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 Composition Competition for Young Women Composers in Ireland
Summary:Competition for women composers
Deadline: 05 January 2018
Date Posted: 14 December 2017
Details: South Tipperary Arts Centre is delighted to announce a composition competition for young women composers as part of its exciting new concert series of music by women composers, set to take place in Clonmel in March 2018. South Tipperary Arts Centre invites women composers born or resident in Ireland, and under 30 years of age on 1st January 2018, to submit works for the three-part vocal ensemble Voice of between 3-5 minutes duration for performance at the Finding a Voice Concert Series to celebrate International Women’s Day 8th-10th March 2018 in Clonmel, Co. Tipperary.

The winning composition will be selected anonymously by a panel comprising members of Voice vocal trio and award-winning Irish composer Marian Ingoldsby. The winning piece will receive its premiere performance by Voice on 8th March 2018 in Clonmel, Co. Tipperary as part of the opening concert in the Finding a Voice Concert Series. The winning composer will be invited to attend the concert series as its guest and will receive a cash prize.

Deadline for submission is Friday 5th January 2018.


Application form below

For further information, please contact South Tipperary Arts Centre:
+353 52 612 7877
info@southtippartscentre.ie
Web Site:www.southtippartscentre.ie

 New Music • New Video
Summary:Piano Competition
Deadline: 01 May 2018
Date Posted: 14 December 2017
Details: COMPETITION DETAILS

Prize information
• Anderson & Roe will perform the winning composition in a fully produced music video in their signature style.
• Anderson & Roe will produce, direct, edit, and finance the music video of the winning competition.
• Anderson & Roe will share the competed music video with their fans on YouTube, Facebook, Instagram, Twitter, and andersonroe.com within a year of announcing the winner.
• The winning composition will be personally selected by Anderson & Roe and announced in June 2018.
• The winning composer will have the opportunity to contribute ideas to Anderson & Roe regarding the vision of the music video.

Composition requirements
• The performance time must not exceed five minutes.
• The composition may be in any style.
• The composition may be for two pianos or one piano, four hands.
• Original works are preferred, though arrangements that deviate dramatically from public domain source material will be considered.
• The competition is limited to compositions that have not been performed earlier, published in any form, or awarded in any competition.
• Compositions using extended techniques (i.e. introducing foreign objects into the workings of the piano to change the sound quality, strumming or plucking of strings) are permitted.

Rules for submission
The submission period will remain open until May 1, 2018. There is a $20 fee to apply.
• Submissions should be sent as a single email to newmusic@andersonroe.com with the composition title and the composer's name in the subject line.
• All entries must include a .pdf copy of the score as an email attachment.
• The .pdf score should be labeled with the title of the work, the composer's name, and the date of composition.
• Scores of multi-movement pieces should be submitted together as one joint PDF file.
• The body of the email should include:
o The composition title, the composer’s name, and the composer’s age.
o The point from Anderson & Roe’s Listening Manifesto (http://www.andersonroe.com/listening-manifesto) that most resonates with the composer.
o Optional: a short written description of the work. (International applicants: please translate all text to English.)
o Optional: an .mp3 recording of the work (live or MIDI).
o Note: please do not send any additional materials such as photos or bios.
• The $20 application fee should be paid via PayPal to newmusic@andersonroe.com.
• Each entrant may submit up to two compositions for consideration. Please send each composition as a separate entry with a separate application fee.
• No third-party submission sites such as Dropbox or WeTransfer will be accepted.
• Application materials must be submitted electronically; no postal mail submissions will be accepted.
• Submissions that do not strictly follow the guidelines, or are submitted before or after the submission period will be disqualified.

Other information
• Receipt of submissions will be acknowledged by return email.
• Depending on the number of submissions, feedback regarding individual submissions may or may not be provided.
• By participating in the competition, a composer declares that the composition can be recorded for purposes of the music video prize, without any financial claims from the composer's side. The winning composer will be asked to sign a sync license agreeing to the terms.

Any questions regarding the competition should be directed to competition administrator Jasmine Jones at jasmine@gregandersonpiano.com.
Web Site:www.andersonroe.com/newmusic/

 Call for scores / Appel à partitions – Festival Osmose, Belgium
Summary:Flute/mariba duo call
Deadline: 25 August 2018
Date Posted: 14 December 2017
Details: We kindly invite composers to submit scores. The call is open to composers of any nationality and age.

1) Concert of November, 30, 2018 : Pieces should be written for professionnal duo flute/marimba, only one work per composer. Submitted work must be premiered work in Belgium.

Duration : 3 minutes maximum

Participation fee : 20 euros (the entry fees are not refundable). Registration becomes effective after receipt of the fee. Please send short CV (5 lines), proof of the paiement and readable score format PDF to the following address : dan.baas@skynet.be

Deadline : August, 25, 2018

Composers will be given a copy of the recording of their work. Selected composers will be notified by email at the end of September.
Web Site:www.danbaas.be

 Call for Applications: Artistic Research as Compositional or Performance Practice
Summary:Composer/Sound artist workshop
Deadline: 31 January 2018
Date Posted: 14 December 2017
Details: Workshop with selection process
For performers, composers and sound-artists who
• are interested in enriching their artistic practice through rigorous self-reflection,
• search for ways to indulge deeply into a specific topic based on methods of artistic research,
• wish to develop new performance models through artistic research.
(Participants of the Darmstadt Summer Course 2018)
Tutors: Marko Ciciliani & Barbara Lüneburg
Maximum number of participants: 10-12
Passive participation: possible upon arrangement
Deadline for submission of applications: 31 January 2018


Topics/Goals
1. Discussion about the nature of artistic research. What is artistic research? What means of expression does it offer? How can an artist gain from artistic research for his or her own artistic practice?
2. Introduction to different concepts, methods and procedures of artistic research.
3. Application and implementation of principles of artistic research in the participant’s own project.
4. Development of unconventional forms of presentation of the research’s findings, e.g. through fusions of lectures and concerts, hybrids of methods of artistic practices or other alternative formats as discursive audience participation, public intervention, transmedia presentation (online/offline) or other formats.
Artistic research is a young discipline which has stirred up not only academic but also artistic discourse. It is based on the notion that knowledge is inherent in aesthetic experience and practice. This knowledge is not necessarily directly accessible through reason; it often evades the logic of language, and can therefore not be approached through regular research methods alone.

Artistic research does not follow a fixed set of procedures. Its practitioners typically work across scholarly and artistic disciplines, drawing from methodologies of other domains while adding an inside perspective specific to their individual artistic practice.

In this workshop, Marko Ciciliani and Barbara Lüneburg will shed light on various forms of artistic research and point out possible practices, methodologies, research goals and forms of presentation. Participants will be assisted to find and select the research tools that are appropriate for their project. Furthermore, they will be helped to find ways to share the gained knowledge through unconventional artistic expressions.

Important note on the call for applications
Please submit a written project proposal with a maximum length of 1,000 words to artisticresearch@internationales-musikinstitut.de until 31 January 2018 at the latest.

Applicants are asked to submit project proposals that
– show how they aspire to gain, extract, or investigate any sort of knowledge through their artistic practice
– search for unconventional forms to make their research not only academically but also aesthetically accessible and tangible for others.
In addition, please submit two examples of your artistic works/performances (each not exceeding ±5 minutes), preferably (however, not necessarily) relating to the project. Please send everything either as weblinks, via WeTransfer.com, not exceeding a total of 100 MB.
Marko Ciciliani and Barbara Lüneburg will select ten to twelve submissions until mid of February 2018 at the latest.

All selected artists must be registered participants of the Summer Course and will be given preference during registration. Registration will start mid / end of January 2018.

No scholarships will be granted for this project.


Web Site:www.internationales-musikinsti...

 Call for Applications: Workshop "Voice Electrification"
Summary:Composing workshop opportunity
Deadline: 15 January 2018
Date Posted: 14 December 2017
Details: Workshop on Composing for voice and live-electronics
Tutor: Julia Mihály (voice & live-electronics)
Workshop with selection process
For participants of the Darmstadt Summer Course 2018 (vocalists, composers)
Maximum number of participants: 8-10
Passive participation: possible upon arrangement
Deadline for submission of applications: 15 January 2018

Working phases:
Phase 1: 16–20 March 2018 (SELMA Frankfurt/Main)
Phase 2: 14–28 July 2018 (Darmstadt Summer Course)

Target group:
Composers, vocalists, vocal performers

Prior knowledge:
Composers: Prior knowledge of a common audio programming environment (Max / Max for Live, Pd, SuperCollider, Csound, Reaktor, or similar)

Vocalists: Classical vocal training is appreciated but not mandatory. Experience with electronics is not required.
Please note that there will be an additional voice studio by Donatienne Michel-Dansac which also has a selection procedure. If you’d like to be considered for Donatienne’s class as well, please remark this in your e-mail. It will be possible to work in both classes.

Required participants’ equipment:
It is assumed that everyone participating as a composer will bring their own laptop and an audio interface. Controllers such as MIDI controllers, motion sensors, USB cams, gaming devices, wearable controllers etc. can be brought if available.


Topics
• Chamber-music interaction between performer and computer
• Expansion of the vocal sound spectrum by means of live-electronics and exploration of forms of vocal expression beyond physiological boundaries
• The performer’s body as an interface
• Use of electronic devices in performances

The workshop addresses both composers and classical vocalists or vocal performers. In a process of joint experimenting compositions performed by voice and live-electronics are to be developed with a focus on the aspect of chamber-music interaction between vocalist and computer. Pieces for live-electronics are expressly welcome. It is intended to present the compositions created during the workshop in the framework of a workshop concert.
Composers and vocalists will jointly become acquainted with perspectives and challenges of the combination voice & live-electronics and explore possibilities within their own artistic expression. In this context, the following issues will be covered, among others:

• How can vocalists react to electronic alienation of their own voices in a multi-faceted way and interact with such alienation?
• Which vocal techniques are best suited for which electronic modulation procedures?
• How much knowledge of vocal sound production is required for composers and how much information do vocalists need for a conscious and creative use of electronic sound modulation?
• How can the control of electronics be integrated into the performance during singing?
• How much control of electronics can be exercised by vocalists on stage without causing too much distraction?
• How must pieces and pertaining patches be designed in order to enable performance by the vocalists themselves during standard concerts without the composer’s attendance?
• What extent of technical equipment is viable for standard concerts? What extent of technical complexity is acceptable in view of reliable performability?
• How can pieces for voice and live-electronics be notated in a sensible and viable way?
Important note on the call for applications
Please send the following documents to
voiceelectrification@internationales-musikinstitut.de by 15 January 2018 at the latest.
• 1 PDF with a maximum of 3 pages:
• CV (short version)
• Project draft of 2 pages maximum
• 2 works (complete pieces or excerpts).
Please send large documents e.g. via wetransfer.com.

Julia Mihály will select eight to ten submissions until the end of January 2018 at the latest.
The eight to ten selected artists must be registered participants of the Summer Course and will be given preference when awarding the places. Registration is possible between 15 January and 15 April 2018.
No scholarships will be granted for this project.

This project is realised in cooperation with
Studio für elektronische Musik und Akustik (SELMA)
of Hochschule für Musik und Darstellende Kunst Frankfurt/Main.

Web Site:www.internationales-musikinsti...

 Mauricio Kagel Composition Competition
Summary:Call for Piano Works
Deadline: 15 August 2018
Date Posted: 14 December 2017
Details: Considering the relative overabundance of piano literature, it would be seemingly foolhardy to stage a composition competition promoting the creation of new pieces for piano. Everything appears to exist already, even pieces for children and young adults. Still, far too frequently it is precisely this contemporary „educational literature“ which proves lacking in artistic qualities; accompanying a reduction in technical difficulty, with an objectionable reduction in the notion of what children and young adults are capable of understanding – both intellectually and emotionally.

We are looking for piano pieces written for children and young adults which, although limited in their technical difficulty, remain uncompromising in their artistic aim; pieces written with a contemporary compositional technique which offer the young student stimulus, insight and new experiences: experiences about oneself and the world in which we live.

With the creation of this competition, the Ludwig van Beethoven Department of Piano and Harpsichord in Music Education would like to ensure that such quality pieces are more prevalent in the future and to this end we invite composers to accept the challenge by enrolling in the competition.

In the course of a week’s time an audience comprised of students, teachers, and performing artists will be given the chance to listen as the jury evaluates the different ways this challenge has been addressed by the composers. The jury will assess not only the artistic quality of the pieces, but also the question: what does a piano student learn from these pieces? And in addition the discussion will cover what makes a piece exciting and what is future-oriented; while at the same time never loosing sight of the technical limits implied when composing for children and young adults.


The decision of the Jury to award the prizes within the course of the Maurico Kagel composition competition is reached, therefore, in a very special way – not behind closed doors, but in open and public discussion. The winning pieces will be technically suitable for children/young adults but will not compromise their artistic aim in order to make a pedagogical impact. Instead, they will be convincing due to their compositional quality.

General Conditions

Conditions for Participation

a) The competition is open to all composers born after August 15th, 1978. Participants who were awarded prizes in 2010, 2013 and 2016 are no longer eligible to enter.

b) The submitted score should be composed for this competition. The composition must not be older than three years and should not have been performed privately or publicly, copied, distributed, broadcasted or made accessible on the internet.

c) Each composer may submit only one score in its entirety and not in part.


Details of the composition
The composition should be written for one piano (solo or for more than one pianist), and can include all facets of the instrument.

It is of great importance that the pieces be appropriate in their level of difficulty for children / young adults and be suitable for pedagogical use. Therefore the pianistic difficulties and musical challenges should be conceived with children / young adults in mind.

The score is expected to be comprehensible and clear. Instructions for performance must be written in German or English.

The piece or group of pieces is expected to have a total length of between 6 and 15 minutes.

Applications

a) The participants are to send an envelope marked on the outside with a freely chosen five-digit code which will secure the anonymity of the participant. The envelope should contain:

1. six copies of the piano score - each annotated with the same five-digit code. The composer's name should not appear on the score

2. an additional sealed envelope marked with the same code and containing the composer's personal data, a short curriculum vitae and two recent photos.

b) All entries must be postmarked no later than August 15th, 2018 and should be addressed to:

Universität für Musik und darstellende Kunst Wien
Ludwig van Beethoven Institut für Klavier und Cembalo in der Musikpädagogik
Rennweg 8
1030 Wien
Österreich

Jury

Michael Jarrell
Isabel Mundry
Robert HP Platz
Rebecca Saunders
Marco Stroppa

• From the entries received, each jury member will nominate several pieces to be included in the Vienna Days of Contemporary Piano Music 2019 (February 4th - 7th, 2019), openly discussed by the jurors and considered for a prize.
• The presentation of the prizes will take place on the 7th of February, 2019 during the Vienna Days of Contemporary Piano Music 2019.
• The organizers reserve the right to find replacement jury members as seen necessary.
• The jury is free in its decision making. All decisions of the jury are final and indisputable. There can be no appeal against the jury’s judgement.

Prizes

1st Prize € 5.000.-
2nd Prize € 3.000.-
3rd Prize € 2.000.-

The jury may decide to divide the prizes or not to award a prize.

Winning scores will be published together in a volume entitled K2019.

Additionally, the jury may create a list of recommended pieces.

The Ludwig van Beethoven Department of Piano and Harpsichord in Music Education will release digital recordings of the prize winning pieces and selected recommendations from the jury.


Web Site:www.mauricio-kagel-composition...

 INTERNATIONAL COMPOSERS COMPETITION 2018
Summary:Choir competition with two categories
Deadline: 31 March 2018
Date Posted: 14 December 2017
Details: RULES AND ENTRY DETAILS
1. The Competition is open to any composer.
2. The Competition has no age restrictions.
3. Two cash prizes, each of £1000 will be awarded to the winner of both Categories (Adult Male Choir and Cambiata Choir), plus a runner-up and third prize of £500 and £250 for the Adult Classes only.
4. Other ‘Certificates of Commendation’ may be awarded. In the event of an entry being submitted by two or more people (e.g. lyricist and composer) the cash prize will be shared.
5. The composition must be completely original. Arrangements are not allowed. However, lyrics can be used which the composer can prove are out of copyright or for which the composer has written permission for their use. (Evidence must accompany the entry.)
6. The composition must not have previously been submitted for any form of publication (including self publishing on any internet site), any form of competition or previous performance.
7. The composition must be set for male choir (TTBB or Cambiata). Scores not appropriately laid out for the selected ensemble will be rejected from the adjudication process.
8. The composition should not exceed three minutes in length and may be accompanied or unaccompanied. The composition will be judged on its musical merit, appropriateness for the selected genre and the suitability of the text setting. The actual choice of lyrics / text will not be adjudicated.
9. If the composition is not of English text/lyrics, then a translation into English must also be provided on a separate sheet, if needed.
10. By entering this Competition, the composer gives permission for the Festival to copy and distribute any entry for four distinct purposes only:
a. For the winning entry to be sung by an ensemble at the Presentation Evening in the Autumn of 2018;
b. For any choir wishing to sing a Competition entry during the 2019 Festival and specifically for the winning entry to be officially premièred during the 2019 Festival;
c. For choir learning audio tracks to be produced to facilitate learning of the music.
d. For the winning entry to be available on our website and for use of participating choirs of the Festival , and at any point present or future (see note under ‘Publication and Copyright’)
11. In all cases, the decision of the Adjudicator is final. No correspondence will be entered into.

SUBMISSION DETAILS
12. Entries may be submitted on paper or electronically.
13. Electronic submission can be in any music scoring software format though Sibelius is preferred. Please discuss (by email or telephone) other formats with the Festival Director prior to submission
14. If using Sibelius, please also send a version in Sibelius Student, and a PDF.
15. Please be aware that all paper entries and those submitted as .pdf files will be electronically scanned into Sibelius for ease of adjudication and for purposes as described in 8 above.
16. Paper entries must be submitted only on white, A4 size manuscript paper, written in black ink. Such manuscript entries must be written on one side of the paper only. Please be aware that, while every effort will be made to ensure the accuracy of the finished electronic file following the entry being scanned, no guarantees are either given or implied that such scanning will result in a 100% accurate copy of any manually submitted original. The Festival cannot be held liable for any scanning errors and scanned files will not be returned to composers for proofing. If a handwritten score proves incapable of being scanned, the composer will be notified and offered advice for resubmission (as long as the competition closing deadline can still be met). Hand written scores along with their electronic equivalent will be submitted together for adjudication.
17. Composers submitting entries on paper are advised to keep copies in case their work becomes lost in the post. The Festival is unable to return any material submitted on paper.
18. Since all scores will be submitted to the adjudicator anonymously, entries (in any format) must only contain the title of the piece (which can be repeated as a footer on each page if desired). Entries must NOT be identifiable by containing either copyright information or the composer’s name. Pages should be numbered sequentially. If composers feel insecure regarding copyright issues, the UK Copyright Service (http://www.copyrightservice.co.uk/copyright/) has further information on the matter.
19. The Festival accepts no responsibility for the non-arrival of any entries submitted by post.
20. The cost of entry is £20 per item submitted. You may submit more than one entry.
21. Entries, the application form and appropriate fee should be submitted either by post to:

Robert T. Elliott, Festival Director, Cornwall International Male Choral Festival, 19 Shakespeare Road, Royal Wootton Bassett, Wiltshire, SN4 8HD, or electronically to rob@cimcf.uk
to arrive no later than Saturday 31st March 2018.

23. Wherever possible, entries will be acknowledged by return.
22. For internet bank payments, the details are: Barclays, King Street Truro Branch
Sort Code 20-87-94 Account Number 20851167
Account Name Cornwall International Male Choral Festival Ltd (or CIMCF LTD)
Reference Your surname preceded by the letters “CC”
N.B. if payments arrive to our account without the correct reference, your entry will not be valid.

PUBLICATION AND COPYRIGHT
24. The winning composition(s) will be put onto the Festival website, and then available as a PDF for any choir to download and use it/perform it without charge. This will give the composition maximum coverage and hopefully be sung by many more choirs than could be imagined otherwise, enabling the composer to become more widely known and thus leading to future commissions and projects.
25. From October 1st 2019, the winner shall have the option of continuing to allow the composition to be accessed via the website, as above, or having it withdrawn for the purposes of publication independently. If the latter is chosen, then this request must be made in writing to the Festival Director any time from 1st October 2019, allowing 4 weeks from the date of the notification for the removal from the website.

ADJUDICATION AND PRIZE PRESENTATION
26. Adjudication will take place during April and May 2018.
27. The Prize winners of each category and those receiving commendations will be notified during June 2018 and then subsequently announced on the Festival website and in a press release.
28. The prize and any commendation certificates will be awarded at the Presentation Evening to be held in Autumn 2018 (Date TBA) in Truro. All competition entrants will be invited.
29. The Festival is unable to pay any expenses towards entrants attending the Presentation Evening.
30. The winning items will be sung by an appropriate ensemble to an audience of sponsors, patrons, board and company members, and other invited guests.
31. During the Presentation Evening, the Adjudicator will make general remarks related to the quality of the compositions and important issues he feels need expanding upon. He will also comment briefly on selected individual entries. He will outline his reasons for selecting the winning entry and any selected for special commendation. Time will not permit a detailed adjudication on each entry during the evening. However, a short written critique of each entry will be provided to composers attending the Presentation Evening or in the post afterwards.
32. The Adjudicator will be available for short discussion with individual composers following announcements and the presentation.
Web Site:www.cimcf.uk/2018/composers.ht...

 14th Composition Competition Contemporary Spiritual Music
Summary:Sacred Choral Competition
Deadline: 01 February 2018
Date Posted: 14 December 2017
Details: For the promotion of contemporary sacred music, the Festival of European Church Music has been holding an international composition competition since 1990, alternating with a composition commission.

For the festival theme 2018 "With all senses" a composition for choir a cappella (SATB) is to be created, which refers to the Bible verses Preachers 9, 7-10. The duration of the work should be 8-12 minutes. The composition has to be submitted by 1 February 2018 (postmark) at the latest. Detailed information can be found in our invitation to tender for download (see PDF).
Web Site:www.schwaebisch-gmuend.de/brcm...

 ENGLISH SCHOOLS' ORCHESTRA Composing Competition 2018
Summary:Young Composers' Competition
Deadline: 31 January 2018
Date Posted: 14 December 2017
Details: We are excited to announce the third running of the English Schools' Orchestra's prestigious composing competition. This year we will be launching our latest competition for musicians aged between 14 and 25.

Following the highly succesful Competition and Finalists' Concerts in 2014 and 2016, the English Schools’ Orchestra, in association with PRS for Music and the Andrew Lloyd Webber Foundation, are once again proud to support a nationwide search to find the brightest young creative musical talent of the 21st century.
Three finalists' compositions will be performed by the English Young Artists’ Sinfonia, a professional chamber orchestra consisting of former members of the English Schools' Orchestra, during a prestigious concert in London during Spring 2018. A cash prize of £250 will also be awarded to the winning entry.

The finalists will have the opportunity of hearing their composition rehearsed and performed by the Orchestra as well as receiving feedback from the performers and the competition judges.

We are passionately committed to helping young musicians to develop their creative and performing talents and this competition provides an exciting venture in fulfilling this aim.

For details of our previous competitions, Finalists' Concerts and to hear a recording of one of the finalist's compositions see the competitions menu at the top of this page.

HOW TO ENTER
You can complete an online entry here. Alternatively, send your completed composition as a Sibelius file to competition@englishschoolsorchestra.org together with a completed entry form. Please read the terms and conditions before entering.

