“I am a lady of the sea, I’m a lady of the water,” declares French sonic auteur Camille. “Water is life and we forget too much about this.” Her new album, Ilo Veyou, is filled with water. There’s the “Bubble Lady”, the “Wet Boy” and the “Shower” that’s a refuge. Ilo Veyou is also about her voice – wordplay, the rhythms it makes, the farty sounds, the distracted humming, the tender melodies she sings. But it’s about a new phase in life, too: becoming a mother.

The business of setting musical records does not normally have much to do with actual music. The longest an oboeist can play with circular breathing, the fastest piccolo player, the highest note sung by a human etc – these are not about music-making. A record of a rather more impressive order is due to be attempted at the Royal Opera House on Sunday, 23 October. The largest number of French horns ever gathered in one place will attempt to make music together.

Whilst acknowledging the huge impact the Frieze Art Fair has made on the cultural landscape of the capital since its inception in 2003, the frenzied annual event definitely doesn’t float every art lover’s boat. With about 170 – mainly blue-chip  – galleries occupying a sprawling 20,000 square metres, the posh Regent’s Park marquee can make the experience of looking at contemporary art feel like a trip to Westfield. And unlike the designer shopping mall, if you’re planning on seeing it all in a day it’ll cost you £27 just to window shop.

We know (we have the analytics) that quite a few TAD readers are not averse to a bit of arty burlesque – our candid interview with striptease artist Ursula Martinez was read by many thousands. The latest contenders in the burgeoning titillation-as-art scene are Cabaret New Burlesque who finished a three night run last night at the Charing Cross Theatre in London (it will be back, they promise).

Has the great pop diva Beyoncé plagiarised the great modern dance diva Anne Teresa de Keersmaeker? This is the burning question that has today sent disco popsters and fans of austere contemporary dance in a feverish crush to YouTube, comparing Beyoncé’s new "Countdown" vid with De Keersmaeker’s art-house dance Rosas danst Rosas. They’re turning over micro-flashes of Beyoncé, running them back, comparing them with… well, you have plenty of choose from, as De Keersmaeker doesn’t believe in throwing away her ideas in 10 seconds.

Death concentrates the mind wonderfully, as they say. In the wake of the demise last week of Alexander Grant, who owned the choreographer Frederick Ashton's world-wide hit ballet La fille mal gardée, the Royal Ballet has announced that it is launching a foundation to "perpetuate the legacy and work" of the distinguished choreographer 23 years after his death.

You hear the names of the princes and romantic heroines in ballet, but the global success of 20th-century British ballet had much to do with its dramatic acuity and nuancing, the unexpected side characters who in the ballets of Ashton and MacMillan were vastly more interesting than the stock supporting roles of 19th-century ballet. Alexander Grant was the key man in the growth of sophistication in British ballet in the Forties and Fifties, a character performer of powerful personality, and a performer who could out-dance almost any leading man.

Niccolò Paganini was the most controversial classical musician who ever lived. Although widely acknowledged to be one of the most brilliant performers of his lifetime, he provoked wildly contradictory opinions amongst his contemporaries and was constantly denounced as a charlatan in league with the devil – a spell in gaol for a paternity suit gave rise to the myth that he had acquired his dazzling technique from a pact with the devil during his incarceration.

Birmingham Royal Ballet’s star Robert Parker has been a ballet dancer and a trainee pilot - and is now to become artistic director of Elmhurst Ballet School in Birmingham, one of the two most important ballet schools in Britain.