In the hope of effecting a democratic, “magical revolution”, WB Yeats evolved a philosophy of chanting his verse. He also commissioned avant-garde composers Walter Morse Rummel and George Antheil to write music for his plays. What was the poets relationship with music? Riverdance composer Bill Whelan and director Jim Flannery reconsider their 1990s Yeats season at the Abbey in light of the first ever recordings of Rummel’s and Edmond Dulac’s forgotten scores, performed by DIT Conservatory of Music. What was Yeats – said by many to be tone deaf - hearing in his inner ear? Contributors include Ron Schuchard, Meg Harper, Donnacha Dennehy, Conor Linehan, Olwen Fouere, Harry White, and Declan Kiberd shine light on the little known role of music in Yeats’ “magical revolution”. Produced for the Lyric Feature by Deirdre Mulrooney with the support of the Broadcasting Authority of Ireland.