TERMS AND CONDITIONS
• By entering the Competition, the entrant will be deemed to accept these terms and conditions and entrants agree to be bound by the decisions of the judges, which shall be final and binding.
• The entrant may enter the ESO Composing Competition by submitting a completed entry form.
• Entries must be sent in a Sibelius file using the online entry or by sending to competition@englishschoolsorchestra.org together with the completed entry form.
• The Competition is open from 14th October 2017 until 31st January 2018.
• Entries received after the closing date will not be accepted.
• There is no fee to enter the Competition.
• Entrants must be aged 14-25 and a UK resident.
• Only one composition per entrant will be accepted.
• Each participant may submit one composition lasting a maximum of 8 minutes, which must be written for a designated Chamber Orchestra instrumentation (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timps and strings).
• By entering the Competition, the entrant is agreeing to let ESO use their name and composition in public, should they be shortlisted.
• A shortlist of three or more compositions will be prepared by the director of ESO.
• The shortlisted compositions will be announced on the ESO website and will be performed by the English Young Artists' Sinfonia at a date and venue to be confirmed.
• After the performance, the panel of judges will choose the winning composition. This will be announced at the concert and on the ESO website.
• The prize consists of £250 for the winning Composition.
• The prize is as described and no cash or other alternative will be offered.
• The Winner agrees to participate in any reasonable publicity for the Competition as well as any other promotional events.
• The Winner agrees that the Composition can be used in promotional activity related to the competition including hosting it on ESO website and the winner agrees to up to three performances of the Composition as part of such promotional activity.
• Entrants will not be able to withdraw their composition once entered.
• Personal details of entrants, such as email and phone numbers, will be kept confidential by ESO and not passed to third parties. The name of the shortlisted composers will be revealed by ESO in publicity and programmes for the concert.
• Any further enquiries can be made via email to competition@englishschoolsorchestra.org.These terms and conditions shall be governed by and construed in accordance with the laws of England and each party submits to the exclusive jurisdiction of the English Courts.
Web Site:www.englishschoolsorchestra.or...

 Barlow Prize 2019
Summary:SATB choir competition
Deadline: 01 June 2018
Date Posted: 14 December 2017
Details: $12,000 Commission
New Work for SATB Unaccompanied Choir

The winning composer will receive a $12,000 commission for a major new work of 9-12 minutes for SATB unaccompanied choir. The work will be performed by a consortium of choirs: BYU Singers (Utah); two-time Grammy nominated choir, Seraphic Fire (Florida); and the 2017 Grammy nominated choir and Margaret Hillis Award for Choral Excellence recipient, The Crossing (Pennsylvania).

The work is expected to meet the highest artistic requirements for the medium. Additional specifications for the work will be negotiated among the Barlow Endowment, the composer, and the performing consortium. Half of the commission fee will be paid when the contract for the commission is signed, and the other half will be paid when the finished score is submitted to the Endowment.

There are no restrictions with regard to musical style, nationality, age, gender, race, religion, or political persuasion. The only limitations are:

1) Composers who have won the Barlow Prize in the previous five years will not be considered in the Prize competition. FAQS

2) Members of the Barlow Boards are not eligible. FAQS

New procedures for applying: Start the application process for the Barlow Prize by clicking on the application link found below. Upon completion, an e-mail will be sent to the applicant with further instructions and with the application PDF attached.

• Note: Your application is saved automatically and closing the browser will not result in lost data. In order to resume the application process, you must re-open the application link on the same device you began your application.
• Anonymous submission is not necessary. FAQS
• Supporting materials should be sent by regular or express mail and must include a background sketch/ brief bio (one page), résumé of compositional activity, and exactly two (2) submitted hard-copy scores. (REMINDER: submit EXACTLY two physical scores. No electronic scores will be accepted.) FAQS
• Of the two works you submit, one should be your best work (regardless of instrumentation).
• The other should be your best work that is closest to the consortium/performer requirement for which you are applying. It need not be exact, but can feature the category in another context. The judges will be interested in seeing how you handle the instrument(s) in as close a context as you can show.
• Additionally, one of these two chosen compositions (not an arrangement or recasting of an earlier work) must be no more than five (5) years old.
• The Endowment does not provide advice to applicants regarding which piece of music best represents them and their abilities.
• Recordings should be uploaded as part of the application form and should be uploaded in .aac or .mp3 formats only. Scores with recordings are considered extremely helpful in the judging process. Live recordings are strongly encouraged; MIDI realizations are discouraged. Judges will not review DVDs or CDs. FAQS


Web Site:barlow.byu.edu/prize-applicati...

 ICA 2018 Composition Competition
Summary:Clarinet Quartet Competiton
Deadline: 20 December 2017
Date Posted: 06 December 2017
Details: The ICA seeks previously unperformed works for clarinet quartet (3 B-flat clarinets and B-flat bass clarinet), 10-15 min. in length. The deadline is December 20, 2017; the winner will receive a $1000 prize and a performance of the work at ClarinetFest 2018.

For details, please contact Antonio Faioli, coordinator.

2018 Composition Competition–Clarinet Quartet

Antonio Fraioli, Coordinator Email: antonio.fraioli@libero.it

Eligibility: The competition is open to composers, clarinetists, and musicians who desire to further the repertoire of the clarinet quartet with an original composition.

Application:
1. Items must be received by December 20, 2017.
2. Applicants should email the Competition Coordinator, Antonio Fraioli and ask for a Dropbox “File Request” link. Upon receipt of this link, applicant will upload related files
3. The subject line for all email communication should read “ICA Composition Competition” followed by the applicant’s full name.
4. Scores must be submitted electronically (PDF only) WITHOUT the applicant’s name or any identifying information on the score or in the filename. Scores must be submitted to the “File Request” Dropbox link obtained from the coordinator in item 2.
5. In a separate PDF document, include contact information (name, address, phone, website, and email), a short bio (100 words or less) and name of submitted work(s). Include the applicant’s name in document filename. (this information will not be viewed by the jury).
6. A midi recording in .mp3 format or a clarinet quartet recording in .mp3 format may be submitted.

Contest Rules
1. Application fee: $25 US. Make amount payable to the “International Clarinet Association” in U.S. currency by bank check, money order, or credit card only. If paying by credit card, please use the credit card payment form. PayPal is also accepted to evanlynchica@gmail.com. The application fee is non-refundable.
2. The 2018 Composition Competition call is for a work 10-15 minutes in length, scored for 3 B-flat clarinets and B-flat bass clarinet. The submitted work must have no prior performances.

Judging
A committee having no knowledge of the applicant will conduct the judging of scores and parts. Do not include any identification on the scores and on the .mp3 realization. The winner will be notified via email by January 31, 2018. The winning composition will receive a world premiere performance during ClarinetFest® 2018, July 6-11, 2018, in Ostend, Belgium. Travel expenses will be the responsibility of the winner. Free registration at ClarinetFest® 2018 will be provided. If the winner is a clarinetist, he/she must be a member of the I.C.A. Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. The ICA will provide the clarinetists for the premiere performance.

All scores and parts will become the property of the ICA Research Center at the University of Maryland Performing Arts Library and will not be returned.

$1,000 Prize
The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.

Web Site:clarinet.org/competitions/2017...

 PIERROT LUNAIRE INTERNATIONAL COMPOSITION COMPETITION 2018
Summary:Pierrot Lunaire Competition
Deadline: 31 December 2017
Date Posted: 06 December 2017
Details: The Pierrot Lunaire Ensemble Wien announce the PIERROT LUNAIRE INTERNATIONAL COMPOSITION COMPETITION 2018.

Composers from all over the world - are invited to present works for the Pierrot Lunaire Ensemble Wien. Created on an initiative of the Pierrot Lunaire Ensemble Wien the Pierrot Lunaire International Composition Competition 2018 will launch its edition during the 2017-2018 seasons. This competition for chamber works will be open to composers of all nationalities, with no age restrictions. Its aim is to encourage and promote musical creation while developing lasting ties between the Pierrot Lunaire Ensemble Wien and the composers of today and, in this way, actively contribute to a renewal of the chamber repertoire.

Prize for the winning Composition: 1. Prize: Euro 5.000, - and minimum three performances by the Pierrot Lunaire Ensemble Wien during its 2018-2019 international concert tour season. Additionally, the Pierrot Lunaire Ensemble Wien could create a list of pieces which it suggests for performance along with the prize-winning pieces during the 2018-2019 international concert tour season.

Deadline for entries: The scores, the registration application and the enclosed documents must be sent December 31, 2017.
Web Site:www.pierrotlunaire.at/pierrot%...

 Minute of Music Project
Summary:Competition for US composers
Deadline: None
Date Posted: 06 December 2017
Details: Call for Scores – Submit Your Score
First Open Call For Scores! – Minute of Music Project

Entry Deadline: None (ongoing)
Entry Fee: None (project is crowdfunded)
Eligibility: All adult U.S. citizens (18 or older)
Prize: None, but I will record your piece for posterity!

Submission Link Below (please read the rules first)!

Rules:
One entry per person.
Entrant must be 18 when submission is completed.
Entrant must reside in and be a legal citizen of the United States.
Entry must be for solo B-flat trumpet (with no accompaniment or electronics).
Entry must be no longer than one minute in length. Moderate difficulty is preferred.
Entry must be engraved with the dedication “For the Minute of Music Project.”

Composition must have been written since January 1, 2016.
Entry must be the sole property of the composer and entirely original.
No arrangements or copyrighted material will be accepted.
The secret word for the submission form is “banana.”
Composers reserve their copyright and recording rights.

Mr. Taurins reserves the sole right to accept or reject submissions.
Mr. Taurins reserves the sole right to judge submissions.
All judgement decisions will be made by Mr. Taurins and are final, without the ability to appeal.
Mr. Taurins reserves the right to decline any and all submissions.
Mr. Taurins will pay no license or rental fees for the music.
Mr. Taurins will perform selected entries and record them on YouTube. By submitting your piece, you agree to allow Mr. Taurins to record your entry free of charge.
Selected pieces will be announced here and composers will be notified via email.
Donations are optional, and will not effect score selection.
By submitting your piece, you agree to the terms listed here.

Have a question not answered here? Use the contact tab.
Web Site:minuteofmusic.wordpress.com

 2018 Washington International Competition for Composition
Summary:Chamber Call for Scores
Deadline: 15 February 2018
Date Posted: 06 December 2017
Details: Prizes
• First Prize—$5,000
• Second Prize—$2,500

Important Dates and Information
• Application Deadline: February 15, 2018
• Winners’ Announcement: April 1, 2018
• Performance of Winning Composition: June 24, 2018, at the Terrace Theater of the Kennedy Center for the Performing Arts, in Washington, DC. Professional musicians will perform the winning composition.

Requirements
• Entrance fee of $45 US; check payable to Friday Morning Music Club Foundation.
• Composition must be a chamber work for three to five players for string trio, string quartet, piano trio, piano quartet, or piano quintet. No electronics.
• Composition must be a maximum of 8 minutes long.
• Composition must not have been commercially published or publicly performed.
• Composer must be between 18 and 35 years old.
• Scores must be accompanied by a cover letter including composer’s name, contact information, and curriculum vitae.
• The composer’s name must not appear anywhere on the score.
• Winning composers must be prepared to supply a set of performance materials upon notification of their award.

Applications
• Online application is through the getacceptd.com website. Click here to apply: https://app.getacceptd.com/wiccomposition
• Applicants who are unable to submit their scores electronically may mail them in paper form. Paper scores will be converted into PDF format. Send all paper scores, entrance fee, and materials postmarked by February 15, 2018, to the following address:
Washington International Competition for Composition
1536 Winding Waye Lane
Silver Spring, MD 20902
For additional information about the competition and the application process, please contact Mark Simon at diegobueno1@mac.com.
Web Site:fmmcfoundation.org/current-com...

 ICC "The contemporary Guitar 2018"
Summary:Solo guitar competition
Deadline: 31 March 2018
Date Posted: 06 December 2017
Details: Modern compositions for solo classical guitar, duration 3 to 5 minutes. The competition is open to composers of all ages and nationalities. Unpublished works & works that have been performed previously and won competitions in the past may be submitted.

Description: Modern compositions for solo classical guitar, duration 3 to 5 minutes. The competition is open to composers of all ages and nationalities. The selection criteria are musical and no extra-musical parameters such as gender, level of difficulty, nationality and age quotas etc. will be taken into account. The only examined quality will be the text itself. Unpublished works & works that have been performed previously and won competitions in the past may be submitted.

Registration fee: The registration fee is €45,00 per work / submission, paid through bank account transfer or PayPal.
EUROBANK GREECE (ERBKGRAA) ΙΒΑΝ: GR3402603280000950101210083
PayPal: www.paypal.me/DANOUSANART
(In the grounds, provide name and deposit reason). All transfer and bank charges will be covered by the applicants.

Submissions: Submissions are to be made until Saturday March 31st, 2018 electronically to info@an-art.com including at the same email:
i. An unmarked and unnamed PDF (sheet music) of a work (composition) for solo classical guitar, duration 3 to 5 minutes.
ii. A separate file (PDF, RAR, ZIP etc.) with a printout of the registration payment (fee payment receipt), the details of the composer (name, age, address, telephone, email, etc), a bio (biografical notes), a good foto of the composer, title and a text for their submitted work.

Committee - selection: The committee will consist of distinguished guitarists and composers. Will meet in April 2018 and will select by voting up to four (4) works based on their musical quality rather than the degree of difficulty or other criteria. The committee's decision is final.

Prizes:
The prize winning works (up to 4) will receive:
1. An official diploma.
2. Audio & video recording by the distinguished guitarist and composer Smaro Gregoriadou, in a high quality AN ART ARTISTRY's production.
3. The recordings will be uploaded and presented at AN ART ARTISTRY's YOUTUBE channel, sites, social media pages, newsletters etc.
4. A page in www.an-art.com site will be created for each one of the winning works - composers with a presentation of the works.

The honorable mention works (up to 4) will receive:
1. An official diploma.
2. A page in www.an-art.com site will be created for each one of the honorable mention works - composers.

Web Site:www.an-art.com/en/activities/5...

 ICC "The contemporary Guitar 2018"
Summary:Solo guitar competition
Deadline: None
Date Posted: 06 December 2017
Details: Modern compositions for solo classical guitar, duration 3 to 5 minutes. The competition is open to composers of all ages and nationalities. Unpublished works & works that have been performed previously and won competitions in the past may be submitted.

Description: Modern compositions for solo classical guitar, duration 3 to 5 minutes. The competition is open to composers of all ages and nationalities. The selection criteria are musical and no extra-musical parameters such as gender, level of difficulty, nationality and age quotas etc. will be taken into account. The only examined quality will be the text itself. Unpublished works & works that have been performed previously and won competitions in the past may be submitted.

Registration fee: The registration fee is €45,00 per work / submission, paid through bank account transfer or PayPal.
EUROBANK GREECE (ERBKGRAA) ΙΒΑΝ: GR3402603280000950101210083
PayPal: www.paypal.me/DANOUSANART
(In the grounds, provide name and deposit reason). All transfer and bank charges will be covered by the applicants.

Submissions: Submissions are to be made until Saturday March 31st, 2018 electronically to info@an-art.com including at the same email:
i. An unmarked and unnamed PDF (sheet music) of a work (composition) for solo classical guitar, duration 3 to 5 minutes.
ii. A separate file (PDF, RAR, ZIP etc.) with a printout of the registration payment (fee payment receipt), the details of the composer (name, age, address, telephone, email, etc), a bio (biografical notes), a good foto of the composer, title and a text for their submitted work.

Committee - selection: The committee will consist of distinguished guitarists and composers. Will meet in April 2018 and will select by voting up to four (4) works based on their musical quality rather than the degree of difficulty or other criteria. The committee's decision is final.

Prizes:
The prize winning works (up to 4) will receive:
1. An official diploma.
2. Audio & video recording by the distinguished guitarist and composer Smaro Gregoriadou, in a high quality AN ART ARTISTRY's production.
3. The recordings will be uploaded and presented at AN ART ARTISTRY's YOUTUBE channel, sites, social media pages, newsletters etc.
4. A page in www.an-art.com site will be created for each one of the winning works - composers with a presentation of the works.

The honorable mention works (up to 4) will receive:
1. An official diploma.
2. A page in www.an-art.com site will be created for each one of the honorable mention works - composers.

Web Site:www.an-art.com/en/activities/5...

 INTERNATIONAL COMPOSERS COMPETITION "MARIN GOLEMINOV"
Summary:International Composers' Competition
Deadline: 01 October 2018
Date Posted: 06 December 2017
Details: The Organizing Committee of the International competition "Young virtuosos” and the "Young virtuosos” Foundation are proud to announce its 2018 edition in the categories Chamber Music and Composition. The competition will take place in Sofia, Bulgaria, from 16 to 22 April 2018 for the category Chamber Music and from 8 to 12 October 2018 for the category Composition

With a special decision of the organizers since 2018 the composition contest will bear the name of the famous Bulgarian composer Acad. Marin Goleminov.

I. General Conditions

1. The competition is addressed to young performers and composers from all nationalities, specialties and age groups as specified in point 2 of the General Conditions.

2. The competition is held in the following age groups and categories:

2.1. Categories:
Chamber music and Composition

2.2. Age groups

Chamber music
Group I - up to 19 years – average age of the ensemble.
Group II - up to 31 years – average age of theensemble.

Composition
Up to 35 years of age – born after 1.01.1983

II. Registration
1. The registration for participation in the competition is done only by Application Form. The application forms for all disciplines must arrive IN A ELECTRONICAL WAY no later than:

B. For the category Composition - MONDAY, 1st OCTOBER 2018

2. The application forms are available on the website of the “Young Virtuosos 2018” International Competition 2018”.

3. The application forms for the categorie Composition must be accompanied by the following documents:
- a document certifying the age of the participant;
- two artistic photos (.jpg, 800 x 500);
- a short artistic biography of the participant;
- a receipt of paid Registration fee of 30 (thirty) EURO for each submitted work;
- PDF file of one or more works written in the last five years;

4. The candidates must pay the fee on the cash-desk of the Competition or via Bank transfer to the following bank account:

“Young virtuosos” Foundation
UNICREDIT BULBANK
Sofia Pametnik Levski
Sofia, 1, Yanko Sakazov Blvd.
IBAN: BG23 UNCR 7000 1522 4504 49
BIC: UNCRBGSF

5. Registration fee deposited by an absent participants or candidate who doesn’t meet the conditions for participation is not refundable.
6. All candidates who will pay the Registration fee on the cash-desk of the Competition must add to the application documents the Declaration Model 1.
7. Late registration or the lack of any of the required documents will make the application void.
III. REPERTOIRE

INTERNATIONAL COMPOSERS COMPETITION "MARIN GOLEMINOV"
Up to 35 years of age – born after 1.01.1983
One or more works for solo instrument or chamber ensemble up to 5 performers written in the last five years.
The works must be sent exclusively in a PDF file by e-mail to the secretary of the competition at
composition@yvcompetition.org
and
young_virtuosos@abv.bg
no later than MONDAY, 1 OCTOBER 2018.

IV. COMPETITION PROGRAMME, JURY, PRIZES

1. The work of the Jury is organized through Formal written regulations made by the Organizing committee according to
the Quality Standards of the European Union of Music Competitions for Youth (EMCY).
1.1. The order of performers will be defined by draw of lots.
1.2. Competitors missing their order of performance will be disqualified.
1.3. Special international jury formed by prominent musicians and composers will be elected for each category.
1.3.1. The International jury consists of recognized experts in the discipline, instrument or family group of instruments of the competition held.
1.3.2. The International jury of each one category is no less than 5 jury members.
1.3.3. At least 3 jury members must be without students participating at the competition.
1.3.4. The International jury must be summoned from different institutions and different countries of the world.
1.3.5. The jury members are independent of one another and take decision with a secret ballot.
1.3.6. Jury members shall not vote for competitors who are related to them or who have been studying with them in the 12 months preceding the competition.
1.3.7. Jury members should not discuss the participants prior to the end of the voting process.
1.3.8. The voting must be in a written and signed form.
1.3.9. At all the rounds the competitors will be assessed according to a points system from 1 to 25 points.
1.3.10. Only competitors, who are awarded 18 points (average grade) or more, proceed to the next round.
1.3.11. Special Secretary appointed by the Organizing Committee will provide the anonymity of the participants in category Composition. Only the Special secretary has the right to reveal and announce to the Jury members the names of the winning composers.
1.4. The prizes awarded by the Competition jury in each category will be based on the performance in the stages of the competition.
1.5. The decisions of the Competition jury are final and no contestation will be accepted.
1.6. Three prizes and a laureate diploma will be awarded in all age groups in each subject of the Competition.
1.7. The Organizing Committee reserves the right to give additional prizes to each category, after decision of the international jury.
1.8. The Organizing Committee reserves the right to give special prizes to each category or for all the competition, awarded by the constitutor, or by particularly indicated by him/her representative or body.

PRIZES
PRIZE FUND

COMPOSITION
Up to 35 years of age – born after 1.01.1983
1st prize 4000 BGN,
2nd prize 3000 BGN,
3rd prize 2000 BGN,

V. ACCOMMODATION
6.1. The Organisational Committee provides hotel reservations –(70 BGN per day) if requested by the participants. 50% of the accommodation price must be paid with the registration fee. The bank receipt must be enclosed with the registration documents. (1 Euro= 1,96 BGN).
More accomodation information
For contacts: youngvirtuosos@danteatravel.com

VI. Application Form
7.1. The Application Form and all the supporting documents must be sent to the Organisational Committee of the Competition in ONLY by E-mail:

FOR THE CATEGORY COMPOSITION on E-mail: composition@yvcompetition.org and young_virtuosos@abv.bg no later then MONDAY, 1st OCTOBER 2018

Adrress of the competition:
Sofia – 1000, 10, Yuriy Venelin str.
e-mail: composition@yvcompetition.org
and
young_virtuosos@abv.bg
www.yvcompetition.org

7.2.The Application forms are available on the website of the “Young Virtuosos” Competition.

VII. Final Decree

8.1. All recording rights to the performances from the final Laureate Concert are sole property of the International Competition
“Young Virtuosos”.
8.2. Participation in the competition will be taken to mean acknowledging the above set of rules.
8.3.The Bulgarian text of the rules is definitive.

Download the Thirteenth International Competition "Young Virtuosos 2018" Regulations
Web Site:www.yvcompetition.org/composit...

 13th Thailand International Composers Competition
Summary:Wind Quintet Competition
Deadline: 06 May 2018
Date Posted: 06 December 2017
Details: 13th Thailand International Composers Competition
7 – 12 August, 2017
“Rapee Sagarik Composition Prize”

Eligibility
1) Applicants should be composers at the early stages of their professional careers.
2) Composers, regardless of nationality, are encouraged to apply.
3) Composers 35 and younger at the end of the competition year are eligible (born after 1 January 1981).
4) Scores that have been awarded, or commercially recorded are not eligible.
5) Past winners of the competition are ineligible to apply.
6) Any alteration of the score may be permitted under the guidance of master composers during the week of the festival.
7) The submitted work should be between 6‐10 minutes in length.
8) Submitted compositions can include any combination from the following instrumentation: flute, oboe, clarinet, bassoon, french horn. Submitted composition will be rehearsed and performed by Sawasdee Woodwind Quintet
9) Only compositions written within the last five years are eligible for submission.
10) One entry per applicant will be accepted.
Submission
1) Eligible submissions must be sent electronically as a single email and should include:
• A PDF file of the score (with pseudonym), which may include program and performance notes
• An mp3 file (audio recording, if available, Midi realization – ok), and
• A separate word document linking the pseudonym and title to the composer’s identity, which includes address, telephone number, e‐mail address, current bio (200 words), program note (200 words) & performance history of the submitted work.
2) The composer’s name should NOT appear on the submitted score and recording.
3) Links to recordings (due to large file size, or other factors) are o.k.
4) The deadline for submission is 1 May 2017. Please send material to: ticfcompetition@gmail.com

Award
An honorarium of 1,500 USD will be awarded to the winner of the competition. All six finalists will be invited to participate in the Thailand International Composition Festival. The Thailand International Composition Festival will provide full accommodation including Hotel room, meals, and local transportation for all finalists. Travel expenses to TICF and other arrangements are the responsibility of the participant.

