Where does music come from? That’s the vital question posed to Sergei Rachmaninoff in Dave Malloy’s extraordinary 2015 chamber work, as the great late-Romantic Russian composer – stuck in his third year of harrowing writer’s block – tries to relocate his gift. It comes from others and from himself; from past and present; from everything and nothing. It is ephemeral, and yet it is at the core of his very being.

It’s too darn hot, BoJo is in Downing Street, and we’re all going to Brexit hell – so we might as well sing the blues. Or at least take a night off from the apocalypse to enjoy a virtuoso company singing them for us in this rousing revival of Sheldon Epps’ 1980 musical revue, which showcases jazz greats like Bessie Smith, Duke Ellington, Benny Goodman, Johnny Mercer and Harold Arlen.

This well-meaning biographical jukebox musical about icons Gloria and Emilio Estefan, which did two years on Broadway and a US tour, is good summer scheduling, what with its Latin-pop bangers, infectious dance routines and “Dreams come true” messaging.

Treatise by Cornelius Cardew is the defining work of the graphic notation movement. The score, completed in 1967, is made up of 193 landscape pages, each with two empty musical staves running along the bottom, with an array of graphic designs above, often incorporating elements of musical notation, but rarely specifying pitches or rhythms.

Mozart: The String Quintets Klenke Quartet (with Harald Schoneweg, viola) (Accentus Music)

Jerusalem! This fact-studded story of 20th century British music told us that the nation's unofficial national anthem, Hubert Parry’s setting of William Blake’s poem, originated in 1916 as a commission from the “Fight for Right” movement.

There are many layers of allusion that come with Marianne Faithfull’s powerful new album. The title is drawn from Keats, his formula for great poetry as opposed to instructive morality, and it’s towards a poetry of experience rather than the fixed wheel of morality that Faithfull bends her muse, just as she has always done.

The most famous face in musical history, and perhaps the instigator of modern culture as we know it; he truly was the King. But for a documentary focused on such an icon, The King touches very little on Elvis Presley the man.

BBC Four is the TV music equivalent of those oldsters music mags like Q and Mojo. Have there been five, or is it six, documentaries about Queen on the channel?

80 Aching Orphans ought to be hard work. A four-CD, 80-track, 274-minute overview chronicling 45 years of one of pop’s most wilful bands should be a challenging listen. The Residents have never made records which are straightforward or were meant to be, and have never made records conforming to prevailing trends.