sounds of the WDR Studio for Electronic Music

When Stockhausen wrote his still-iconic, still-seminal, work for electronic music in 1995-1956, GESANG DER JÜNGLINGE, and chose to set within it an Old Testament biblical text about youths being rescu

Th old, the ruined, and the scheußlich - restored and renewed on The Sound Barrier!

The value of what is old and damaged is not typically well assimilated into a highly commodified society where things have their moment in the sun and are then discarded.

Darrin Verhagen perceives The Sound Barrier!

It can sometimes be easy to forget just how far (or perhaps more to the point how widely) music has progressed.

The Siriusness of here and beyond

Tonight's blog tells you about some of the themes and musical structure of SIRIUS.

The many shades of infinity: Nick Tsiavos live on The Sound Barrier; and a tribute to Marcus Fjellström

Live music in the PBS studio on The Sound Barrier is always a treat but never more so than when it encompasses so much with so little, as it did on <

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