Selection Six finalists will be announced no later than 20 May 2017. The Winner will be announced during the Final concert of TICF 2017 on Saturday, 12 August 2017.
The 6 finalist works will be performed by Sawasdee Woodwind Quintet.
Please send material to: ticfcompetition@gmail.com
Further inquiry please contact: ticfinfo@gmail.com
Web Site:www.music.mahidol.ac.th/ticf/

 BANAUE INTERNATIONAL MUSIC COMPOSITION COMPETITION
Summary:Orchestral Competition
Deadline: 15 April 2018
Date Posted: 06 December 2017
Details: TOFARM through the Banaue Rice Terraces Restoration Project is calling for submission of orchestra music inspired by BANAUE (Philippines) - its people, traditions, landscapes, unique rituals and dances.

The selected composers are required to attend/participate as Composer-Fellows in the BANAUE MUSIC COMPOSITION IMMERSION PROGRAM.

OBJECTIVE: To write and submit Banaue-inspired symphonic works for concerts and possible inclusion in future projects of TOFARM and Banaue Rice Terraces Restoration Project.

The original work must be written and intended for the 2018 Banaue International Music Composition Competition.

GUIDELINES
1 The competition is open to all composers. There are no age and nationality restrictions; however, applicants should be at least at the early stages of their professional careers.
2 Composer may submit only one (1) symphony orchestra composition, single or multi-movement, for consideration. Musical arrangements of existing materials are not allowed.
3 Duration of the work is between 10 to 15 minutes.
4 Instrumentation cannot exceed the following orchestra configuration:
◦ 3 Flutes (3rd also Piccolo); 2 Oboes (2nd also English Horn)
◦ 2 Bb Clarinets (2nd also Bass Clarinet); 2 Bassoons
◦ 4 Horns; 3 Trumpets; 2 Trombones, 1 Bass Trombones; Tuba
◦ 4 Percussions ( 4 Timpanis, Bass and Snare drums, Tom-toms, Tam-tam, Cymbals,
◦ Xylophone, Glockenspiel, and other available small handheld percussion instruments
◦ Piano [For sub-urban set-up, electric or digital piano will be used.]
◦ Violin 1 (12); Violin 2 (10); Viola (8); Violoncello (6); Contrabass (4)
◦ Traditional instruments / musicians / performers may be added if, after the Immersion Program, the need is realized.
5 The quality of the composition-entry submitted is the foremost basis of evaluation. It is in the best interest of the composer that the submitted score is clear and accurate, and the ideal representation of his/her work.
6 The composition entry shall never be submitted to any other competition, music institution and performance organization for the duration of the 2018

BANAUE INTERNATIONAL MUSIC COMPOSITION COMPETITION. If selected as one of the winners, the work shall never be submitted in any competition of the same nature.


Web Site:www.banauemusic.org/guidelines

 Composer - Mayflower400, Mayflower Theatre
Summary:Commission Opportunity
Deadline: 14 January 2018
Date Posted: 29 November 2017
Details: Closes: 14th January 2018
Location: South East
Type: Part time
Salary: Paid (£10k-15k pro rata)

As part of the Mayflower 400 commemorations taking place in 2020 Mayflower Theatre is working with key partners and will be commissioning new work in response to the Mayflower 400 story.

Over the past three months we have undertaken a series of workshops with local young people to elicit their responses to the Mayflower 400 story and identify key themes that still resonate now 400 years on. We will be developing four new one act musicals to be performed at Mayflower Theatre in August 2020. These will be performed by amateur and youth casts working with a professional creative team.

The composers selected will receive support and an opportunity to develop the work over the coming year.

Key partners in this project are the University of Winchester, Musical Theatre Network, Mercury Musical Developments, Southampton Music Hub and our Associate Artists.

We are not seeking to commission a historic retelling of the Mayflower story but rather four contrasting but complimentary pieces which respond to the themes of the story. We are seeking innovative responses to these themes which engage audiences now and can potentially be licensed and produced again in the future.

Details of the whole Mayflower 400 story can be found here: http://www.mayflower400uk.com/

The four 30 minute pieces will be presented separately as well as together. They must stand alone but also be linked thematically. Some work will be done by an Associate Artist of the theatre to create a choral linking piece across the works.

Each musical will ideally be 30 minutes in their entirety. Cast must be a minimum of 20 but maximum of 200 in each piece.

No fee will be payable for initial submissions. Fee for those shortlisted to return to pitching day - £500, fee for the music and lyrics - £6000.

Please note all fees are for the musical (sung elements) of the production including lyrics. They are for a one act musical, to be shared among the writing team.

For more information on this brief and to make a submission please contact Sara Scott on sara.scott@mayflower.org.uk 02380 711810.


Web Site:www.artsjobs.org.uk/arts-job/p...
Email:sara.scott@mayflower.org.uk

 ICEBERG New Music's 2017-18 call for scores is now open!
Summary:One competition, 2 ensembles
Deadline: 01 January 2018
Date Posted: 29 November 2017
Details: ICEBERG New Music's 2017-18 call for scores is now open!
Submissions must be received by January 1, 2018.

Composers of any age or nationality are invited to submit scores for one or both of ICEBERG's partner ensembles, Mivos Quartet and Yarn|Wire. Up to four winning composers (at least one for each ensemble) will be selected to have their works performed as part of our 2017-18 season at the Tenri Cultural Institute in New York City. There are no restrictions on the works submitted – pieces may have been previously performed, recorded, and/or awarded. In keeping with ICEBERG's philosophy of “radical stylistic inclusiveness,” composers are encouraged to submit their music regardless of compositional style – anything from pop songs to works of new complexity are welcome, and will be considered equally.

The winning work(s) for Mivos Quartet will be performed March 23, 2018. The winning work(s) for Yarn|Wire will be performed April 20, 2018. These performances will take place at the Tenri Cultural Institute in New York City.


DURATION GUIDELINES

Submitted pieces may be no longer than 12 minutes in duration. There is no minimum duration.


INSTRUMENTATION GUIDELINES

Composers may submit:

A) One (1) score for performance by Mivos Quartet

B) One (1) score for performance by Yarn|Wire

Or,

C) Two (2) scores, one suitable for each ensemble.


INSTRUMENTATION (Mivos)

2 Violin
Viola
Cello

Subsets of this instrumentation will be considered. Works involving electronics will be considered.


INSTRUMENTATION (Yarn|Wire)

2 Piano
2 Percussion (Vibraphone, 4.3 Octave Marimba, Bass Drum, Assorted Smaller Drums/Percussion)

Subsets of this instrumentation will be considered. Works which involve electronics will be considered.

Web Site:www.icebergnewmusic.com/call-f...

 International composition competition Città di Udine
Summary:Competition with 2 categories
Deadline: 31 March 2018
Date Posted: 29 November 2017
Details: Art. 1 TEM - Taukay Edizioni Musicali and Delta Produzioni Associazione Culturale, with the awards of Senato della Repubblica Italiana, of ERT – Ente Regionale Teatrale del Friuli Venezia Giulia and Fidapa, the patronage of the Rappresentanza Italiana della Commissione Europea, the Italian National UNESCO Commission, the Ministero dei Beni e delle Attività Culturali e del Turismo, the Ministero degli Affari Esteri e della Cooperazione Internazionale and the Università degli Studi di Udine, with Rai Radio3 as media partner and with the support of the Regione Friuli Venezia Giulia, the Comune di Udine and the Fondazione Friuli, hereby open the Twelfth International Composition Competition “Città di Udine”.

Art. 2 The competition is divided in two sections:

- compositions for chamber instrumental group or solo instrument.

- electroacoustic music.

Art. 3 The competition will accept compositions by musicians of any nationality and of any age. Previously performed compositions will be accepted. Compositions must be sent anonymously as explained below.

Art. 4 “Compositions for chamber instrumental group or solo instrument” section.

Pieces should not exceed eight minutes in length, however consideration will be given to compositions which exceed this length if, in the opinion of the Jury, they are of particular artistic merit. The Jury’s decision on this matter is final.

The chamber instrumental group is made up of:

- a string quartet (two violins, viola and cello)

- piano / one performer

- flute (piccolo, alto flute, and bass flute) / one performer

- clarinet (clarinet in E flat, clarinet in B flat, clarinet in A and bass clarinet) / one performer

- percussion instruments from the following list: vibraphone, glockenspiel, tom toms (max 5 pieces), suspended cymbals, tam tam, templeblocks, small percussion instruments such as triangle, wood blocks, maracas ecc… / one performer

- instruments listed above may be used in any combination

- if desired, just one instrument may be used

- it is possible to use a stereo audio track on CD or digital file of similar quality (or better), to accompany the performance of the chamber instrumental group or solo instrument.

The scores of the compositions for chamber instrumental group or solo instrument can be sent using two different methods:

1 copy in PDF digital format to send by internet using the following e-mail address: competition@taukay.it
If the file size to send is more than 4 MegaByte, we suggest to use a file hosting system or Dropbox, Google drive ecc. (more info on http://www.taukay.it/pdf/2017_2018_info_eng.pdf).

The permanent link from which it is possible download the materials must be sent by email to the email address: competition@taukay.it
It should be specified in the subject / body of the message the section to which you wish to apply (Compositions for chamber instrumental group or solo instrument), your last name and the song title.

The compressed file in .ZIP format, including all materials must indicate your last name and the title of the composition.

or

1 copy in paper format to send by regular mail to the address listed below

TEM – Taukay Edizioni Musicali

Via del Torre 57/5

33047 Remanzacco – Udine ITALIA

Scores will not be returned and will be stored as documentation in TEM – Taukay Edizioni Musicali archive.

The competition coordination prefers the score delivery in digital format by internet.

The score in paper format or the corresponding PDF file must contain the title of the composition, but must not contain the name of the composer. Any documents or short presentation about the composition must also contain the title of the composition, but must not contain the name of the composer.

- should works contain unknown symbols or marks, the composer must provide explanatory notes in order that the work can be understood correctly.

- should the score be selected for performance, the composer must supply separate parts for individual instruments.

Art. 5 “Electroacoustic music” section.

Electroacoustic musical compositions must have a duration of less than ten minutes and must be presented with CD digital file quality (or better).

Recording formats:

Stereo format

Quadraphonic format

5+1 format

Esaphonic format

Octophonic format

Any multi-channel versions of the composition must be sent along with the stereo version with CD digital file quality (or better).

The electroacoustic music section compositions can be sent using two different methods:

1 copy in audio digital format to send by internet using a file hosting system or Dropbox, Google drive ecc. (more info on http://www.taukay.it/pdf/2017_2018_info_eng.pdf).

The permanent link from which it is possible download the materials must be sent by email to the email address: competition@taukay.it
It should be specified in the subject / body of the message the call for works to which you wish to apply (Electroacoustic music), your last name and the title of the composition.

The compressed file in .ZIP format, including all materials must indicate your last name and the title of the composition.

or

1 copy on CD audio or CD ROM to be sent by regular mail to the address listed below

TEM – Taukay Edizioni Musicali

Via del Torre 57/5

33047 Remanzacco – Udine ITALIA

CDs/DVDs will not be returned and will be stored as documentation in TEM – Taukay Edizioni Musicali archive.

The competition coordination prefers the audio file delivery in digital format by internet.

The audio work sent on CD/DVD format or the corresponding audio file sent by internet must contain the title of the composition, but must not contain the name of the composer. Any document or short presentation about the composition must also contain the title of the composition, but must not contain the name of the composer.

Art. 6 For both the sections, in addition to the participant work (and regardless of the delivery methods), the composer must enclose the signed entry form (http://www.taukay.it/pdf/2017_2018_form.pdf) and other info about the composer listed below:

- name, surname, date and place of birth, sex, nationality, address, e-mail address, telephone number, section being entered, title, length of composition, year of composition, date and place of the first public presentation, if any.

- a statement agreeing the rules and conditions of the twelfth international composition competition “Città di Udine”.

- a statement agreeing to permit the performance of the composition to be recorded, broadcast or telecast, archived and used for CD production without compensation.

- a statement agreeing to the treatment of personal information in accordance with Italian privacy laws. (D. Lgs. 196/03 - Codice in materia di Privacy).

(For all the statements and info it is possible to fill the entry form with all the requested data. To download the entry form use the following link: http://www.taukay.it/pdf/2017_2018_form.pdf)

The following material must also be included:

- composer biography.

- recent photograph of the composer.

- photocopy of identification document of the composer.

- receipt for the entry fee of 35 Euros

All the info can be sent in digital format by internet to the email address competition@taukay.it, including the scanning of the signed entry form.

Alternatively it is possible to send the documents listed above also on paper by regular mail to the address listed below:

TEM – Taukay Edizioni Musicali

Via del Torre 57/5

33047 Remanzacco – Udine

ITALY

Art. 7 More than one composition may be submitted.

Art. 8 The Jury will select the winners from a shortlist of finalists and will award the following prizes:

- Best composition in the section “compositions for chamber instrumental group or solo instrument”: one thousand Euros (1000 Euros).

- Best composition in the section “electroacoustic music”: one thousand Euros (1000 Euros).

- Special prize “Piero Pezzè” (founded by his heirs in memory of the Friulano composer who passed away in 1980): five hundred Euros (500 Euros).

- Special prize of FIDAPA for a female composer: two hundred Euros (200 Euros) and Plaque

- Special mention with the awarding of the Medal offered by the Senato della Repubblica Italiana for this edition of the event.

- Special mention with the awarding of the Plaque offered by the ERT – Ente Regionale Teatrale del Friuli Venezia Giulia for this edition of the event.

- Special mention for the best multi-channel electroacoustic composition in collaboration with the Conservatorio di Musica di Venezia “Benedetto Marcello”. The selected composition will be performed also in Venice in 2019.

- Public performance of 6-8 of the best compositions entered (Udine, October 2018).

- Production of a CD of the concert in October and inclusion of this in the TEM - Taukay Edizioni Musicali CD catalogue.

In certain circumstances, it is possible that an extra CD containing other finalists works will be printed, as it happened in the 2009/2010 and 2013/2014 competition editions.

TEM - Taukay Edizioni Musicali, following the indications of the Jury and in agreement with the composer, offers to include and make available the most interesting compositions as part of their electronic catalogue of New Music.

The results of the selection will be published on the website www.taukay.it and personally communicated to the winning composers by e-mail.

Art. 9 Works should be posted to the competition secretary at:

TEM - Taukay Edizioni Musicali - via del Torre 57/5 - 33047 Remanzacco (UD) - ITALY

The closing date is 31st March 2018.

Any composition sent by regular mail will only be considered if they arrive before the closing date. We recommend you post projects in good time to ensure you are able to participate in the competition.

In case of delivery by internet, the shipping e-mail will be deemed to be the date of submission.

Should delivery using ordinary mail from abroad, please specify that the package contents has no commercial value to avoid added custom charges.

(Example to write on the envelope: “Descrizione del contenuto: documenti e CD per audizione privi di valore commerciale/documents and non-commercial audition-CD”).

The final decision of the Jury will be made public by 31st July 2018.

Art. 10 The Jury reserves the right to refuse any entry which does not fulfil the indicated requirements.

Art. 11 Each individual composition in each section must be sent together with the receipt for the payment of the entry fee of thirty-five Euros (€ 35). If multiple compositions are sent, a single payment may be made for the total of the combined entry fees. The fee should be paid in the following ways:

From Italy:

- vaglia postale paid to: Taukay Edizioni Musicali – via del Torre 57/5 – 33047 Remanzacco (UD) – ITALIA

- by credit card using Paypal system and the following e-mail: competition@taukay.it
(more info on http://www.taukay.it/pdf/2017_2018_payment_eng.pdf)

- by bank transfer using the following banking coordinates:

Account name: Taukay Edizioni Musicali

IBAN: IT06D0634012302100000004027

Bank name: CARIFVG – Filiale di Udine via Volturno

Bank charges must be borne by payer.

From outside Italy:

- by credit card using Paypal system and the following e-mail: competition@taukay.it
(more info on http://www.taukay.it/pdf/2017_2018_payment_eng.pdf).

- by bank transfer using the following international banking coordinates:

Account name: Taukay Edizioni Musicali

BIC SWIFT code: IBSPIT2UXXX

IBAN International bank account: IT06D0634012302100000004027

Bank name: CARIFVG – Filiale di Udine via Volturno

Bank charges must be borne by payer.



It is not possible to pay the entry fee with bank cheque.

For information about other payment methods please e-mail: competition@taukay.it
Where possible, the “reason for payment” should indicate: Twelfth Città di Udine competition.

Art. 12 The Jury’s decision is final.

Art. 13 By entering the competition and submitting the composition, the composer accepts all the above terms and conditions.

Failing to follow the above terms and conditions will result in the forfeiting of any rights deriving from participation in the competition.

Art. 14 The competent court for any dispute is the Court of Udine.

For further information, please visit the TEM - Taukay Edizioni Musicali website at: www.taukay.it

Or email us at: competition@taukay.it
Web Site:www.taukay.it/data1/index.php?...
Email:competition@taukay.it

 Oklahoma Student Composers Workshop
Summary:Call For Participants
Deadline: 20 December 2017
Date Posted: 29 November 2017
Details: The second annual Oklahoma Student Composers Workshop will take place on Saturday, March 3rd, 2018 at the University of Oklahoma School of Music's Catlett Music Center in Pitman Recital Hall. Sessions will take place starting in the morning, and run through the whole day.

Participation is FREE!

Participants must be currently enrolled in classes at a University in OK, MO, AK, KS, or TX or have residency status in one of the aforementioned states and be currently taking composition lessons from a professor at a recognized University.

Composers meeting the above requirements are invited to submit up to two works for consideration. (These may be Acoustic, Electronic, or both!) If a work is selected, but the composer would prefer to bring the other work that wasn't accepted, this can be done by emailing the director of the workshop with ample notice (at least a week in advance of the workshop). The director of the workshop reserves the right to deny this request for logistical reasons, should they come up.

The submitted works may be recently completed, partially completed, in an early sketch stage, or even at the conceptual stage. All stages of the compositional process are welcome, and in-progress works are encouraged!

Selected composers will be notified on or before January 20th if their work is to be included on the event. If, at this time, you or your performers cannot make it to the workshop, you must let the workshop staff know so we can try to fill your spot in a timely manner to properly accomodate aspiring participants.

The entire event is free and open to the public. The event will be advertised in the Oklahoma City metro area, as well as the final concert presented by the New Century Improv! Ensemble.

Performers are provided by the composer wishing to participate. If the participating composer wishes, they may seek out local musicians from the University of Oklahoma, or elsewhere to perform their music. The Oklahoma Student Composers Workshop is not obligated to help you find performers.

Attendance is mandatory, as you will be presenting your music and (hopefully) receiving feedback you receive to either finish the piece or improve your craft as a whole. Not to mention, attendance is the only way to meet the composers next door! So come say hi, and make valuable contacts for your career in composition, or meet a performer you'd like to collaborate with on a future work.

Each session features 4-6 composers, and composers are encouraged to use the allocated time between sessions to sound-check their ensemble(s) (where applicable). The sessions are not concerts, lecture recitals, or anything of the formal sort. They are informal presentations, to a room filled with your colleagues. That being said: You may wish to 'practice' talking about your music to an audience. In this case, we are your captive audience!

Available technology includes:
• Projector System with HDMI/VGA inputs
• Up to 8-channel surround sound system for electroacoustic demonstrations
• Laptop computer preloaded with Protools, Max 7, Studio One, PureData, Sibelius, Finale, and Dorico (bring your own license key for use of any of this software)

All sessions will be recorded, and made available online for composers to use as seen fit. A composer may request that their part in the session not be included in the event archive by emailing the event director within 24 hours of the workshop's conclusion. Requests to omit a piece's inclusion after the recordings are made available online will be accepted, though not on a strict timeline.

The exact schedule of the day's events will be posted no later than one month before the workshop commences. All sessions happen on the same day, in the same building, same hall.

After the event concludes, composers are welcome to attend a 5:00pm concert of works by OU students and recent alumni featuring the New Century Improv! Ensemble.

Deadline: December 20th

To submit, please place the following in a folder [OKSCW_LastName] on dropbox, and send a public share link to: zdaniels@ou.edu from a valid '.edu' email address, with the subject line:"Oklahoma Student Composers Workshop Submission" .
1 PDF of Score [LastName_Title.pdf]
2 Recording of the piece(s) in either wav or Mp3 format [LastName_Title.wav/.Mp3]
3 List of requirements [for electronics or percussion] in PDF format [LastName_Title_Requirements.pdf]

Best,
Oklahoma Student Composers Workshop

Web Site:www.ou.edu/content/finearts/mu...

 Call for single-breath solo flute pieces
Summary:Pieces for solo flute
Deadline: 15 February 2018
Date Posted: 29 November 2017
Details: Coming Up for Air is a collection of new solo pieces for flute (piccolo, C flute (open-hole and closed-hole), alto, bass, Native American flute (high or mid), with or without electronics). These pieces, collected and performed by flautist Kathryn Williams, explore the creative possibilities that emerge when pieces of music are limited to a single breath (i.e., one inhale and one exhale - no circular breathing).

Selected pieces will receive written feedback followed by an audio or visual recording. There is also the possibility that pieces could be programmed in future performances and recordings.

The project is being developed through Kathryn's PhD research into areas of extreme restriction at the University of Huddersfield and mentored by YCAT Sounding Board.
Web Site:www.soundandmusic.org/resource...
Email:kathryn.williams@hud.ac.uk

 Versipel New Music
Summary:Chamber Competition
Deadline: 02 January 2018
Date Posted: 29 November 2017
Details: Versipel New Music

*2018 Concert Season – Call For Scores *

DEADLINE – January 2nd, 2018

FEE – $12.00

Application Form (Please read guidelines below before submitting)

Versipel New Music, a presenting organization for cutting-edge contemporary music concerts in the New Orleans area, announces a call for scores for solo/chamber works to be included in the upcoming concert season.

Pieces selected for performance will be considered on a concert-by-concert basis for Versipel New Music’s 2018 concert season. Composers may submit one piece of any length and any aesthetic direction, for any combination of 1 – 6 performers with or without electronics (live electronics or fixed media) (see below for details regarding specific instrumentation).

Scores using graphic notation, improvisation, and/or open instrumentation are welcome.

Guidelines:
• Works must be solo or chamber music compositions (1 – 6 performers). Any combination of the following (one player per instrument (except for percussion)). Instrumentation other than what is listed below will not be considered at this time. String quartets or works for voice will not be considered at this time:
• Flute (+ Piccolo, Alto Flute)
• Clarinet (+ Bass Clarinet)
• Trumpet
• Trombone
• Violin
• Viola
• Cello
• Contrabass
• Piano
• Guitar (Classical or Electric)
• Percussion (1 – 3 players)
• Works using live or fixed-media electronics are welcome.
• Works for two-channel fixed media digital audio (without live instruments) are also welcome.
• All application materials must be submitted online by January 2nd, 2018.
• There is a required fee of $12 to submit.
• There is no age limit.
• Composers of any nationality may apply.
• Anonymous scores and recordings only.
• Limit one entry per composer.
• Incomplete entries will not be considered.

To apply, please fill out the online submission form (below) and attach these necessary files to the form:
• PDF of the score. Composer’s name must not appear anywhere on the score. PDF files must be labeled by the name of the composition only (i.e. pdf). The name of the composer must not appear in the file name or in the metadata.
• MP3 recording of composition (if available) may be included but is not required. MP3 files must be labeled by the name of the composition only (i.e. mp3). The name of the composer must not appear in the file name or in the metadata.
• Maximum file size of 30 MB (for larger works, please submit an excerpt).
• Recordings for multi-movement works should be submitted as a single mp3 file.
• MIDI versions of works are acceptable.

Once you complete the form, you will click the submit button at the bottom of the page, and it will direct you to Paypal to pay the submission fee. Once you have paid the fee, you should receive a confirmation e-mail stating that your submission is complete.

If you have any questions, please contact:

Philip Schuessler, Assistant Director

philip@versipel.org

Submission Checklist (DEADLINE – January 2nd, 2018):
• Online Submission Form including:
• PDF of anonymous score (labeled pdf)
• MP3 of anonymous recording (if available) (labeled mp3)
• Required submission fee ($12) paid online through Paypal (link available in submission form)

Web Site:versipel.org/call-for-scores/

 AMF Composition Program
Summary:Composition Programme
Deadline: 18 February 2018
Date Posted: 29 November 2017
Details: The AMF Composition Program is a four-week intensive summer course designed to provide extraordinary opportunities and exposure to aspiring and established composers. The program engages composers through individual lessons, daily seminars, and master classes.

Since its inception, the Atlantic Music Festival has served as a breeding ground for groundbreaking new works. Over 300 new works have been premiered since 2009 offering composers access to unprecedented opportunities. Composers gain firsthand experience by working directly with AMF Contemporary Ensemble with a goal of premiering a new work. In addition, all full-session composers are eligible to participate in AMF Orchestra Reading sessions.

The AMF Institute is proud to continue its tradition of providing all Composition Program participants with access to the AMF Future Music Lab’s core seminars. This groundbreaking project is an official collaboration with the IRCAM (Institut de Recherche et Coordination Acoustique/Musique) and will offer unique courses such as Programming for Musicians, MaxMSP Bootcamp, and electronic music seminars. To learn more, click here:
Web Site:www.atlanticmusicfestival.org/...

 Listening to Ladies
Summary:Competition for female composers
Deadline: 19 December 2017
Date Posted: 29 November 2017
Details: ABOUT
Compass New Music Series (formerly the Listening to Ladies concert series) partners with ensembles to help showcase new music by those who, due to their gender identities, experience disenfranchisement under the patriarchy, which in the classical/new music world continues to support and showcase primarily cisgender males.

Compass New Music and N/A Ensemble are excited to announce a call for scores, due by 23:59pm EST, Tuesday, December 19th, 2017.

Composers of any age, nationality, or stage of their careers who identify as women, nonbinary, or genderfluid are invited to submit scores for a concert in Toledo, Ohio which will take place on February 18th, 2018. The program will showcase approximately three to four pieces (the number is flexible and depends upon the pool of submissions) selected from this Call for Scores, alongside two pre-selected pieces.

Pieces should be at least five minutes long, with no strict cap on maximum length. We ask that you keep in mind this concert will have approximately six works on it, so very lengthy pieces may not be appropriate. You may submit only one piece. Pieces may have been previously performed. There is no fee to submit.

Pieces need to include all or a subset of two or three (no solo works) of the following instrumentation:

1 Soprano (range: G3-D6)

1 Flute (all but the contrabass flute are available)

1 Clarinet (all available)

Percussion (no keyboard percussion, as instruments must fit in a car)

NOTE: Electronics, including fixed media, live electronics, and visual electronic elements (projections, videos) are unfortunately not available.

N/A Ensemble is an experimental new music group dedicated to performing challenging and adventurous new works. For this Call, the ensemble is particularly interested in work that is bursting the seams of music, work that can be described as either/both experimental and cross-disciplinary. This includes music that involves theatricality, choreography, the speaking voice, and music that is complex and challenging (musically and/or conceptually).

Compass New Music Series (formerly the Listening to Ladies concert series) partners with ensembles to help showcase new music by those who due to their gender identities experience disenfranchisement under the patriarchy, which in the classical/new music world continues to support and showcase primarily cisgender males.

HOW TO SUBMIT:

Email the following to compassnewmusic@gmail.com by 23:59 EST, Tuesday, December 19th, 2017:

1) A PDF score of the piece which has had your name removed. Program notes are not required, but if they are included with the score, please remove your name from these as well.

2) An MP3 sound file, if applicable/possible (no MIDI, please). Ensure your name is not in the filename.

3) A separate info PD containing: the title of the piece, the name of the composer, and contact information for the composer – email, phone number, and website address if available. You may also include a brief bio (no more than 150 words) on this document (optional).

Please ensure that no information identifying you is anywhere in your submission apart from the info PDF.

The compositions will be selected by the N/A Ensemble with administrative help from Elisabeth Blair of Compass New Music. Selected composers will be notified by email by Sunday, December 24th, 2017; composers must be able to supply parts and other performance materials by Friday, January 5th, 2017.
Web Site:listeningtoladies.com/compassn...

 From Page to Stage: Emerging Composer Workshop
Summary:Competition for women composers
Deadline: 15 March 2018
Date Posted: 23 November 2017
Details: Application Guidelines

Eligible participants:
• Open to women composers
• No age limit
• Composers who are students (college or high school), or at the earlier stages of their composition careers, meaning:
• limited professional performances of works
• not yet published and/or recorded professionally
• those seeking to learn how to enhance their composition career
• Composers who are interested in constructive feedback and support on a current work.

Submitted works should be:
• Written no earlier than January 1, 2014
• Under 8 minutes in length
• Single or multi-movement work
• Scored for one to six players; see available instruments and ensemble types below
• Work may be completed or an in-progress composition, however only completed works will be considered for performance during the festival.

Submissions must include:
• PDF of score. Scores must be created by a standard notation software such as Finale or Sibelius. Format as 8½ x 11
• PDF Parts. Include all instrumental parts formatted as 8½ x 11
• MIDI recording of the work
• Short paragraph explaining why you want to participate
• Non-refundable application fee of $10

Submission Guidelines
• All materials must be submitted no later than March 15, 2018, 11:59pm (Central Time)
• Late submissions will not be accepted
• Application fees are non-refundable
• Files must be uploaded through the LunART Festival website during the submission period (application form will be active starting Dec. 15th)

Successful applicants will be notified by April 15, 2018

Participation in “From Page to Stage” includes:
• Master class with composer-in-residence Jenni Brandon. Submitted works will be discussed in an open-forum setting. Participants will share their submitted work for discussion, delving into the nuances that make a piece successful from “page to stage” – from getting the notes on the paper, to getting it into the performance hall.
• Private composition session with Jenni Brandon during the festival.
• Recording of your work, and rehearsal with LunART Festival musicians. Works will be featured on the “From Page to Stage” festival concert on Saturday June 30th.
• Admission to all LunART events: three days of concerts, reading sessions, and lectures including Jenni’s talks on “Collaboration in the Arts” and “The Independent Composer’s Guide.”

Note: Transportation to and from the festival and housing is the responsibility of the participant. The festival will provide a list of housing options closer to the festival.

Instruments available
Strings
• String quartet
• Violin
• Viola
• Cello
• Bass

Woodwinds
• Wind quintet
• Flute (piccolo, alto, bass)
• Clarinet (bass clarinet)
• Oboe (English horn, oboe d’amore)
• Bassoon
• Saxophone

Brass
• Brass quintet
• Trumpet
• French horn
• Euphonium
• Trombone
• Tuba

Piano
If your work includes prepared piano, please contact us before submitting.

Percussion
If your work includes percussion, please contact us about intended instrumentation. Percussion instruments available for the festival are limited.

Questions may be sent to scores@lunartfest.org with the subject line: “From Page to Stage – Emerging Composers”
Web Site:lunartfest.org/emerging-compos...

 Head of Music, Spirit Young Performers Company
Summary:Composing and arranging as part of wider role
Deadline: 09 January 2018
Date Posted: 23 November 2017
Details: Location: London
Type: Part time
Salary: Paid (£30k-40k pro rata)

Description

SPIRIT YOUNG PERFORMERS COMPANY is a performing arts programme for ages 8-19. Home to the UK's exceptional young performers; many of our students work professionally and our Performance Troupes attract international acclaim.

We're recruiting a HEAD OF MUSIC for Spirit YPC.

This is a PART-TIME role for 2.5 days p/week work, including Saturdays and Sundays.
_________________________

The Head of Music role will entail the following:

- Working as vocal coach for singing groups. Ensuring that the student's voices are monitored and trained to a professional level.

- Working as Musical Director for our performance troupes. We pride ourselves on producing performances to the highest possible standards, with a constant stream of productions being released to our YouTube channel and high-profile live events.

- Working as Arranger/Composer for productions. We are always looking to produce new creative works, including medleys, remixes and original compositions. Our productions attract millions of online viewers, and the Head of Music would need to have the skills to continue producing works of great creativity.

- Demonstrating basic vocal recording/mixing capabilities.

______________________

The ideal candidate will demonstrate the following qualities:

- Have a track record of working as a Vocal Coach, MD and Arranger, with excellent results.

- Be professional and committed. We're looking for someone who is invested in the work we do and the progression of our performers.

- Have a good rapport with young performers. The right candidate will treat our young performers with respect and friendship, whilst also keeping expectations high and enforcing discipline if necessary.

- The ability to balance classes so that they are both fun and stimulating, as well as results-driven and professional level.

- Highly creative.

___________________________

Working with Spirit YPC:

- By working as a creative at SYPC, your work will be constantly produced to a high standard, as well as heavily promoted. Our online performances attract MILLIONS of views every month; attracting the acclaim of industry professionals across the world.

_________________

Part Time Role
2.5 days per week (including weekends)
£15,600 p/year, equivalent to £31k pro rata
London
Start date negotiable.

Web Site:www.artsjobs.org.uk/arts-job/p...
Email:sophieboyce@spiritypc.com

 Seconds Concert Series
Summary:Call for pieces that have been performed once
Deadline: 31 December 2017
Date Posted: 23 November 2017
Details: Seconds Concert Series is seeking submissions of gently-used new music for its inaugural series of three concerts this coming Spring in Boston, MA. Seconds will address a crucial need in the Boston new music scene by performing works by emerging professional composers that have been premiered and have not yet received a second performance.

As creators of new music, particularly in such an active scene as Boston, it’s both our privilege and responsibility to establish a performance practice and sustainable repertoire of works. There are so many fantastic opportunities for emerging composers to work with ensembles on premiering new works, however relying solely on this model is not the most efficient use of the new music scene’s resources. We will perform carefully curated concerts of gently-used new music that allow the performers, composers, and works to grow and benefit from experience, time, and hindsight. It is our hope that Seconds will foster a network of relationships between emerging professional composers and performers that runs deeper than premiere-specific events.

Seconds Concert Series will consist of three concerts in the Boston area: one in a conservatory space, one in a gallery space, and one in a new music concert venue. Each concert will feature works by 1-3 composers that have been premiered, but have not had a second performance

WHAT WE ARE LOOKING FOR
Seconds is seeking submissions for original works by emerging professional composers that have received a public premiere, but have not had a second performance. There are no age restrictions or degree/location requirements. Although we will not have the opportunity to include all submissions in our initial series, we are very interested in building relationships with composers that will reach beyond the first iteration of our series.

Works involving some instruments/performers from our roster of core performers are encouraged, but submissions involving other instruments/performers will be considered. Ensemble size is a necessary consideration for programming, but ensembles of any size are acceptable. Submissions with electronics should include a description of materials/equipment/personnel required.

Seconds Concert Series Core Performers
Voice: soprano, baritone/actor
Strings: violin, viola, cello
Winds/Brass: clarinet (including bass), saxophone (alto and tenor), flute, bassoon (including contra), bass trombone
Percussion: two players (please include instrument list)

Works of any style are encouraged. As performers, we represent a wide variety of experience and areas of interest including opera/theater, dance/circus performing, electronics, new complexity, sound installation, neo-just about anything, performance art, and any sort of experimentation—and we’re always looking to learn something new.

HOW TO SUBMIT
By December 31st, 2017, please e-mail PDF copies (via Google Drive) of complete scores (including any pertinent instructions/notes) to secondsconcertseries@gmail.com, along with a brief email of introduction—tell us a little about yourself and your music. If available, please provide links (via Google Drive) to recordings (please do not send MIDI realizations).

Seconds Concert Series
Joshua Scheid, artistic director
Web Site:www.facebook.com/events/139656...

 Luna Nova Music
Summary:Chamber Competition
Deadline: 01 March 2018
Date Posted: 23 November 2017
Details: 2018 Student Composition Contest
Sponsored by
Luna Nova Music
The Beethoven Club of Memphis

The Luna Nova 2018 Student Composition Contest is offered in conjunction with the Belvedere Chamber Music Festival (www.belvederefestival.org) to be held June 20-23, 2018 at Grace-St. Luke’s Episcopal Church (www.gracestlukes.org) in Memphis, Tennessee. The festival is sponsored by Luna Nova Music (www.lunanova.org) and the Beethoven Club (www.beethovenclubmemphis.org)

ELIGIBILITY

The contest is open to music composition students of any nationality who are 18 years or older. Recent graduates are also eligible provided that they graduated on or after May 1, 2016. They must give the name and contact information of their current or most recent theory/composition professor.

Participants may submit one score and accompanying mp3. The work may be for violin, flute, clarinet, cello, guitar, and piano. Entries may be solos or works for any combination of these instruments. Works should not exceed 10 minutes in length.

ONLINE GUIDELINES
Contest Announcement and Guidelines: www.belvederefestival.org/2018contest.pdf

ONLINE ENTRY FORMS
https://www.surveymonkey.com/r/QZQFQ6V

DEADLINE

Pdfs of scores and mp3s must be received by March 1, 2018. (Computer realizations will be accepted if a live recording is not available.) Winners will be posted at www.belvederefestival.org by April 1, 2018. Composers of winning entries must provide full score and parts by May 1, 2018.

JUDGING

A panel assembled by the Luna Nova Music board will judge scores. The panel will take logistical issues into consideration. Their decision will be final.

PRIZES

Up to three winners will be named. Winning compositions will be performed by members of the Luna Nova New-Music Ensemble (www.lunanova.org) at the 2017 Belvedere Festival in Memphis. Winners are expected to attend. They will receive a live recording of the performance. Room and board will be provided free for the winners. Winners are responsible for their own transportation to Memphis.

Former contest winners are not eligible to enter.

RECORDINGS

Recordings of the Luna Nova Ensemble are available at www.lunanova.org/audio.html

Questions may be sent to Patricia Gray, Luna Nova Music President at pgray@pgray.net or 901-493-0958.
Web Site:www.belvederefestival.org/cont...

 2018 Grand Valley Wind Band Commission
Summary:Wind Band Commission
Deadline: 01 February 2018
Date Posted: 23 November 2017
Details: Grand Valley State University announces the Grand Valley Wind Band Commission. One composer will be commissioned to compose a work for the Grand Valley State University Symphonic Wind Ensemble.

The world premiere will be given by the ensemble during the 2018-2019 concert season, during a residency of the winning composer. The performance will be broadcast live on the web, will be included on promotional videos by GVSU ensembles, and may be included in a future album. The current wind band repertoire reflects a discrepancy between the diversity of the contemporary composer community and the catalog of regularly performed and newly commissioned works. We believe that diverse experiences are an intellectual asset and that a range of thoughtful perspectives and a commitment to open inquiry strengthens our liberal education tradition. Therefore, all composers are invited to apply, but we would like to especially encourage women and/or composers who are from underrepresented populations at GVSU.

EXPIRATION OF OPPORTUNITY
February 1, 2018, 12:00 AM Eastern Standard Time

ENTRY FEE
$0

ELIGIBILITY
All composers are invited to apply, but we would like to especially encourage women and/or composers who are from underrepresented populations at GVSU. Current Grand Valley State University students, faculty, and staff may not participate.

ENTRY PROCESS
We are interested in commissioning the strongest composer, regardless of having written for wind band previously. You may submit works of any instrumentation that demonstrate your highest level of accomplishment.
1. Applications not adhering to these guidelines will not be considered.
2. Applications must be sent as attachments to gvwindbandcommission@gmail.com. If you must link to a cloud service, place ALL files in ONE folder and submit the folder link.
3. Composers must submit 2 representative compositions.
4. Compositions may be of any length or instrumentation, with or without electronics.
Applicants should prepare the following for each submission:
1. Information sheet with composer's name, pseudonym, email address, phone, title of works submitted, instrumentation, duration, name of performers/ensemble on recording.
2. One PDF of each score submitted labeled with the title and pseudonym.
3. A recording from a live performance or studio recording for each submitted score. No MIDI or other computer realizations. No exceptions.
4. Program notes (separate from the score as a PDF file).
5. Naming conventions for files:
a. TITLE_Pseudonym_score.pdf
b. TITLE_ Pseudonym _recording.mp3, recording.wav, recording.aif
c. TITLE_ Pseudonym _prognote.pdf. For lengthy titles, truncate to the first 10 characters.
d. Composer_LastName_First_Name_Information Sheet
Submission deadline: February 1, 2018, midnight EST.

PRIZE
$5000 (U.S.) Commission
Web Site:www.gvsu.edu/mtd/2018-grand-va...

 DaCapo Chamber Choir
Summary:Choral competition
Deadline: 12 March 2018
Date Posted: 23 November 2017
Details: The DaCapo Chamber Choir announces the eighth annual NewWorks choral composition competition. The winning entry will receive a $1,500 cash award and a performance by the DaCapo Chamber Choir under director Leonard Enns, in the 2017/2018 season. Entry deadline is Monday March 12, 2018.
Young composers (25 and under) are also encouraged to submit compositions for consideration in our new Young Composers Reading Sessions.

About the Competition
The DaCapo Chamber Choir, founded in 1998, is dedicated to choral music of the 21st and late 20th centuries. The NewWorks competition, as one expression of this mandate, fosters new and engaging choral works by Canadian composers.
For a list of some of the selections previously performed by the choir, please visit our “Previous Seasons”.

Composition Guidelines
• the submitted composition must be related to the theme of “resettlement”: new life, hope, light; traditional liturgical texts are to be avoided
• a cappella SATB, with divisi in some/all parts permitted
• a single work, 4 to 6 minutes in length (i.e. do not submit a work with multiple movements)
• any language is permitted, but any non-English texts must include a translation
• submissions must be original compositions; arrangements are not acceptable
• submissions may not have been published, commissioned, or previously performed
• entries from previous years are not eligible for resubmission
• more than one entry may be submitted, but each entry must include a separate entry form and fee ($25 each)
• the composer’s name must not appear anywhere on the score
• the copyright for the composition remains with the composer

Deadline
• electronic submissions (PDFs) are preferred and must be received by Monday, March 12, 2018 or earlier
• entry form, fees, and any scores not submitted electronically must be postmarked by Monday, March 12, 2018 or earlier

Prize
• $1,500 plus travel expenses to Kitchener-Waterloo for the winning composer to attend the premiere
• the winning composition will be featured in one of the main series concerts of the 2018/2019 season
• to receive the award, the winning composer must commit to attend the dress rehearsal and the premiere concerts (normally this is a Friday Saturday, and Sunday commitment)

Notification
• winners will be notified in mid-June 2018, with an official announcement made by the end of that month

Eligibility
• Canadian citizen or landed immigrant residing in Canada
• current DaCapo choir members or Board members are ineligible
• the winner of NewWorks must wait two years before again submitting a work to the competition

Submission Procedure
• scores must be created with notation software or neatly hand-scored. All scores must be in copy-ready format. Electronic composition submissions are preferred and will be accepted in PDF format ONLY
• the composer’s name, and any other identifying marks, MUST be removed from the score
• a piano reduction should be supplied only where warranted
• text must appear beneath all staves of choral parts
• include a copy of the text in its original layout
• a completed, signed entry form and a $25 entrance fee (cheque or money order payable to the DaCapo Chamber Choir) must be postmarked by Monday, March 12, 2018 or earlier and mailed to:
DaCapo Chamber Choir
PO Box 40035
Waterloo Square PO
Waterloo, ON N2J 4V1
• electronic scores must be submitted, in PDF format, to info@dacapochamberchoir.ca by Monday, March 12, 2018
• if submitting electronically, the entry form and fee must be mailed separately to the address above, and postmarked by Monday, March 12, 2018 or earlier

Other important notes
• please do NOT staple or bind in any way; use separate, numbered, 8.5×11 sheets of paper; portrait, not landscape, orientation
• do not send recordings
• incomplete applications will be neither considered nor returned
• application materials will not be returned
• the DaCapo Chamber Choir will retain the right to produce the first recording of the winning composition for three years after the competition deadline
• DaCapo retains the right of first performance for one year (from the date of prize announcement) of any works that are NewWorks winners, honorable mentions, or YCRS selections
• the DaCapo Chamber Choir reserves the right not to award a prize

Young Composers Reading Sessions
Composers, aged 25 and younger (as of Monday, March 12, 2018) are invited to submit compositions for consideration in our Young Composers Reading Sessions (YCRS). During the 2018/2019 season, DaCapo will host a public workshop at which compositions will be read by the choir in the presence of the composers. Composers will have opportunity to interact with the conductor and choristers in an effort to continue to refine their compositional craft. Compositions submitted to YCRS may also be entered into the NewWorks Competition.
Submission guidelines and procedures are the same as for the Competition, but there is no $25 entrance fee.

Sponsors
The DaCapo Chamber Choir gratefully acknowledges the support of:
• Wallenstein Feed Charitable Foundation
• Good Foundation Inc.
• Ontario Arts Council
• City of Kitchener
• City of Waterloo
Web Site:dacapochamberchoir.ca/newworks...

 THE MUSE-­IC PROJECT
Summary:Science and music collaboration
Deadline: 20 December 2017
Date Posted: 23 November 2017
Details: The MUSE-IC project is an inter-disciplinary project between science and music. It aims to create original musical pieces inspired by recent scientific discoveries and composed by professional artists.

Researchers from all over the world have already provided us original sources of inspirations coming from their cutting-edge research. The scientific committee of the MUSE-IC project have selected 15 attractive scientific discoveries from different fields (astrophysics, to biophysics, cell biology, developmental biology, translational cancer research …).

We are launching a call for 3 to 5 composers motivated to participate in our project by creating a piece of music inspired by one of our selected scientific discoveries. Composers will have the opportunity to interact with the researchers involved in the scientific work they chose through lab visits and discussions.

The compositions will be around 10 minutes long and written for up to 8 instruments (piano, string quartet, clarinet, harp, percussion, other instrument might be negotiable). The compositions will be performed by professional musicians at a concert in Paris in 2019 at the Cité de la Musique. The first part of the concert will be dedicated to 3 to 5 emerging composers and the second part will be dedicated to an established guest of honor composer. Composers will be paid a commission fee, to be negotiated. Composers will be invited to the final concert in Paris (travel expenses reimbursed by the project).
The MUSE-IC project is conducted by the Institut Curie, coordinated by Judith Miné-Hattab in partnership with the Conservatoire National Supérieur de Musique et Danse de Paris (CNSM). The project is founded by PSL University (Paris Sciences and Letters University).

How to apply:
If you are interested in applying, please, send a request to judith.mine@curie.fr and m4garance@gmail.com to receive the scientific subjects selected for the MUSE-IC project. To apply, send

• Your CV and full list of previous compositions
• Music scores and recording of 3 of your compositions
• Letter of motivation to participate to the MUSE-IC project (1 page).
• 1 to 3 scientific subjects from the list provided that you propose to use as inspiration for your composition.


Web Site:science.institut-curie.org/the...

 S Ä V E L L Y S P A J A 2 0 1 8
Summary:Composition Masterclass
Deadline: 31 December 2017
Date Posted: 23 November 2017
Details: Next summer (June 26 - 29, 2018) the SÄVELLYSPAJA Composition Masterclass will be organized by Sävellyspaja-yhdistys ry. The teachers are Jukka Tiensuu and Tomi Räisänen. For the workshop concert each participant will write a new work. Avanti! Chamber Orchestra will perform the new works in a concert as part of the Avanti! Summer Sounds Festival in Porvoo, Finland. Detailed instrumentation and further instructions will be given to the selected participants.

The event is aimed mainly for professional students in composition. Participation fee is 345€. To apply for the SÄVELLYSPAJA 2018, please send by December 31, 2017 in digital format (pdf) CV & Work List and 2 representative scores to the email-address below. You can also add links to your website and listening examples.

savellyspaja@gmail.com
Web Site:www.savellyspaja.com

 Breaking the Fourth Wall
Summary:International Composition Competition, optional instrumentation
Deadline: 31 December 2017
Date Posted: 23 November 2017
Details: Breaking the Fourth Wall' was founded in 2015 with the dual goals of commissioning new works from living composers, and bringing them to performance in unconventional concert spaces. We began 2016 by commissioning 3 New York City-based composers to write works for The Craig Michael Davis Ensemble (CMD-E). In 2017, we expanded worldwide by partnering with the Jacobs School of Music in Bloomington, Indiana, to exhibit brand new works during our BTFW Spring Music Festival. 2018 will be our second year where composers from any nation, aged 16 and up, are welcome and encouraged to submit newly written works to the 'Breaking the Fourth Wall 2nd International Composition Competition.' The winners will have their works performed and professionally recorded during this year's BTFW Spring Music Festival, performed by the Jacobs School of Music.

BREAKING THE FOURTH WALL 2ND INTERNATIONAL COMPOSITION COMPETITION COMPOSER AWARDS GUIDELINES

The specific details and requirements of 'Breaking the Fourth Wall 2nd International Composition Competition' Awards are set forth below. Participation in the Award is subject to CMD-E's Official Awards Rules and Regulations. To the extent not specifically defined below, all capitalized terms have the meaning set forth in the Rules.

ABOUT THE AWARD
'Breaking the Fourth Wall 2nd International Composition Competition' was founded with the intent to exhibit compositions from composers in the early to mid-career range; however, we encourage composers age 16 and up to apply. For the competition, composers may submit a piece for any instrumentation, however, pieces written for the following ensemble will have a better chance of being performed: CMD-E (instrumentation below), String Quartet, Saxophone Quartet, Solo Piano, or submit a piece for Fixed Media or Electro-Acoustic media.

INSTRUMENTATION
Compositions may be written for any instrumentation, though works written for the following instrumentation will be considered for performance:

1. CMD-E: Flute, Clarinet/Bass Clarinet, Electric Guitar, Piano, Percussion (Vibraphone, Kick Drum, and small hand percussion), Cello, and Double Bass.
2. String Quartet
3. Saxophone Quartet
4. Solo Piano
5. Electroacoustic Compositions

ELIGIBILITY REQUIREMENTS
The Award is open to composers aged 16 and above: (1) who meet the instrumentation guidelines set above and (2) who have paid the $15 entry fee for the first piece, and $10 per piece thereafter, via the Paypal link provided at the bottom of this page.
If a musical work or composition submitted as part of the “Submission” (specified below) is co-written, all co-writers shall be considered Entrants and must consent to participation in the Award and satisfy these eligibility criteria, together with all other requirements set forth in the “Rules.” Works which are set to a text protected by copyright must include permission of the author of the text (or the author's representative), as described below.

AWARD PERIOD
Begins at 9:00 AM PDT on November 15th, 2017, and ends at 11:59 PM EST on December 31st, 2017. Hard copies are not accepted for the award this year, and all electronic submissions must be submitted, via this website, no later than 11:59 PM on December 31st, 2017.

SUBMISSION REQUIREMENTS
Submit Questions and Concerns to: JackHarrisonArtistRep@gmail.com
To enter the Award, eligible entrants must complete and electronically submit the Online Application provided below, which is available only during the Award Period. Make sure to submit the following materials, electronically, below: (a) a file containing the score in whatever form it may be in (hand written scores must be scanned); and (b) an mp3 containing a good quality recording of the piece submitted (midi realizations are accepted). Please label each recording as such: LastName_TitleOfWork.mp3

Composers may optionally submit program notes, composer biographies, and performance history for each of the submitted pieces.

All Submission materials must bear the entrant’s name together with all co-writer(s) of the work or composition. Any recordings must separately be marked with the name of the Entrant (including all co-writer(s)), the title of the work, and the names of the performers.

Submit Questions and Concerns to: JackHarrisonArtistRep@gmail.com
JUDGING PROCEDURE & CRITERIA

Each eligible Submission will be judged by a panel of composers, performers, and members of CMD-E and the Jacobs School of Music, based on the significance, overall artistry, and compositional elements of the musical work or composition. Award-recipient selection resides within the sole discretion of the Panel.

PRIZE AND AWARD CEREMONY
In accordance with the Judging Procedure and Criteria above, the 1st prize winner will be selected as the Award Recipient and will receive a monetary Prize of $300. The number of secondary Award Recipients and the monetary distribution of the Prize resides within the discretion of the Panel.

The winning pieces of the competition and a selected number of compositions selected by the panel may be presented at the BTFW New Music Festival on March 2nd and 3rd, 2018, at various locations around Bloomington, Indiana.

NOTIFICATION DATE OF AWARD RECIPIENTS
Selected participants will be notified by the end of January, 2018.

Submit Questions and Concerns to: JackHarrisonArtistRep@gmail.com

Web Site:www.cmd-e.com/btfw-composition...

 2018 Choral Canada Competition for Choral Writing
Summary:Choir Competition
Deadline: 01 January 2018
Date Posted: 23 November 2017
Details: Choral Canada’s Competition for Choral Writing is a biennial program.
The composer must be a Canadian citizen (or permanent resident).
The winner of the 2018 competition will receive:

• the Diane Loomer Award of $1500
• a publishing opportunity through Cypress Music
• a premiere performance by the 2018 National Youth Choir, conducted by Jeff Joudrey, at PODIUM 2018 in Newfoundland and Labrador

For SATB choir, more details here:
Web Site:www.choralcanada.org/activitie...

 Bang on a Can
Summary:Summer Festival Opportunity
Deadline: 09 January 2018
Date Posted: 23 November 2017
Details: Summer Music Festival
at MASS MoCA

July 9-29, 2018

Applications are available now on the Info for Applicants page, and are due January 9, 2018

Festival & Residency Program for composers and performers

The Bang on a Can Summer Music Festival at MASS MoCA (the Massachusetts Museum of Contemporary Art) is a musical utopia for innovative musicians in the beautiful Berkshire mountains of western Massachusetts. The festival is dedicated entirely to adventurous contemporary music. We will spend three weeks immersed in today's most exciting music. Composers will have their new works performed. Players will perform in ensembles sitting alongside their teachers. The Festival includes daily performances in the museum galleries, free with museum admission, and concludes with a six-hour blow-out Marathon Concert performed by the Festival ensembles and special guests. The Festival also features African and Latin music workshops, electronics and music business seminars, free events in the community, and more.

Our faculty members are some of the most innovative musicians of our time. These are musicians who have dedicated their lives to commissioning, rehearsing, recording and performing music beyond the cutting edge.

In the words of past participants:

"Bang on a Can is really everything I want the music world to be -- inclusive, engaging, innovative, fun, thought-provoking, beautiful, challenging, and rewarding. The festival brings all of that and more directly into focus, and it has made all the difference in the word to have been a part of it."

"I have never had an experience like this before: the idea of building the kind of musical world one wants to live in seems to be something that is really possible here -- it's a place of community and possibility that is utterly transformative."

The Bang on a Can Summer Music Festival will take place at MASS MoCA, located in North Adams, Massachusetts. MASS MoCA presents exhibitions and performances by renowned artists and cultural institutions, but it also is a place where the process of creativity is explored; rehearsals, art fabrication shops, and production studios are open to public view. Bang on a Can has found a home at MASS MoCA for the Bang on a Can Summer Music Festival and is thrilled to work with them in building a bridge between the arts.

The Bang on a Can Summer Music Festival at MASS MoCA is made possible with public funds from the National Endowment for the Arts, and with support from the Amphion Foundation, ASCAP Foundation Irving Caesar Fund, Alice M. Ditson Fund of Columbia University, Robert Black Bass Scholarship, Herb Leventer, Henry S. McNeil, and Williamson Foundation for Music.

Special thanks go out to Drury High School, Conte Middle School, Williams College, and Massachusetts College of Liberal Arts.

Web Site:bangonacan.org/summer_festival

 Applause New Music Fund
Summary:Competition with 4 categories
Deadline: 15 January 2018
Date Posted: 23 November 2017
Details: Since 2013, The Applause New Music Fund (ANMF), has
devoted itself to the outreach, dissemination, and
promotion of new art music by living composers and
ensembles whose primary focus is their music.

Active in the Dallas/Fort Worth Metroplex, The ANMF,
through the Applause Concert Series, has commissioned
several composers, premiered more than 10
works, and presented concerts with ensembles
ranging from soloist to large experimental laptop
groups. Locations have included Mansfield, Arlington,
and Ft. Worth in venues such as The Modern Museum of Art in Fort Worth,
the University of Texas at Arlington, and New Hope Baptist Church.

The Applause New Music Fund invites composers of all ages and nationalities to submit their music for consideration in this year’s Applause Concert Series. Compositions must be between 5 and 12 minutes to be considered and may be submitted for the following ensembles/concerts:

a) Ros|Car Duo (Violin and Harp). Works will be accepted for any combination of the ensemble (i.e. Solo Harp, Solo Violin, Duo)

One work selected to be performed at the City Council Room in Arlington, Texas March 22nd, 2018

Several Works selected (including the piece performed March 22nd) to be performed in Mansfield, Texas on July 28th, 2018, venue TBD.

b) Unheard Of//Ensemble. Works for the full ensemble only (Clarinet, Violin, Cello, Piano)

Several works selected to be performed on May 13, 2018 at New Hope Baptist Church in Mansfield, Texas.

c) Electric Resonance II. Fixed or interactive media up to four channels with or without a visual component. Electro-acoustic works are welcome provided that the composer supply the performer and instrument.

Several works selected to be performed in June or July, 2018 in Dallas/Ft. Worth TX (Venue TBD).

d) Vive! Ensemble. Works for at least two but up to all six of the following instruments + a conductor: Flute, Clarinet, Violin, Cello, String Bass, and Percussion (vibraphone, glockenspiel, all instruments related to a drum set, smaller tam tams, any/multiple of/all kinds of small stuff).

Several Works selected to be performed on June 2nd, 2018 at the Farr Best Theater in Mansfield, Texas.

To be considered please send the following information to applausemusicfestival@gmail.com

The concert or ensemble (A, B, C, D) for which you are submitting a Score. If you are submitting more than one piece, please label for which categories. Only one piece per category may be submitted
Your name and email contact information
Name of the piece and duration.
One score (or more: see below)
Audio recording if available (midi acceptable)
A Submission fee of $15 dollars for one category or $20 dollars for up to all categories. Please post the paypal receipt number in the email.

Works must be submitted by January 15th, 2018.

For any questions please email Dr. Paul Poston at contact@applausemf.org
Web Site:www.applausemf.org

 International Composition Competition "The contemporary piano 2018"
Summary:Piano competition
Deadline: 31 March 2018
Date Posted: 15 November 2017
Details: Modern compositions for piano solo or piano 4 hands, duration 3 to 5 minutes. The competition is open to composers of all ages and nationalities. The selection criteria are musical and no extra-musical parameters such as gender, level of difficulty, nationality and age quotas etc will be taken into account. The only examined quality will be the text itself. Unpublished works & works that have been performed previously and won competitions in the past may be submitted.

Regulation

Subject: Modern compositions for piano solo or piano 4 hands, duration 3 to 5 minutes. The competition is open to composers of all ages and nationalities. The selection criteria are musical and no extra-musical parameters such as gender, level of difficulty, nationality and age quotas etc will be taken into account. The only examined quality will be the text itself. Unpublished works & works that have been performed previously and won competitions in the past may be submitted.

Registration fee: The registration fee is €45,00 per work / submission, paid through bank account transfer or PayPal.
EUROBANK GREECE (ERBKGRAA) ΙΒΑΝ: GR3402603280000950101210083
PayPal: PayPal.me/DANOUSANART
(In the grounds, provide name and deposit reason).
All transfer and bank charges will be covered by the applicants.

Submissions: Submissions are to be made until Saturday March 31, 2018 electronically to info@an-art.com including at the same email:
i. An unmarked and unnamed PDF (sheet music) of a work (composition) for piano solo or piano 4 hands, duration 3 to 5 minutes.
ii. A separate file (PDF, RAR, ZIP etc) with a printout of the registration payment (bank or PayPal receipt), the details of the composer (name, age, address, telephone, email, etc), a bio (biografical notes), a good foto of the composer, title and a text for their submitted work.

Committee - selection: The committee will consist of distinguished pianists and composers. Will meet in April 2018 and will select by voting up to four (4) "prize winning" works and up to four (4) "honorable mention" works, based on their musical quality rather than the degree of difficulty or other criteria. The committee's decision is final.

Prizes:
The prize winning works (up to 4) will receive:
- An official diploma.
- Audio & video recording by distinguished pianists - members of the committee, of the highest production quality.
- The recordings will be uploaded and presented at AN ART ARTISTRY's YOUTUBE channel, sites, social media pages, newsletters etc.
- A page in www.an-art.com site will be created for each one of the winning works - composers with a presentation of the works.

The honorable mention works (up to 4) will receive:
- An official diploma.
- A page in www.an-art.com site will be created for each one of the honorable mention works - composers.
Web Site:www.an-art.com/en/activities/5...

 Austin Classical Guitar
Summary:Guitar Competition
Deadline: 10 January 2018
Date Posted: 15 November 2017
Details: Austin Classical Guitar is pleased to announce the 12th annual Guitar Ensemble Composition Competition. The goal of this contest is to encourage high quality new music for young and pre-professional guitar ensembles. The competition is open to composers of all ages who reside in the United States. The award is $500, and the winning entry will be premiered by an ensemble of approximately 100 guitarists at the ACG Fest in Austin, TX on April 28, 2018.

Prize – $500, and a premiere performance by the ACG Ensemble Festival Finale Orchestra to open ACG’s International Series concert featuring Dimitri Illarionov & Boris Andrianov.

Eligibility
• US-based composers only
• No age restrictions
• Composers may submit multiple works (Additional fee for each entry)

Guidelines for submissions
• In 4 parts for standard 6-string classical guitar (Divisi is acceptable)
• Approximately 4-6 minutes in duration – multiple movements allowed
• Standard tuning and scordatura of 6th string to D acceptable
• Work must be unpublished and not previously performed in public
• Work must be playable by beginning/intermediate level ensembles – We are searching for pieces for young and/or pre-professional groups that balance musical integrity and technical demands. For reference, see previous recent winning entries: November Blues by Mark Anthony Cruz (2017) and Fugata Y Danza by Carlos Rios (2016).

Application Fee – $25 per submission – make checks payable to: ACG or pay online here (please indicate “Composition Competition application fee” on payment form)

What to Submit
1. A cover letter including: Name, address, telephone, and email address
2. CD recording of the entry (emailed MP3 and midi-generated recordings acceptable)
3. One copy of full score and each part. May be emailed as PDF. **Scores and parts must be anonymous; they may not contain anything allowing identification of the composer.**

Entries must be postmarked by January 10th, 2018, and addressed to:
Austin Classical Guitar
5900 Balcones Drive, Suite 240
Austin, TX 78731

Entries will be judged anonymously by Austin Classical Guitar with consideration not only of compositional integrity but playability and practicality of performance. The winner will be announced by email to all contestants by Friday, January 30th, 2017.

The composer of the winning composition should plan to be present at ACG Fest to receive a $500 prizefollowing the premiere of the work at the finale. The prize will not be divided. The decision of Austin Classical Guitar will be final.
Austin Classical Guitar makes no claims on any of the entered compositions beyond the right to premiere the winning composition. Scores will not be returned. Submission of an application to participate in the competition confirms that the contestants unconditionally accept all the rules as established in this announcement.




Web Site:www.austinclassicalguitar.org/...

 West Cork Music
Summary:String Quartet Competition
Deadline: 20 March 2018
Date Posted: 15 November 2017
Details: West Cork Music invites Irish composers under 35 years of age on 1st January 2018 to submit works for string quartet (violin, violin, viola, cello) of between 5-8 minutes duration for performance at the 23rd West Cork Chamber Music Festival 2018. Festival dates are 29 June – 8 July

Four works will be selected. The composer of each selected work will receive a prize of €500 and up 3 nights B&B at the Festival. Winning composers will be asked to attend the Young Composers Forum at the Festival on Sunday 1st July, which will be directed by an international Composer, where the winning works will be played through by a Quartet on the Festival’s masterclass programme. The premieres will take place during the Festival in the Town Concert series 2-7 July. There will be opportunities to rehearse with the Quartet 29-30 June

Terms/ conditions:

1. Entrants must be under the age of 35 on 1st January 2018, state date of birth and give full contact details including postal address.

2. Entrants must be of Irish nationality, born in Northern Ireland, resident on the island of Ireland or Citizenship through descent - If either of your parents was an Irish citizen at the time of your birth, you are an Irish citizen, irrespective of your place of birth.

3. Entrants may submit only one work

4. Winners and entrants from previous competitions run by West Cork Music are welcome to submit new scores.

5. Works must be between 5 and 8 minutes in length and may not involve any form of electronics or pre-recorded sounds

6. Works may not have been performed in concert before a ticket-buying public audience prior to the Festival.

7. Scores must be submitted to West Cork Music by 20 March 2018. Scores must be submitted electronically.

8. Compositions will be assessed by an adjudicator chosen by West Cork Music

9. Works will be assessed anonymously, please do not mark or sign scores.

10. Selected compositions will be announced on www.westcorkmusic.ie by 24th April 2018. Selected composers will be notified by email.

11. Winning entrants must submit instrumental parts by 2nd May 2018.

12. It is a condition of entry that composers agree to attend the workshop in Bantry on Sunday 1st July 2018 at 14.00. Prizes will be withheld in the event of non-attendance. All expenses incurred in attendance are the responsibility of the winning composers. However the Festival will provide up 3 nights accommodation for the composer.

13. West Cork Music reserves the right to alter dates and times of the workshop and subsequent performances.

Please submit entries electronically to Clodagh Whelan at: clodaghwcm[at]eircom.net
Web Site:westcorkmusic.ie/chambermusicf...

 Bridges Composition Competition
Summary:Jazz/classical fusion composition competition
Deadline: 01 February 2018
Date Posted: 15 November 2017
Details: In celebration of the 30th anniversary of RSMI, Ravinia is pleased to announce Bridges: An International Jazz and Classical Fusion Composition Competition. This fusion of jazz and classical music and will exhibit works for strings and jazz trio written by young artists, awarding winners the David Baker Prize—named for the late jazz great who served as the first director of the RSMI Jazz Program. Bridges is an exciting venture into the fusion of jazz and classical music and will exhibit works for strings and jazz trio written by young artists, awarding winners the David Baker Prize—named for the late jazz great who served as the first director of the RSMI Jazz Program.

Submissions will be judged by a blind jury comprising the directors of RSMI’s Program for Jazz: Grammy award–winning pianist Billy Childs, saxophonist Nathan Davis, and bassist Rufus Reid. Bridges winners will have their compositions performed in Ravinia’s prestigious Martin Theatre during a concert on Saturday, June 9, at 8:30 p.m.

Up to three competition winners will be selected, and each will be awarded a prize of $2,500. Entrants must be between ages 18 and 30 and must submit a new piece written for string quartet and jazz rhythm section at a length of 10 minutes. Submissions must include the full score and all instrument parts and will be accepted between November 1, 2017, and February 1, 2018. Complete instructions can be found here. If there are no submissions that meet the application or judges’ requirements, there will be no winners.

More Information:
Web Site:www.ravinia.org/page/steans

 2018 BGSU Graduate Conference in Music
Summary:Competition with 3 categories
Deadline: 01 December 2018
Date Posted: 15 November 2017
Details: Moore Musical Arts Center, Bowling Green, OH

February 9-10, 2018

Our call for works extends to all current graduate students (master’s and doctoral) from any institution. Senior undergraduates with exceptional standing are welcome to submit with the guidance of a faculty member.

IMPORTANT: If you are a current BGSU student, any scores you submit must be anonymous and should not include any information that could personally identify the composer. If any personal information (composer name, bio, logo, etc.) is found on the score, the composer will be disqualified.

Applicants may submit up to two works for consideration. Each work should be no longer than twelve minutes. The instrumentation is open to solo and chamber works of any instrumental/vocal combination and works involving electronics (up to four channels).

Each work may fit into one category:

A) Works for any instrumentation for which the composer can provide ALL of the required performers

B) Works for 1-5 performers for which the composer cannot provide ALL of the required number of performers

• Works involving flute, clarinet, saxophone, trumpet, trombone, horn, tuba, violin, viola, cello, double bass, piano, percussion and soprano are more likely to be programmed in category B.

C) Works involving electronics may use up to 4 channels.

• Works submitted in categories A and B may also involve electronics (fixed media and/or interactive). Works involving video are also permitted.

The deadline for submissions is Friday, December 1, 2017. All applicants will be notified of their status by Friday, December 15, 2017. The composer’s attendance at the conference, dress rehearsal, and paper presentations is required. Do not submit if you cannot attend the conference.

Composers interested in submitting works should fill out the Call for Works Form.

For questions regarding the submission, please email Adam Kennaugh at adamkk@bgsu.edu. Please include “BGSU Graduate Student Conference” in the subject.
Web Site:bgsumuctgraduatestudentforum.w...

 Forever Gentleman
Summary:Write music to accompany novel/film
Deadline: 28 February 2018
Date Posted: 15 November 2017
Details: Nathan’s Midnight Concerto

$10,000 in Cash Prizes
for Original Music
Compositions will be used in the e-version and future film/tv productions of the historical (1869-70) novel Forever Gentleman

Scenarios to write for:

1. Nathan’s Midnight Concerto
He sat down at his piano, savoring the wonder of creating music with his fingers—something he had never expected to do again. He flexed his fingers above the keyboard, stretching them as he readied to begin playing. Without any particular composition in mind, he began improvising a melody of triumph and liberation in the key of D Major. He imagined the sound of a trumpet heralding a great victory to a kingdom from afar, soldiers singing joyously as they returned home bloodied and wounded, having delivered their people from a great enemy and great oppression. As he replayed the theme a second time, he envisioned violins repeating the triumph an octave above, accompanied by woodwind arpeggios—the news of the great victory carried throughout the country, far and wide. He then switched to the minor harmonic and softly told the story, in music, of the dread and pessimism that had fallen over the land when the enemies had first surrounded the kingdom. In the bass register, he quietly portrayed the darkest hour when death and enslavement appeared a certainty. As the people united, the melody gradually progressed into the treble clef.
Then as the conflict began, the tempo increased mimicking the battle that ensued. Mixed within the main theme was another melody in counterpoint, telling the tragic story of fallen heroes, sacrificing their lives for the people they loved. The tempo increased to a fury, as the battle raged. In the minor key, he recreated the desperation and hopelessness of the struggle, until very briefly, it changed back into the harmonic major. A ray of hope sprung on the battlefield—a soft theme barely developed in the upper register. But the minor key continued to dominant, evoking despair and heartbreak. A small victory broke through in a major key serenade an octave lower than the first strain of the hopeful theme, this time developed longer than before. Back and forth the two harmonic keys fought, until the major key became dominant, the minor key fading and finally defeated. Then, the theme from the opening measures played as the enemies retreated. Nathan ended his composition as he had started it, but much louder, with many trumpets heralding a great victory and the people cheering.
He heard the chime of the second morning hour sound seconds after he had concluded his composition.
My Midnight Concerto, Nathan thought to himself with a smile. I shall never forget it. Someday when I open my soul and reveal everything, I shall play it for the woman I love.

2. Nathan’s Despair

As he sat at the piano, Nathan only felt darkness and doom. Almost without thinking, Nathan began playing single notes with his right hand, in the middle register of the keyboard. The simple tune evoked such sadness that Nathan felt tears welling in his eyes.
Why, dear God? Why has this curse come upon me?
He repeated the theme in thirds and then triads with his right hand. Next the left hand followed in accompaniment, painting a portrait of utter hopelessness. The slow and quiet theme continued as Nathan improvised subconsciously in a distant key. With his fingers, he then chronicled his gradual descent into darkness, reflected by the theme which became even darker, deep in the bass register of the keyboard. The theme carried no hope, only dread. There would be no moment of triumph in this composition. The left hand was now alone, first triads then thirds, then single notes, until the last sound faded away unresolved—no tonic, no super tonic. That’s how his life would someday end.
Nathan left the bench, but the hopeless theme continued in his mind, so melancholy, so heartbreakingly sad—a kindred accompaniment to his own feelings.

3. Violin Medley
(excerpts from pp. 427-428 of Forever Gentleman)
The music was as pure and as powerful as his first encounter. He recognized the piece: Mozart’s Ruhe Sanft. How was it possible that she was playing it? As a young child, he remembered his mother had often sung it to him as a lullaby when she was putting him to bed. He had never before heard the solo melody played by violin. Memories of his dear mother and the powerful love she had for him came flooding back.
Hearing the beautiful familiar melody compelled Nathan to steal a glance into the doorway of the Sun Room; he had not intended to venture so far. She was turned away from him, on the far side of the room, facing the morning sun pouring in from the window as her bow moved gracefully upon the tight strings of the violin. He remembered her well from before, when she had been dressed in white, her hair down. Today, the sun radiated through the windows, causing her profile to be darkened from Nathan’s view.
Not wanting to be seen, Nathan remained just outside the Sun Room in the hallway, where he would not intrude on her privacy. After completing Ruhe Sanft, she continued with Mendelssohn’s Elias/Elijah Soprano Aria. She is only performing soprano arias—in homage to my mother. They were all melodies he had heard his mother sing. She must know that I am here!
Nathan silently walked over to the doorway again and stared at her. He was shocked to see her face turned, looking his way contentedly as she played. She seemed to have been expecting him. Now exposed, he quietly entered the room and sat on a chair near the room’s entrance. She continued the Mendelssohn Aria, then started on Paisiello’s “Cavatina for Nina.”
When she finally lowered the bow, she walked toward Nathan with a face glowing with delight. She was wearing a light green chiffon dress, her hair up in her customary fashion, with golden plaited braids falling to her waist.

For more information:
Web Site:rolandcolton.com/violin-medley...

 Walden School Young Musicians Program
Summary:Course for Young Musicians
Deadline: None
Date Posted: 15 November 2017
Details: Quick Facts:
• 5 weeks; 3 week program is offered for students ages 9-11
• Ages 9-18 (pre-college)
• Enrollment limited to 55 students from around the world
• 18 faculty & staff (all full-time and residential)
• Limited financial aid is available
• Curriculum focuses on musicianship, improvisation, composition, choral singing, and more
• Concert series, composers forums, artist residencies
• Weekly hikes, dances and daily recreation activities

The Experience
Late on a July afternoon a group of teenagers lounges under a stately beech tree on the campus green at the Dublin School. One strums a guitar while another hunts out notes on a penny whistle. A third drums a rhythm on a nearby rock and a few others, scribbling away in their notebooks, join in with intermittent vocal harmonies. Across the grass a few younger boys toss a Frisbee, leaping and diving as the disc arcs through the cloudless blue sky.

The Walden School Young Musicians Program provides an unparalleled creative summer experience for musically inclined students ages 9 to 18. Part school, part camp, and part festival, the program convenes each summer for five weeks in Dublin, NH. Through rigorous and innovative daily instruction, students hone their musical and creative skills within a supportive community of like-minded peers and mentors.

The recital hall booms with applause and cheers of approval as a girl takes a bow after the performance of the string quartet she’s crafted all summer. She beams at the crowd and thanks the performers who made her music come to life. Stepping off of the stage, she sits down in the “hot seat” to take comments from the audience. She is proud and radiant, with a newfound confidence in her creative abilities.

Learning at Walden is grounded in the school’s unique musicianship course, which utilizes improvisation and composition as the major tools for musical growth. Students take courses covering a wide range of musical subjects, including theory, composition, literature, computer music, and chorus. By the end of the summer, each student has completed at least one composition to be performed and critiqued by guest artists, faculty members, and fellow students.

As the family car pulls away from the Dublin School on the last day of camp, the boy in the backseat says to his parents, “Well, I guess it’s time to start counting the days until Walden again.” He’s not joking- at home he keeps a special calendar to mark off the days until next summer’s session begins. Although he is sad to be leaving, he knows when he returns next June he will be reunited with some of his very best friends. He also knows that there will be new people to meet as well, people who love music and who have a deep inner need to express themselves creatively, just like him.

For more info and to apply:
Web Site:waldenschool.org/young-musicia...

 Castle of our Skins
Summary:Composer in Residence Opportunity
Deadline: 17 December 2017
Date Posted: 09 November 2017
Details: Castle of our Skins (COOS), a Boston-based concert and education series organization dedicated to celebrating Black artistry through music, is creating a composer-in-residence position for its 2018 – 2019 season. Submissions due by December 17, 2017. This opportunity is open to composers who are from African decent or belong to the African diaspora. Details below!

Fee:
There will be a $10 submission fee for this opportunity. Payment can be made by check or money order, made out to “Castle of our Skins” mailed to:

Castle of our Skins
7 Bowdoin Ave, Apt. B
Dorchester, MA 02121

Electronic payments may be remitted through Square Cash (https://cash.me/$CastleSkins) ; international transfers can be remitted through TransferWire. Please contact Castle of our Skins at castleskins [@] gmail.com to set up the transfer.
Eligibility:
- This is an international call for composers of African decent or from the African diaspora.
- Interested applicants should be no older than 40 years of age by Sunday, December 17, 2017.

Compensation value totaling $1500:
1) Title of Composer-In-Residence in COOS publicity material for the duration of the residency
2) A performance of the work(s) composed for COOS, with the resulting works in COOS music library
3) A feature on the COOS BIBA Blog and Social Media
4) Writing opportunities through COOS
5) A professional recording of the work(s) performed during the season (audio and/or video) – value of $400
6) Professional publicity shots – value of $300
7) An honorarium totaling $800

Responsibilities:
1) Compose a chamber work inspired by Black culture/history/identity for a COOS concert, with the possibility of composing 1 – 3 smaller works (arrangements, transcriptions, etc … ) as needed. Composer MUST be present at the premiere, date TBD.
2) Participate in the rehearsals for the piece(s) as requested by COOS
3) Write three BIBA Blog entries related to the COOS mission throughout the season
4) Participate in an interview with COOS Associate Artistic Director Anthony R. Green

Deadline and Timeline:
- Applications must be submitted and received (for submissions by post) before 11:59PM EST on Sunday, December 17, 2017.
- Short-listed composers will be selected for interviews starting Monday, February 12, 2018
- The successful applicant will be announced Monday, March 19, 2018
- Official season starts late August 2018

Application Materials:
1) A letter of application (as a PDF document) describing your motivation to apply to this position, any professional or personal associations with the COOS mission, highlights of past (preferably relevant) professional experiences, and any other relevant supporting text. Limit of two pages.

2) Two to four scores of past works (as PDF documents), preferably chamber music, that best represent your compositional style. At least two of the submitted scores must be accompanied by studio or live recordings of the works (mp3 files preferred). No MIDI renderings will be allowed, but 2 – 5 minute excerpts of works will be accepted in lieu of full recordings, if desired.

3) A Curriculum Vitae, including contact information (as a PDF document)

How to apply:
- Please send all application materials via e-mail to : castleskins [at] gmail.com,
​with the subject line: COOS Composer-in-Residence
- If e-mailing is not an option, please send documents to:

Castle of our Skins
7 Bowdoin Ave, Apt. B
Dorchester, MA 02121

Please keep in mind that postal submissions must be RECEIVED BY Sunday, December 17, 2017.

Questions?
Please don’t hesitate to ask! Send any inquiries to: castleskins [at] gmail.com, and please visit www.castleskins.org for more information about what we do and who we are. We are looking forward to reviewing your applications!
Web Site:www.castleskins.org/composer-i...

 Martirano Award
Summary:Works with 1–15 performers
Deadline: 16 April 2018
Date Posted: 09 November 2017
Details: The University of Illinois School of Music and Global Crossroads Living-Learning Community celebrate the 22nd Annual Salvatore Martirano Memorial Composition Award by announcing the 2018 Award Competition
About Salvatore Martirano

The 2018 Salvatore Martirano Memorial Composition Award
Eligibility: Any composer, regardless of age or nationality is eligible. Previous winners, faculty, and currently-enrolled students at the University of Illinois are ineligible for the competition.

Awards: First Prize cash award of $1000 and second prize cash award of $500 plus performances by the Illinois Modern Ensemble in the fall of 2018 on the 22nd Annual Martirano Award Concert at the Krannert Center for the Performing Arts on the campus of the University of Illinois. Additional awards and performances may be given at the discretion of the judges.

Judges: A panel of judges consisting of international composers and University of Illinois music composition faculty members will select the winning compositions. The winning composers are expected to attend the 22nd annual award concert and reception, and will be responsible for their transportation costs (the competition will provide lodging and some meals). The winning composers will assume full responsibility for providing adequate performance materials upon request.

Guidelines:
1. Medium: Full scores of any style or aesthetic direction for 1-15 performers (including vocalists) may be submitted. Works for electronics and/or mixed media (including video), with or without instruments and voices, are eligible.
2. Duration: 20 minutes maximum
3. Limit: One entry per composer
4. Entry fee: A non-refundable entry fee of twenty US dollars (20.00 USD) is paid online at the time of submission. All major credit cards are accepted.
5. Anonymous Submission: The composer's name must not appear on the score or in any accompanying materials submitted online.

Click here to submit your entry.
Entries must be submitted and paid for online by Monday, April 16, 2018 11:59PM CST (23:59 GMT-0600).

For questions please contact Prof. Emeritus Zack Browning
www.zackbrowning.com

Web Site:music.illinois.edu/martirano-a...
Email:zbrownin@illinois.edu

 Arcady Emerging Composer Competition
Summary:Voice with piano competition
Deadline: 30 January 2018
Date Posted: 09 November 2017
Details: Arcady is pleased to present the third annual Arcady Emerging Composer Competition for new works for voice and piano.

The award: The winner of Arcady’s 2018 Emerging Composer Competition will have their work premiered during the 2017/18 season by a member of Arcady’s professional chorus. They will also receive a professional quality recording of the piece and one on one sessions with esteemed Canadian composer and Arcady’s Resident Composer and Artistic Director, Ronald Beckett (in person or via Skype).

Submission criteria:
• Works must be written for solo voice accompanied by piano
• 3-5 minutes in duration
• May be secular or sacred
• Unpublished and unperformed works only
• Rights to texts must be cleared, and evidence of copyright holder’s permission provided
• Composer will retain the copyright of the piece
• Composer may submit up to two compositions
• Arcady will retain winning manuscript for future performances
• Arcady retains the right to not pick a winner if there is no suitable winner

Eligibility:
• Composers must self-identify as an emerging composer.

Submission process:
• Scores must be submitted via email to info@arcady.ca no later than January 30, 2018 (by 11:59 PM EST at the latest). The subject of the email should be “Arcady 2018 Emerging Composer Competition submission”
• Travel expenses to the premiere are the responsibility of the prize recipient (though composers attendance is not required at the premiere)
• Composer must include a biography and list of works with their submission
• The winner will be notified by March 1, 2018.

For additional information contact: info@arcady.ca

Deadline: 30 January 2018, 11:59 PM EST

Application Form: Arcady 2018 Emerging Composer Competition Application Form
Guidelines: Arcady 2018 Emerging Composer Competition Guidelines

There is no fee to enter the competition, but applicants may make a donation to the non-profit organization to support the competition if they wish.
Web Site:arcady.ca/training/composition...

 Prix Annelie de Man
Summary:Works that contain harpsichord call
Deadline: 01 January 2018
Date Posted: 09 November 2017
Details: Rules for Composers

Application deadline: 01 January 2018

There is no age limit and no entrance fee. The competition is for composers from all nationalities.
In the composition the harpsichord should have the principal role. The duration should not exceed 10 minutes.

Prizes
1st prize composers competition: € 2500 2nd prize composers competition: € 1000 Black Pencil prize: t.b.a.
Audience prize: t.b.a.

Additional prizes will be considered

Setting
Harpsichord in chamber music settings is the preferred instrumentation. However, solo harpsichord pieces will be also considered.

We encourage the combination of harpsichord with the instruments available in the Orgelpark, please see: www.orgelpark.nl.

We encourage composers to use the instruments of the Black Pencil ensemble for their harpsichord compositions: recorder (blockflute), panflute, viola, accordion and percussion. Please see www.instrumentalways.com

The harpsichord may be combined with other instruments, electronics, video and/or theatrical elements. The Annelie de Man Foundation will guarantee a live performance with an ensemble not exceeding more than 6 musicians (harpsichordist included).

Black Pencil – Ensemble in Residence

Black Pencil will be ensemble in residence in the 2018 edition of the Prix. It means that you can count on the expertise of the virtuoso members of Black Pencil for writing new compositions, making use of the instrumentation of the ensemble.

Jorge Isaac – Recorder (blockflute), Artistic Director Matthijs Koene – Panflute
Esra Pehlivanli – Viola
Marko Kassl – Accordion

Enric Monfort – Percussion
Please check www.BlackPencil.org

The Black Pencil Prize will be awarded to new compositions making use of the full instrumentation of the ensemble together with harpsichord.

Application

Candidates should supply:
- A biography (in English) and recent photo of the composer
- The score of the piece, together with the necessary performance instructions - If possible a recording (aiff, wav or mp3 format), or a video file from a live performance. Midi is also accepted
- Use your real name (pseudonym is not needed)
- A composer can submit more than one composition

Please send your entry to: prix@admf.nl. Your entry must be both in: - Pdf
- Mp3

Jury

Guus Janssen (http://www.guusjanssen.com) Wim Hendrickx (http://www.wimhenderickx.com) Roderik de Man (http://www.roderikdeman.com) and an organist to be selected by the Orgelpark

The jury will choose 3 works to be performed from which the winning composition will be selected. We reserve the right to make necessary changes.

Please understand that the PRIX receives many applications. Send the information about the compositions as clearly as possible. Thank you!
Web Site:www.admf.nl/NL/competition.htm...

 Toronto Symphony Orchestra Reading Session
Summary:Chance to have orchestral score played
Deadline: 16 February 2018
Date Posted: 09 November 2017
Details: The Toronto Symphony Orchestra, in collaboration with the Canadian Music Centre, is pleased to offer a reading session for Canadian composers. The purpose of the session is to offer composers an opportunity to hear their works rehearsed in a professional orchestral setting, while gaining experience working alongside a professional organization. Participants will receive feedback from Composer Advisor Gary Kulesha, and will have an opportunity to engage in constructive dialogue with members of the orchestra, the Principal Librarian, and the RBC Affiliate Composer.

Reading Session Details:
Date: Saturday, April 28, 2018
Time: 10:00am–1:30pm
Location: Roy Thomson Hall, 60 Simcoe Street, Toronto

Eligibility:
• Open to all Canadian composers, with no age restrictions.
• Each composer may submit one work for consideration.
• Works must not have been commissioned by a professional orchestra. Previously performed works are eligible. Unperformed (or underperformed) works are encouraged.
• There is no duration limit, though shorter works (under eight minutes) are encouraged. An excerpt or movement from a longer work may also be considered.
• Submissions should not exceed the following instrumentation: 3333|4431|timp + 3|hp|kybd|strings. Works requiring vocals or electronics are not eligible. Concertos are not eligible.
• The chosen composers are expected to attend reading session activities (details below). If a selected composer is unable to attend the reading, another work will be chosen.

Submission Guidelines:
Composers are required to submit electronically. Please use the online submission form to provide the following:

• Orchestral score (PDF)
o Compositions should be submitted anonymously, with a pseudonym on the score. The composer’s name, contact information, and address will be submitted through independent fields in the online form that will not be forwarded to the jury.
• Audio recording (mp3), if available, of the submitted work. Audio files will be uploaded through the online form. MIDI realizations are acceptable.

DEADLINE: Friday, February 16, 2018
The online form will be closed at midnight (12:00am EST) on Saturday, February 17.

Selection Process:
• A maximum of four composers will be selected to participate in the reading session. The scores will be chosen by a jury consisting of a representative musician from the orchestra, RBC Affiliate Composer Jordan Pal, and an external composer (TBD) chosen in consultation with the Canadian Music Centre.
• Successful applicants will be contacted within two weeks of the submission deadline.

Preparation of Score and Parts for Reading Session:
• Successful applicants will have the opportunity to meet with TSO Principal Librarian Gary Corrin, and RBC Affiliate Composer Jordan Pal at the TSO library on February 27, 2018 (details below; time TBC). There will be an opportunity to review formatting details before the parts are extracted and printed by the composer (details to follow). A list of requirements will be provided to the composer in preparation for the March 21, 2018 score and parts deadline.
• The successful applicant must be able to deliver printed parts and two large format conductor scores by March 21, 2018. Parts and scores should meet all professional standards as outlined.

Summary of Activities:

Library Session: In advance of the reading session, there will be a library session led by TSO Librarian Gary Corrin. The session will cover part preparation techniques in advance of the composer’s own extraction and printing of his/her parts for the reading session. Although attendance is encouraged, teleconferencing options will be made available for composers residing outside Toronto who are unable to attend the library session.

Reading Session: The reading session will take place on Saturday April 28, 2018, at Roy Thomson Hall, from 10:00am to 12:30pm. All composers must be able to attend in person. The reading session will be followed by two feedback sessions: 1) with Composer Advisor Gary Kulesha and RBC Affiliate Composer Jordan Pal, and 2) with representative musicians from the orchestra’s woodwind, brass, percussion, and string sections. The TSO’s and CMC’s social media channels will be used to promote the participating composers.

All inquiries should be sent to:
Susana Almeida
416.593.7769 X 263
salmeida@TSO.CA

Web Site:www.tso.ca/orchestra/call-scor...

 CONNECTICUT SUMMERFEST
Summary:Composition programme
Deadline: 05 January 2018
Date Posted: 09 November 2017
Details: Festival Composers will receive:
-Live and live-streamed premiere of newly composed work by one of three professional ensembles-in-residence
-High-quality, mastered audio of newly composed work in studio recording session
-Concert video recording from live premiere, featured on our YouTube channel
-Lessons with our world-class composition faculty members
-Dedicated rehearsal time with our ensembles-in-residence
-Attendance of guest lectures with leading music specialists
-Housing and meals for the duration of the festival

Applicants to Connecticut Summerfest's Composition Program will be asked to submit two (2) representative scores and recordings, which are to be no longer than 15 minutes in combined duration. Acoustic and electronic/electroacoustic submissions will be accepted for adjudication. Because this is a blind application, submitted scores and recordings must not include the composer's name, geographic location, or any information about commissioning parties. Submitted scores and recordings must not only omit this information in text on the score, it also must be omitted from file names and metadata. Failure to omit this information will lead to disqualification of application. Only audio files may be submitted-- video files will not be accepted. Applicants must be at least 18 years of age on or before June 14, 2018.

Composers accepted to the program will be asked to compose a new work for one of our ensembles-in-residence to be rehearsed, premiered live, and performed in a recording session during the festival! The composer may choose to compose either an acoustic or electroacoustic work, as the festival will have access to a stereo sound system. Any additional equipment, software, or personnel the piece would need must be provided by the composer. Invited composers will have four private lessons, one with each of our Composition Faculty, and will be asked to give a presentation of their music at one of the daily composition seminars.

Application Timeline
Early Bird Application: $30 before 11:59PM EST on Friday December 1, 2017; or
Final Deadline Application: $45 before 11:59PM EST on Friday January 5, 2018.
This application fee is non-refundable.

The tuition for those accepted is $1795, which includes lodging and meals for the duration of the festival. A non-refundable deposit of $350 is to be submitted within 10 days of acceptance to confirm a position on our roster.

We are thrilled to be offering three scholarships to 2018 festival composers: the Women Composers Scholarship, Composers of Color Scholarship, and the Long Distance Travel Scholarship. If you would like to be considered for these scholarships, please check the appropriate boxes on your application form.

The final round application adjudicators for Connecticut Summerfest's 2018 Season are Dr. Kenneth Fuchs and Dr. Dan Román.

Please note: all $ amounts are displayed in U.S. Dollars (USD)

Web Site:ctsummerfest.org/#apply

 Vienna Summer Music Festival Composers Forum
Summary:Chamber Call
Deadline: 15 March 2018
Date Posted: 09 November 2017
Details: The Vienna Summer Music Festival Composers Forum provides developing and emerging composers the chance to develop their compositional skills, and have their music premiered and recorded in Vienna.

Composition students will have the opportunity to bring their in progress compositions for chamber orchestra and mixed chamber ensembles, for further workshopping and development by the Composers Forum faculty. Composition students will take private composition lessons with Viennese composers, attend lectures on contemporary music and advanced theory topics, and will have the opportunity to have their original works coached, and ultimately performed in the culminating Vienna Summer Music Festival Contemporary Music Concert.
Composers will have their pieces performed by PHACE, a professional contemporary music ensemble residing in Vienna. Participants can write for any combination of instruments including: Flute, Clarinet, Violin, Viola, Cello, Bass, and Piano.

Students who have works for other instrumentations including voice will be considered for performance and should contact us at info@viennasummermusic.com.

At the end of the festival, there will be the VSMF: Contemporary Music Concert where all Composer Forum participants will receive a performance of their works.
Web Site:www.viennasummermusic.com/comp...

 IvanJuritzPrize
Summary:Prize with residency opportunity
Deadline: 30 March 2018
Date Posted: 09 November 2017
Details: Postgraduate students from throughout Europe are invited to submit works in any artistic medium that play with form to make us think, feel and question.

The winner will receive £1000 and two weeks artist’s residency and a showcase at Cove Park.

The prize is hosted by the Centre for Modern Literature and Culture at King’s College London and Cove Park, Scotland’s International Artist Residency Centre. The 2018 prize is judged by Rachel Cusk, Jeremy Harding, Gillian Wearing and Ryan Wigglesworth.

Rules and Entry
Entrants must be postgraduate students currently enrolled on a course or programme of study in an EU country.

Entries must be accompanied by a statement (up to 150 words).

Entrants are welcome to submit their work to multiple categories. If you chose to do this, please give the titles of all submissions clearly in your statements.

The winners will be both of their time and aware of debts to the past. Pound, calling on the modern artist to ‘make it new’, was, after all, creatively translating the ancient Chinese King Cheng Tang. In the accompanying 150 word statement you should analyse the role of experiment in your work and, if appropriate, relate your work, whether sympathetically or antagonistically, to the creative experimentation of the modernist era.

Web Site:www.ivanjuritzprize.co.uk/rule...

 New Music for Young Musicians Composer Competition
Summary:Youth Orchestra Composition Competition
Deadline: 08 January 2018
Date Posted: 02 November 2017
Details: 2018 Categories
Youth Symphony Gr. 2.5 - 3
Postmark Deadline is January 8, 2018
James Madison University’s School of Music has a long history of reaching out to young musicians and fostering the early careers of emerging musical artists. New Music for Young Musicians Composer Competition combines JMU’s strong legacy of producing talented and creative educators and aspirations to engage and support emerging voices in writing music for young musicians. The James Madison University New Music for Young Musicians Composer Competition recognizes and encourages young composers 28 years of age and younger to compose music for younger ensembles in middle school through high school.

Five finalists will be chosen by a panel of composers and directors. Finalists will also have their scores bound and deposited in the JMU Music Library Special Collections and will receive a second similarly bound copy for their own collections.

In addition to a premiere performance recorded by an age-appropriate ensemble from within several highly recognized programs in the Commonwealth, First Place composer will be eligible for a travel stipend to work with the premiering director and ensemble. During the preparation period, winners will have the opportunity to interact with the director of the ensemble to refine their piece and will have access to a professional music editor to assist in the preparation of their score and parts, if needed.

Rules and Eligibility
• Applicants must be no more than 28 years old as of the postmark deadline. The postmark deadline is usually in early January and applications are normally available the preceding October.
• Only U.S. citizens, permanent residents, and foreign students currently enrolled at U.S. schools may apply.
• Winner will be required to furnish proof of age (driver’s license, birth certificate, etc.).
• Composers may submit only one composition.
• Previous winners are not eligible.
• Works that have been previously performed more than once are not eligible.
• Works which have previously earned awards or prizes in any other national competition are not eligible.
• Rights to text must be cleared and evidence of copyright holder's permission must be shown OR text must be in the public domain (see below).
• All works entered must be the applicant’s own unpublished original compositions. Arrangements are permitted provided they are of works in the public domain or are of other works of which the applicant is the sole copyright owner. Applicants who are unsure of whether a work is in the public domain are advised to consult a book such as The Public Domain or to use informative websites such as Cornell’s Copyright Term and the Public Domain http://copyright.cornell.edu/resources/publicdomain.cfm
• Winning composers will be required to add the following dedication to their score if published:
Winner of the [Year] James Madison University New Music for Young Musicians Composer Competition and premiered by [Ensemble] directed by [Director Name]

How To Apply
Send materials electronically or via mail.
• To send electronically via email:
Send pdf of score, audio file (mp3 only) from the music writing program or previous performance, and completed entry form to briancckbrn@jmu.edu by the postmark date.
• To send through mail:
Send a copy of score, audio file on a CD, and completed entry form to:
New Music for Young Musicians Composer Competition
c/o Brian Cockburn
James Madison University
School of Music
880 South Main St. MSC 7301
Harrisonburg, VA 22807

• The Score: Email a pdf file; or, if your entry is mailed, an unbound paper score, 8 1/2” x 11”. The composer's name or other identifying information must not appear anywhere on the score.
• The Audio Recording: Audio recording may be either derived from the music writing program or from the previous performance. Email your audio recording as an MP3 file or mail it on a CD.

Composition Requirements
• Youth Orchestra with parts for: 2 flutes, 1 oboe, 3 clarinets, 1 bassoon, 2 F-horns, 2 tpts, 2 trombones, 1 tuba, strings (violin 1, violin 2, viola, violoncello, double bass) and 2 percussionists
• Brass Parts (2 F-horns, 2 tpts, 2 trombones, and 1 tuba) MUST be optional - doubled or cued in other parts
• Recommended duration 3 - 8 minutes
• Works of all styles and genres are encouraged
• Original works or arrangements acceptable
• Rights to any text must be cleared, and evidence of copyright holder’s permission must be shown OR text must be in the public domain (see below)
• All works entered must be the applicant’s own unpublished original compositions. Arrangements are permitted provided they are of works in the public domain or are of other works of which the applicant is the sole copyright owner. Applicants who are unsure of whether a work is in the public domain are advised to consult a book such as The Public Domain or to use informative websites such as Cornell’s Copyright Term and the Public Domain http://copyright.cornell.edu/resources/publicdomain.cfm
• Difficulty: Grade 2.5 - 3, playable by second to third year youth orchestras. Ranges should be consistent with the ability of middle school students. Lists of representative pieces can be viewed at FJH Music Company (http://www.fjhmusic.com/strings/full_orch.htm)
• Any questions about the requirements should be directed to Brian Cockburn, at 540.568.6978 or briancckbrn@jmu.edu

Adjudication
• The decision of the judges is final.
• The judges reserve the right to award ties, to revise number of finalists, and to make no award.

Web Site:www.jmu.edu/music/areas/new-mu...

 CoMA MidWinter Composers Course 2018
Summary:Composers' Course
Deadline: None
Date Posted: 02 November 2017
Details: Treat yourself to a gigantic creative boost with this intensive five-day course with a track record for taking composers onto an entirely new level, giving them the technical capacity and confidence to realise more ambitious musical ideas and projects.

This year’s composer tutor Andrew Toovey offers a friendly and supportive approach that nevertheless is challenging and deeply instructive. With a focus on string writing, composers are required to write for amateur strings as well as a professional string trio including Robin Michael , Ruth Gibson. One session each day is dedicated to writing as a composers’ ensemble.

CoMA composition course participants have variously described the course as providing an ‘amazing time’, offering ‘great feedback’ and ‘unique opportunities for collaboration’, and as an ‘inspiring’ way to kick off the New Year. Past composition tutors have included Tansy Davies, Gerald Barry, Sally Beamish and Philip Cashian and Alasdair Nicholson.

There are a few bursaries for full time students.

Full details at www.coma.org/midwintercomposers or email info@coma.org
Web Site:www.coma.org/midwintercomposer...
Email:info@coma.org

 WOLF DURMASHKIN COMPOSITION AWARD
Summary:Chamber ensemble with voice competition
Deadline: 10 January 2018
Date Posted: 02 November 2017
Details: LEADING IDEA, NAMESHIP AND HISTORICAL BACKGROUND

Wolf Durmashkin came from a Jewish-Polish musician family from today’s Vilnius in Lithuania. The music of Mozart, Beethoven, Chopin, Grieg or Tchaikovsky was cultivated in his family.

Wolf Durmashkin conducted the Vilnius Symphony Orchestra, was a choirdirector, and also composed.

After the German occupation in 1941 his activities were limited to ghettos and concentration camps. He was separated from the family and died in 1944 one day before the liberation by the Red Army in an Estonian concentration camp, which had been set on fire by the SS.

The sisters of Wolf Durmashkin Henia (singer) and Fania (pianist) were deported to the Dachau-satellite-concentration camps of Kaufering/Landsberg. In April 1945, when the US Army was advancing, they were sent to the so-called “death march of Dachau».

Just four weeks later, a concert took place with other survivors of the Holocaust. It took place in the Monastery of St Ottilien (which had become a Hospital for Displaced Persons). After the founding of the state of Israel in May 1948 and after the emigration of some musicians to America, this extraordinary orchestra was disbanded.

In the Landsberger DP camp on May 10th 1948 the Orchestra, now named “Orchestra Szeerit Hapleitah” (Orchestra of Last Survivors) gave a concert which was a symbolic and significant event, but is almost unknown in the present.

The concert was directed at the expresed wish of the young and aspiring Leonard Bernstein. This event simultaneously symbolizes a historical turning point: the simultaneous end and beginning, desperation and hope, fight and spiritual resistance.

In Landsberg Adolf Hitler had announced the extermination of the Jews during his fortress in the book «Mein Kampf».
In Landsberg am Lech, the Nazis had built the largest sub-camp complex in the final phase of the Third Reich. After 1945, also in Landsberg, one of the largest DP camps in the American zone had been erected.

May 10th 2018, marks the 70th anniversary of the concert along with the establishment of the independent State of Israel ((14th of May 1948).
It is with this historical background we call upon young people to consider; the circumstances, moods, feelings, defeats, fighting, and also the rebellion as a framework in their compositions.

To this end, different materials are available to become familiar with these historically unique events and to develop personal experience and interpretation.

PARTICIPANTS

As public competition composers of all nationalities, up to 35 years of age (Deadline January 10th 2018) may participate.

CONDITIONS OF PARTICIPATION

We offer independent creative freedom in all other areas. From the multi-faceted historical subject only the following guidelines for instrumentation and occupation should be considered.

COMPOSITIONS FOR THE FOLLOWING CATEGORIES AND CASTING

Category: Vocal and Instrumental
Cast: Up to five musicians

INSTRUMENTATION

Compositions are permitted only with the following instruments and musicians, which can be staged without technical / electronic aids:

Solo use of
Vocal (Tenor, Soprano),
Accordion,
String instruments (max. 2 x Violin, 1 x Viola, 1 x Cello, 1 x Bass),
Percussion,
Clarinet,
Horn and Trumpet.

TEXT MATERIAL FOR COMPOSITIONS

From the historical and biographical material, poems, songs or texts are made available. These texts can be edited and used as desired.

TEXT OF “THE INTERNATIONAL”

An inmate of the concentration camp describes the emotional significance of “The International” (text Eugène Pottier, melody by the Belgian Pierre Degeyter) for the inmates who sang them simultaneously in their own languages.
It became a secret camp anthem so to speak.

Therefore, this text can also be used as the basis for compositions or editing.

All texts and information are available for download on the website.

ADDITIONAL CONDITIONS

• One composition per participant can be sent
• The performance may be up to max. 10 minutes
• The works submitted must be compiled for this competition and may not have been published or awarded in any form (performance, online, video or recordings).

An introduction to the DP orchestra, Wolf Durmashkin and the situation in the concentration camps in the Landsberg am Lech region is available as an introduction to the subject and background.
You can find them at the following Link: www.wdc-award.org

Web Site:wdc-award.org/en/competition-c...

 Franco Donatoni’ International Meeting for Young Composers
Summary:5–12 player competition
Deadline: 10 January 2018
Date Posted: 02 November 2017
Details: Fifth edition
Application deadline 10th January 2018
Jury members: Franck Bedrossian, Sandro Gorli, Mauro Lanza, Fabien Lévy and Gabriele Manca
Information: InternationalMeetingFrancoDonatoni2018

IDEA International Divertimento Ensemble Academy and its artistic director, Sandro Gorli, are pleased to announce the fifth edition of the competition ‘Franco Donatoni’ International Meeting for Young Composers.
Composers of any nationality, born after 1st January 1982, are eligible to participate in the selection by submitting one (or more) composition(s) for an instrumental ensemble of between 5 and 12 performers within 10th January 2018.
An international jury will select by 15th February 2018 three compositions that will be performed by Divertimento Ensemble in Milan on 29th March within the 2018 Rondò concert season.
The three selected composers will then be asked to write a new composition for soprano, baritono and ensemble, whose duration must be between 8 and 12 minutes; the three new compositions will be performed during the 2019 Rondò concert season, on the occasion of the fifth edition of the ‘Franco Donatoni’ International Meeting for Young Composers. The selected composers (who will have delivered score and parts within the deadline foreseen by the rules) will take part in the rehearsals in Milan and will work in close contact with the musicians of the ensemble and the singers.

RULES
1.
Composers of any nationality, born after 1st January 1982, are eligible to participate in the selection to take part in the ‘Franco Donatoni’ International Meeting for Young Composers. Each applicant may submit one (or more) composition(s) for an instrumental ensemble of between 5 and 12 performers.
2.
All applicants should submit by 10th January 2018 the following online form for each score submitted:
http://idea.divertimentoensemble.it/application-form-franco-donatoni-international-meeting-2018/
In the enrollment form you’ll be asked to attach:
– the score/scores;
– a copy of an ID document.
After filling out the form, you will be addressed to the PayPal page to pay the enrollment fee of € 30 for each score submitted (this fee will only be reimbursed in case the ‘International Meeting’ is cancelled).
Should the PayPal payment not be possible, you may proceed to bank transfer as follows:
Banca Prossima, bank account in the name of Divertimento Ensemble,
IBAN IT70P0335901600100000101448
showing as payment reason First Name, Surname, Internation Meeting ‘Franco Donatoni’.
You’ll then be asked to send copy of the money transfer to idea@divertimentoensemble.it.
3.
Original scores as well as scores that have already been published and/or performed are both eligible for submission. They should not be anonymous. If possible, they should be accompanied with a recording of the performance.
4.
An international jury of five composers (Franck Bedrossian, Sandro Gorli, Mauro Lanza, Fabien Lévy and Gabriele Manca) will select by 15th February 2018 three composers who will be invited to take part in the International Meeting. The selected composers will be personally informed, and the selection will also be announced on IDEA’s website by 16th February 2018.
5.
The three chosen scores will be performed during Divertimento Ensemble’s 2018 Rondò concert season on March 29th, in Milan.
6. Each of the three selected composers will furthermore be invited to write a 8-12 minutes composition for soprano, baritono and ensemble with words by the Italian poet and writer Pier Paolo Pasolini. The score and the parts must be delivered by 31st December 2018.
7.
The three new works will be performed by Divertimento Ensemble in 2019 in Milan, on the occasion of the fifth edition of the ‘Franco Donatoni’ International Meeting for Young Composers, within Divertimento Ensemble’s 2019 Rondò concert season.
8.
The three selected composers will take part in the rehearsals of their new composition, working in close contact with musicians and singers. Each composer will be entitled to a reimbursement of Euro 1,000 gross, for travel, board and lodging expenses incurred.
9.
Each applicant, by submitting his/her application to participate in the International Meeting, agrees unconditionally to be bound by these rules.

For further information:
IDEA International Divertimento Ensemble Academy
idea@divertimentoensemble.it
phone +39 02 49434973
mob. +39 338 2225014
Web Site:idea.divertimentoensemble.it/f...

 International Choral Composition Competition Japan 2018
Summary:International Choir Competition
Deadline: 31 March 2018
Date Posted: 02 November 2017
Details: 【Purpose】
The International Choral Organization of Tokyo announces the International Choral Composition Competition Japan 2018 (ICCC Japan 2018), the aim of which is to promote choral music through the creation of new and innovative choral repertoire.

【Qualification】
Participation is open to composers of any nationality and any age, whether professional or amateur.

【Jury Members】
The jury will be consisted by the members below:
Chief Jury: John August Pamintuan (PH)
Jury: Ēriks Ešenvalds (LV), Stephen Leek (AU), Paweł Łukaszewski (PL), Teruaki Suzuki (JP)

The Artistic Committee will support the juries.
Artistic Director: Ko Matsushita (JP)

【Judgement Criteria】
The judgement process is based on the assessment of the submitted music score.

【Award / Commendation】
The composer of the winning work will receive a prize of 100,000 Japanese Yen and a diploma. The composer of the works in 2nd and 3rd place will receive a diploma. The winning work will be published by Pana Musica Co., Ltd. Following recommendation by the jury, there may be a possibility that the work in 2nd and 3rd place would also be published. From these award winning works, the set piece of the 2nd Tokyo International Choir Competition (to be held in 2019) will be selected.

【Application Rule】
The ICCC Japan 2018 is dedicated to choral compositions defined, written and stated as below:

・ SATB a capella, basically each voice must not be divided, except when fulfilling the condition as follows: a maximum of two division per one voice, and the length of the divided section being around 10 % of the whole work. No accompaniment including percussion and bodywork is allowed.
・ The work must stand on its own and should not be in the form of a suite, i.e. consisted of multiple pieces.
・ Duration: 2 to 3 minutes.
・ Text: Latin and English (or mixed Latin & English) only, contents may be either sacred or profane. If the text is not in public domain, a written statement by the author or copyright holder for the use of the text must be attached to the entry e-mail.

【Application Format】
・ State the performance duration on the top of the 1st page of the score.
・ Format: PDF, made from Finale, Sibelius, or a similar scorewriting program.
・ If possible, attach the MP3 audio file extracted from the scorewriting program when submitting the work.
・ Do not state the composer’s name anywhere on the score. If there is an author of the text, the name of the author shall be clearly stated. The original Latin text and its English or Japanese translation should be attached to the score.

【Application Deadline】
All entries must be sent by 23:59 31st March 2018 GMT (16:59 31st March Pacific Daylight Time, 19:59 31st March Eastern Daylight Time, 00:59 1st April British Summer Time, 01:59 1st April Central Europe Summer Time, 08:59 1st April Japanese Standard Time).

【Application Process】
・ Participation to the ICCC Japan 2018 will be finalized by filling the web entry form, submitting the composed work and other documents (as applicable) to the administrative office by e-mail, and paying the participation fee.
・ All materials are to be sent by e-mail to apply@icccj.org. Other methods of application are basically not applicable. If other methods are preferred, please contact the administrative office.

【Application Fee / Payment】
Entry fee is 5,000 Japanese Yen per composition.
Please make the payment via Paypal in the currency of Japanese Yen within 3 days of submitting the work. There is a link on the ICCC Japan website to make this payment, otherwise please make payment to info@koyukai.info. Please notify the administrative office (info@icccj.org) if payment via Paypal is not possible.

【Timetable】
The initial judgment will be done by mid-May 2018. The title of the qualifying compositions of the initial judgment will be published on the ICCC Japan website. The final judgment will follow, and the 1st, 2nd and 3rd award winning works along with the work to be published will be determined around mid-June 2018. There will be no public announcement of the results until as stated below, however the award winners will be individually notified via e-mail.

【Announcement of Award Winners】
The results will be announced during the 14th Karuizawa International Choral Festival. Announcement is to be held on 26th August 2018 at Karuizawa Ohga Hall. Exact date and time will be announced on the ICCC Japan website or Facebook page.

【Privilege for Award Winners】
The premiere performance of the awarded works will be made by The Metropolitan Chorus of Tokyo, conducted by Ko Matsushita. The announcement and performance will be web broadcasted worldwide via YouTube LIVE.

【Important Notes before Submission】
・ The work must not been performed, awarded nor published before. A declaration that the work fulfills this condition (any format is allowed) must be submitted.
・ A participant can apply as many works as wanted. One entry form for each work must be filled.
・ Upon the awarded works that will be published, the copyright and publishing rights belong to Pana Musica Co., Ltd.
・ Participation in the competition implies full knowledge and acceptance of these regulations.
・ The jury’s decision is final.
・ For works selected as a set piece of the 2nd Tokyo International Choir Competition, its composer must arrange the work for TTBB, SSA (or SSAA).


【Documents Required for Submission】 * submit to apply@icccj.org before the deadline

1. Composed work (which clearly state the performance time and does not state the name of the composer, in PDF format)

2. Original text and the English or Japanese translation of the text (no format restrictions)

3. Declaration that the work has not been performed, awarded nor published before (no format restrictions)

4. Permission from the text author if the text is not in public domain (no format restrictions)


【Point of Contact】
The International Choral Organization of Tokyo
2-29-12 B1F, Kinugaoka, Hachioji-city, Tokyo 192-0912, JAPAN
Email: info@icccj.org
Tel: +81-42-689-5641
Web Site:icccj.org

 Civitasolis Reed Quintet Composition Contest
Summary:Reed quintet competition
Deadline: 01 February 2018
Date Posted: 26 October 2017
Details: What:The Civitasolis Reed Quintet, comprised of graduate students at Florida State University, is hosting a composition contest for new pieces for reed quintet.

How to Apply: Submit an original piece for reed quintet (oboe, clarinet, saxophone, bass clarinet, bassoon), no more than eight minutes in length. Doubling/auxiliary instruments are acceptable, as long as they are in the same instrumental families (i.e. b-flat clarinet/e-flat clarinet, alto sax/soprano sax, etc.). Submission pieces should not have been performed or published prior to the competition deadline.

Submissions will be accepted through our website civitasolisquintet.com until 11:59pm on February 1st. Late submissions will not be accepted.

Prizes: 1st Prize: $200 and a recording and live performance of your piece.
2nd Prize: $100 and a recording and potential live performance of your piece.
*Honorable Mention: Recording of your piece.

Winners will be announced no later than March 1st.

By submitting your piece for consideration, Civitasolis Reed Quintet will have exclusive performance rights for four months. In addition, the winning pieces will be granted performance rights to Civitasolis Reed Quintet.

Feel free to email us at civitasolisquintet@gmail.com with any further questions. A full list of rules and regulations is available on our website civitasolisquintet.com.
Web Site:www.civitasolisquintet.com/com...

 2018 Matt Withers Australian Music Composition Competition
Summary:Competition with 2 categories
Deadline: 20 April 2018
Date Posted: 26 October 2017
Details: I'm proud to announce the expansion and launch of the next Matt Withers Australian Music Composition Competition. Collaborating with the illustrious Acacia Quartet, entries are now open with huge prizes on offer as we help generate the best in new Australian music for the much-loved medium of guitar and string quartet.

Huge prizes for this national competition.
Applicants of all ages are invited to submit an original musical composition based on the set of inspiration artworks Stormy Seashore by Sue Needham for the quintet ensemble of string quartet and classical guitar for a chance to share in:

-$3,250 in cash prizes.
-Works performed around the country by Acacia Quartet and Matt Withers.
-A studio recording licenced for release and digital distribution through ABC Classics.
-Emerging Composer (U25) award
Web Site:mailchi.mp/dfdcc895cc23/austra...

 Graeme Miles Bursary
Summary:Bursary Opportunity-short deadline!
Deadline: None
Date Posted: 26 October 2017
Details: The Graeme Miles Bursary is open to artists or groups based in the North East of England. The aim is to fund an important development opportunity, project or programme of activity that will have a lasting impact on their career. The £1,200 award is made annually to celebrate the life of Middlesbrough’s Graeme Miles who died in 2013.

A contemporary of Ewan MacColl, Miles wrote his first song, Sea Coal about Hartlepool, at the age of 14, and after hearing the traditional songs of Tyneside, set himself a 20-year task to create a collection for his adopted native Teesside.

The memorial bursary, which is funded and administered by The English Folk Dance and Song Society (EFDSS) and funded by The Unthanks through fundraising concerts, is now in its 3rd year running and will continue to organise events to fund future awards.

The Graeme Miles Bursary scheme is open to any folk artists or groups, aged 18 to 25, in the North East of England, which includes Northumberland, County Durham, Tyne and Wear, and the Tees Valley. The bursary is to fund a significant development opportunity, project or programme of activity that could have a lasting impact on their career.

The inaugural winner was Joe Hammill from Thornaby on Tees. The singer songwriter, who fronts the band Cattle & Cane, invested the award in home studio equipment to record his own music. The 2016 recipient was the Rachel Hamer Band, a Newcastle folk band with strong links to Teesside.

The selection panel includes Adrian McNally and Rachel Unthank from The Unthanks.

Application Criteria

1. Artist(s) must be based or have strong links to the North East of England.
2. Individual musicians (including composers) and duos/trios/bands in the early stages of their career and/or final stages of advanced musical training.
3. Artists must have a genuine desire and commitment to building a professional career in folk music.
4. Artists should be able to demonstrate the talent, potential and enthusiasm to make folk music your profession.
5. The funded activity needs to be completed by 30 November 2018.

Timing and deadlines
Closing date for applications Midnight on Sunday 29 October 2017
Bursary Announcement December 2017
Web Site:www.efdss.org/efdss-artists-de...

 Suzanne and Lee Ettelson Composer’s Award
Summary:1-5 performers call
Deadline: 15 January 2018
Date Posted: 26 October 2017
Details: An award of $1,000 will be given for a new chamber work. The winning work will be performed during Composers, Inc.’s 2018-19 concert season in Berkeley. Award winners are expected to attend performances. Composers, Inc. will provide lodging. Works not awarded prizes will also be considered for programming.

Eligibility

All composers who are citizens or permanent residents of the United States are eligible to enter. Previous winners of this award are ineligible. Musical works requiring one to five performers are eligible, as are works employing electronic media (including tape alone). Composers may submit more than one work.

Preparing Your Entry

Submit an ANONYMOUS pdf and streaming audio link of each score on the submission form. The submitted pdf’s and audio links must be free of names and identifying marks (including composer, dedicatee, performer, and publisher names). A non-refundable entry fee of $25 USD for one work and $20 USD for each additional work is due on submission. Please proceed to ONLINE INSTRUCTIONS below.

Judging

The judges are the artistic directors of Composers, Inc.: Robert Greenberg, Ursula Kwong-Brown, Emma Logan, Frank La Rocca, Ryan Rey, Allen Shearer, and Nick Vasallo.

Deadline

Entries must be completed by January 15, 2018. The winner will be announced in March, 2018. You may reach us by e-mail at: mail@composersinc.org if you have any questions.

Composers, Inc. reserves the right to use the concert recordings of Award recipients for promotional use.
Web Site:composersinc.org/?page_id=29

 2nd INTERNATIONAL COMPOSITION COMPETITION 2018
Summary:Chamber composition competition
Deadline: 21 March 2018
Date Posted: 26 October 2017
Details: Art.1

The Cultural Association Polifonie announces 2nd International Composition Competition “Appassionato Ensemble” for the year 2018.


Art.2

The competition is open to Italian and foreign composers of any nationality with no restriction on age.
Each composer can participate with more than one piece by enrolling each composition separately and by sending each composition in separate envelope.


Art.3

The scores must be composed for the following organic (whole organic or any combination from 1 to 5 performers):

Flute (Flute, Alto G Flute, Bass Flute, Piccolo)
Clarinet (Bb Clarinet, A Clarinet, Eb Clarinet, Bb Bass Clarinet)
Violin
Cello
Piano
The composition must have a minimum duration of 7’ and max 15’.
The composition, furthermore, must not have been published, performed in public or been awarded prizes in other contests before.


Art.4

The application fee is € 35,00 for the first score and € 20,00 for any following ones by the same author.

The payment must be made by bank transfer to the:
Associazione Culturale Polifonie
Banca Prossima – filiale di Milano, p.zza Paolo Ferrari 10 – 20121 (MI)
IBAN: IT68J0335901600100000069721 – BIC: BCITITMX
and specifying the reason for the transfer as:
Application for the International Composing Competition.

or with PayPal

The application fee will not be refundable, except in the case of cancellation of the Contest.
Applicants may contact the Contest secretary’s office for any further information by writing to: info@polifonie.it

Art.5

To enroll in the contest, each participant must send an email to info@polifonie.it containing the following documents to the Contest Organizers:

the application form download
A PDF copy of the score, perfectly readable and completely anonymous;
the first page of the score must bear the title of the work and the approximate length of the composition;
short explanatory notes related to the submitted work in Italian or English (max 1000 characters, including spaces).
photocopy of an identity document or passport;
a short curriculum vitae (in Italian or English);
receipt of payment of application fee (not refundable) of € 35,00
The mail, in order not to be excluded, must be delivered to the Contest secretary’s office no later than 21 March 2018.


Art.6

A Jury will meet to select the 3 (three) finalist scores, that will be performed on 3rd June 2018 by Appassionato Ensemble in public concert in Como, at the Ancient Church of St. Joseph (sec. XVI).

The Jury will be composed by:

Sonia Bo (Italia), President
Umberto Pedraglio (Italia)
Mehdi Khayami (Iran)
The commission judgment is final and cannot be contested.
The finalist composers will be invited by the organization to send the individual parts of each instrument.
At the end of the concert the Jury will meet to select the winner.
The prize-giving ceremony will be held at the end of the concert.


Art.7

The winning work will receive a cash prize of 500,00 euros and will be published by EDIZIONI SCONFINARTE.

In the event the composer has an exclusive agreement with other publishers, he/she must give his/her acquittance to the publication when participating in the contest unlimited copies.
The commission has the right not to assign the prize in the event no composition in the final phase is judged worthy.
Any tv or radio recordings are authorized by the author without any further charge on the organization.
The personal details of the contestants will be used only for matters concerning the competition.


Art.8

All the documents and materials sent will be kept in the archives of the Associazione Culturale Polifonie and nothing will be returned, as the Association will become the owner.
The Association will have the ownership of the materials, it being understood that the author will keep the copyright.
The scores sent for the contest will become an integral part of the Music Archive of Association Organizer.


Art.9

The contestants accept the present regulations in all parts, unconditionally and integrally.


Art.10

In case of controversy, the Contest Announcement in Italian is to be considered the official text.
Web Site:www.polifonie.it/international...

 International Musical Composition Competition Real Academia de Bellas Artes de San Carlos
Summary:Solo with piano competition
Deadline: 20 February 2018
Date Posted: 26 October 2017
Details: 1. The call is open to composers of any nationality, without age limit. Each composer may submit only one work. The work must be the individual composer’s original creation and must be unpublished, not the result of a paid commission, and not awarded in any other competition. The work should not have been previously performed in any concert or public event, either wholly or even in part (should it have different parts), nor with the present title or with any other it may have, and should have not been broadcasted by any medium whatsoever.

2. The works should be written for french horn (both in F and Gb) and piano, with no electroacoustic media). In the general score, the french horn part should be written in A (real sound). The duration of the compositions should be between minimum 12 minutes and maximum 20 minutes. Works of any other duration will be disqualified.

3. Three copies of the general score will be submitted together with two set of materials (part music for the french horn, transported, and general score for the piano player, including the french horn part) appropriately prepared for the work to be preformed out of them with no reading problems. The scores and materials should be tape bound documents, clearly legible.

4. In order to safeguard anonymity of the composer, the works must be submitted with a title and motto chosen by the author as only identifying details. Accompanying the score and materials, an envelope should be submitted with the title and motto of the work as external identification. The envelope must contain: full name, address, e-mail address, contact telephone number, a photocopy of his/her D.N.I. (identity card) or passport and the author’s brief bio. It must also include a declaration signed by the author stating that the work is his/her original creation, is an unpublished work, is not a commissioned paid work, has not received any award in any other competition, has not been previously performed in any concert or public event, nor wholly or even in part (should it have different parts), nor with the present title or any other it may have, and should have not been broadcasted by any medium whatsoever.

In the event that, after the work is sent for the competition, and before the final decision of the jury, the work is a winner in another competition, the participant should immediately inform the Real Academia of this fact, as far as this would automatically invalidate its participation in the contest. Participants that do not respect the anonymity will be excluded.

5. The period for the submission of works shall commence on the day of the publication of these rules in the Website and close on February 20th. 2018, inclusive. Documents should be sent with acknowledgement of delivery or by registered mail to the following address:

III Concurso Internacional de Composición Musical Real Academia de Bellas Artes de San Carlos
C/ San Pío V, 9 – 46010 Valencia. España

In case of submission by registered mail, the postmark date will be taken as the official delivery date. Works not strictly adhering to the submission deadline will be disqualified.

6. A single prize of 4.000 euros subject to current tax retention is to be awarded. The jury may, unanimously, not award the Prize, whenever the quality of the works submitted is not estimated as sufficient.

7. The jury will be appointed on a proposal by the Music Section of the Real Academia de Bellas Artes de San Carlos and approved by the Board of Directors of the Real Academia. The jury’s decision will be final. The jury’s decision will be published on March 23rd. 2018. Only the name of the award-winning composer will be made public and he/she will be immediately informed of this Decision. The original score shall be retained by the Academia. Other participants may learn the outcome of this competition through the website of the Real Academia de Bellas Artes de San Carlos:

http://www.realacademiasancarlos.com

8. The world premiere of the winning work will take place during year 2018 at the conference hall of the Real Academia de Bellas Artes de San Carlos, that retains the right to choose the performers that will offer its first interpretation.

9. The author of the winning work absolutely undertakes to be present in the award ceremony due to be held at the headquarters of the Real Academia de Bellas Artes de San Carlos de Valencia. The institution shall bear the accommodation expenses.

10. The author of the winning work commits him/herself compulsorily to state in all advertising, as well as in any recordings, editions and programs including the interpretation of such work, the following sentence: Award-winner of the III International Musical Composition Competition of the Real Academia de Bellas Artes de San Carlos.

11. Non-awarded works will be returned, upon request, until April 30th., 2018. After this deadline, the Royal Academy accepts no responsibility on the custody and safekeeping of such scores.

12. Intellectual property rights remain solely with the author of the work.

13. Should the work include musical fragments or texts which copyright ownership belongs to another person (unless made in a quote form, in conformity with Article 32 of the Spanish Intellectual Property Rights Act), such fragments or texts should be stated in the score and the materials, and they should provide evidence of the corresponding licenses. In all cases, it would be the sole responsibility of the authors.

14. The Real Academia de Bellas Artes de San Carlos is exempt from any liability deriving from plagiarism or any other breach of the current legislation on the subject of intellectual property in Spain, in which the authors may incur, as the case may be, with their works. Neither shall the Academy be liable for any material damaged or lost during the shipping.

15. Participation in this competition implies the unconditioned acceptance of the present Rules and the final decision of the jury. The interpretation of these Rules shall fall within the exclusive competence of the Jury.

16. If, for any reason, this Contest is not capable of running as planned due to unforeseen circumstances, no appeal will be allowed.

17. The official drafting the rules will be the Spanish text for all legal purposes. The rules will be provided in several languages, but any disagreements arising out of them will be settled based on the Spanish version of the text.
Web Site:www.realacademiasancarlos.com/...

 Nief-Norf
Summary:Chamber Call and Summer Festival
Deadline: 15 February 2018
Date Posted: 26 October 2017
Details: Each year the nnSF Call for Scores invites submissions of contemporary scores for chamber ensemble that are performed by Performance Fellows at the annual Nief-Norf Summer Festival. Composers of selected compositions will be invited to attend the festival and coach festival students and faculty in the preparation of the work.

The 2018 nnSF Call for Scores invites submissions of contemporary scores related to the research conference theme of New Asia. The call is open to all composers without restriction, and the connection to the theme may pertain to the music, the instrumentation, the subject matter, or the identity of the composer, and is open to creative interpretation.

We invite submissions of works for chamber ensemble (3-12 players) for any of the following instruments:
guitar (acoustic or electric)
violin
viola
cello
double bass
voice
flute (all family)
clarinet (all family)
oboe
bassoon
saxophone (all family)
trumpet
horn
trombone
tuba
piano
harp
percussion


Composer-performers using instruments not on this list, especially non-Western instruments, may also submit works that include themselves as a performer.

We welcome any of the following: scores requiring two or more of the same instrument (such as percussion ensemble or string quartet); works including improvisation, electronics, indeterminate notation or instrumentation; works that have been performed, recorded or published. All interested composers, at any point in their career are eligible to apply.

Submission fee: $15 for the first composition, $10 for each additional work (up to five).

Submission deadline: January 15, 2018
hamlet.jpg
Details: Selections will be made in part based on the instruments of enrolled fellows in the Performance Workshop. If your score is selected, you will be invited and expected to attend the nnSF 2018, during a three-day period determined by the rehearsal and performance schedule. Composers will be given the opportunity to work directly with the fellows in preparation for a performance of their pieces. Selected composers will not be required to pay registration or tuition and will be offered accommodations for two nights and meals for three days. However, travel will not be covered or reimbursed.

CALL FOR SCORES APPLICATION REQUIREMENTS:

Applicants should submit:

1) Completed Call for Scores Competition Submission Form including submission fee (when you submit the form, you will be provided a PayPal link to pay the submission fee).

2) Email to callforscores@niefnorf.org containing the following items:

PDF of the submission(s)
PDF of Program Notes and Performance History for the submission(s)
A brief explanation of the connection of your submission to the conference theme New Asia (see the Research Page for more details). Submissions without this explanation will not be considered.
Audio ( .mp3) recordings of the work(s), or links to on-line recordings, if available (not required, MIDI versions accepted). Video files will not be accepted. If you have a video, post it on-line with a service such as Youtube and send us a link.
A brief bio
Please scan any hand-written materials. For large files, please use a file-sharing service such as Dropbox or Google Drive.

Questions? Send us a note to callforscores@niefnorf.org

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SUMMER FESTIVAL

THE NIEF-NORF SUMMER FESTIVAL WILL TAKE PLACE JUNE 11-25, 2018

The nnSF Performance, Composition, and Music Technology Workshops invite applications from all instrumentalists, vocalists, and composers over the age of 18 (including undergraduates, graduates, faculty, and professionals).

Click or continue scrolling to learn how to apply to the 2018 festival.

PRIORITY DEADLINE:
DECEMBER 15, 2017
Apply to either the Performance, Composition, or Music Technology workshops by the Priority Deadline (December 15, 2017) to receive:
• $100 tuition discount for all applications submitted by the Priority Deadline!
• Eligibility for $250 alumni tuition discount.
• Eligibility for travel assistance.
• Eligibility for scholarships.
• Priority consideration for festival admission.
• Decision by January 01, 2018.

APPLICATION DEADLINE:
FEBRUARY 15, 2018
Apply by this date to receive:
• Eligibility for festival admission dependent on remaining availability following the Priority Deadline (December 15, 2017).
• Decision by February 22, 2018.

Please note: Applications submitted after the December 15th Priority Deadline are not eligible for scholarships and travel assistance. Discounts cannot be combined with one another; only one discount per application (this does not include scholarships and travel assistance). All discounts will be documented through the application process and applied to the final tuition payment.

• Scholarships will be offered to select applicants following successful acceptance to the festival. Scholarships will be awarded based on talent, instrumental need, and financial need.
• Travel assistance may be available for fellows with over $600 in travel expenses for those who apply by the priority deadline.

Alumni fellows in good standing from previous nnSF attendance will enjoy a $250 discount for return enrollment.


Web Site:www.niefnorf.org

 Call for Works - Interactive Traces
Summary:Audio Visual Call
Deadline: 08 January 2018
Date Posted: 26 October 2017
Details: The Interdisciplinary Centre for Composition and Technology (ICCaT) and the music department at the University of Liverpool present a concert of digitally-mediated works and improvisations as part of the annual Open Circuit Festival.

For this concert, we invite submissions for dynamic audiovisual scores that guide the production of sound & music on acoustic instruments. The score should include one or more of the following qualities:

• consists of digital visual media
• allows for some degree of performer agency
• is made visible to the audience
• includes the audience
• employs game-like elements and/or goals

Additionally, the work should be reasonably playable by performers of various skill levels; works will be performed in an evening concert as well as in a workshop for secondary school musicians.

Instrumentation is open and ideally indeterminate. Some specific instrumentation is available, including clarinet, saxophone, cello, and guitar. If the work is written specifically for another instrument, the composer is responsible for arranging the performances of the work.

Selected works will be performed and the audience will have a chance to vote for their favourite piece. The piece with the most votes will receive a prize of £150.
Works may be submitted via the form below in one or a combination of the following formats:

• Video of screen capture and/or performance (YouTube or Vimeo preferred)
• Standalone software for MacOS or Windows
• PDF documents (score, instructions)

Submissions will be evaluated anonymously.

The deadline to submit is January 8, 2018.
Web Site:www.iccat.uk/2018call.php

 WITOLD SZALONEK International Composers’ Competition 2018 – 1st Edition
Summary:Wind quartet competition
Deadline: 10 March 2018
Date Posted: 26 October 2017
Details: City: Kwidzyn (Poland)
Date: from 6 to 7 June 2018

The International Composers’ Competition WITOLD SZALONEK was born from the idea to create a project that will work on the meeting of the contemporary music of our time, dedicated to the memory of the great Polish composer of the 20th century WITOLD SZALONEK (1927-2001).

The organization will select composers who will have the opportunity to participate in the International Composers’ Competition WITOLD SZALONEK from 6 to 7 June 2018 in the city of Kwidzyn (Poland).

The composers’ selected works will be performed in two final concerts during the II Kwidzyn Music Spring International Festival.

Regulations

Article 1 – Object
The Phasma-Music Foundation hereby announces the First Edition of the WITOLD SZALONEK International Composition Competition.

WITOLD SZALONEK - born in 1927 in Czechowice-Dziedzice, died in 2001 in Berlin, Polish composer. In 1949-56 he studied at the State Higher School of Music in Katowice. Following his first successes at international composers' competitions, he received a grant from Kranichsteiner Musikinstitut in Darmstadt (1960). In 1962-63 he continued his studies with Nadia Boulanger in Paris. In 1967 he began to teach composition at the Katowice School and in 1970-74 was in charge of the Department of Composition and Theory. In the early 1970s he was invited by the Deutscher Akademischer Austauschdienst to work as artist in residence at West Berlin's Hochschule der Künste. In 1973 he won the competition to succeed Boris Blacher as Professor of Composition there. He has conducted numerous seminars and courses in composition in Poland, Denmark, Germany, Finland and Slovakia. In 1990 he received an honorary doctor's degree from the Wilhelmian University in Münster. In 1963 Szalonek discovered and classified the so-called 'combined sounds' generated by the woodwind instruments. He is also the author of theoretical studies on a wide range of subjects, including combined sounds, sonorism, Chopin and Debussy. (Wikipedia)

More about WITOLD SZALONEK:
http://www.porta-polonica.de/en/Atlas-of-remembrance-places/witold-szalonek

Article 2 – Admission requirements
The Competition is open to all composers of any age and nationality.
Each composer can submit multiple scores for the following instruments (from 1 to 4 players):
flute, clarinet, oboe, bassoon.

The composition can have been published, performed but not released on professional CD album until the end of 2018.
The work must not exceed 10 minutes.

All score will be sent by email in PDF format, at info@phasma-music.com .

The registration fee is €60,00 for the first work / submission. Other submissions will be registered with the fee of €40,00.

Article 3 – Submission date
The deadline for the submissions is 10 March 2018.

Article 4 – Registration and submission of scores
Each email sent to submit a score shall include:
– The score and parts in A4 format, (please indicate duration);
– A second PDF-file containing the identity of the composer (name and address, nationality, telephone number, email, website, short CV) and a self-certification testifying the originality of the composition, which must not have been recorded, as well authorisation for the performance, publication, recording and broadcasting of the work.
Other file formats than PDF will not be accepted!
There is no registration form.
– Receipt of the payment of the registration fee, via PayPal to info@phasma-music.com (+ PayPal fee) or bank transfer (All transfer and bank charges will be covered by the applicants):

Phasma-Music
Powiślański Bank Spółdzielczy
ul. Kopernika 28, 82-500 Kwidzyn
SWIFT: POLUPLPR
BANK ACCOUNT EUR: PL 24 8300 0009 0000 6267 2000 0030

The personal details of the composers and their compositions selected for the final will be made known to the public only when the results of the elimination phase of the competition have been decided. Composers who do not reach the final phase will remain anonymous also after the end of the competition.

Article 5 – Phases of the competition
The competition will consist of two phases: the elimination phase and the final. After the elimination phase, a maximum of 16 scores will be selected by the jury for the final, by March 31, 2018.
The final phase of the competition will consist of two evening events open to the public to be held in Kwidzyn on 6 & 7 June 2018, within the concert season of the II Kwidzyn Music Spring International Festival. In the final concert, the Contemporary Ensemble will perform the selected works. After the performances, the Jury present in the concert hall, will meet and decide on the winner. The winning composition will be announced at the end of the evening.

Article 6 – Jury and voting procedure

After the performance of at least 16 works, the jury will meet to decide on the winner.
Jury members:
Marcel Chyrzyński (Poland)
Mark Hartt-Palmer (United Kingdom)
Dariusz Przybylski (Poland)
Mirosław Pachowicz (Poland)
Michail Travlos (Greece/Poland)

Article 7 – Prizes

The winners of the competition will be awarded the “WITOLD SZALONEK” Prize, which includes:
Prize of 1000 Euros (gross of withholding taxes).
In addition, 7 special mentions (including the winner) will be awarded:
- A professional recording to be released commercially in 2018, by the PHASMA MUSIC – WILLOWHAYNE
(sub-label of Naxos Music Group) as well as a laureate certificate.

The decision of the jury is irrevocable.

Article 8 – Legal terms
Application to participate in the Competition implies the acceptance of the above-stated rules.
Web Site:www.phasma-music.com/projects/...

 EUBB Arranging/Composition Competition: Information for participants
Summary:Brass Band Competition
Deadline: 15 January 2018
Date Posted: 19 October 2017
Details: The deadline for submissions is Monday 15th January 2018 at noon.
Two bound paper copies of the score (separate parts will only be necessary for the second round - don’t include them until we ask for them!) should be dropped off before this deadline, at the front desk of the EUSA Activities Office at Potterrow with the sign 'Edinburgh University Brass Band - composition competition'.
Please fill in and attach a copy of the submission form that you can find at the end of this document.

A digital recording will have to be sent via email to eubrassband@gmail.com, or dropped off with the scores, clearly labelled. If either of these is impossible for some reason, get in touch with us (via email or facebook).
Anonymity of the composer/arranger will be maintained throughout the selection process.

The pieces should be
· composed/arranged specifically for brass band
· playable by a medium level amateur band (i.e. EUBB)
· enjoyable to play and listen to
· 3-7 minutes long

Judging criteria
· idiomatic writing for brass band
· successful application of compositional techniques/devices
· successful motif (melodic, harmonic or rhythmic, etc.)
· originality
· clarity in communication of the piece's ideas

This year's theme is based around the centenary of WWI in 2018, but you are free to compose/arrange anything you like.

The winner of the competition will be given the opportunity for further musical commissions with the band in the future.

Submission form (docx):
https://drive.google.com/open?id=0B5mvvarbqzWNNDBscEFJUzRXbVU
or as pdf:
https://drive.google.com/open?id=0B5mvvarbqzWNTkNRN1BpRFhLU0U
Web Site:docs.google.com/document/d/1Yr...

 INTERNATIONAL CHORAL COMPOSITION COMPETITION 2018
Summary:International Choir Competition
Deadline: 31 January 2018
Date Posted: 19 October 2017
Details: VocalEspoo Festival has announced an international choral composition competition 2018 together with the choirs Tapiola Choir, Spira Ensemble, EMO Ensemble, Female Choir KYN and YL Male Voice Choir. The aim of the competition is to find new and interesting compositions for children’s choirs, mixed choirs and male voice choirs. The results of the competition will be published during the opening concert of VocalEspoo Festival, June 3, 2018, where the best compositions will be performed and awarded. The prize money, 15 000 euro, will be divided between the winners according to the jury’s decision. The members of the jury are Kaija Viitasalo, Cecilia Damström, Kari Turunen and Pasi Hyökki.

RULES OF THE COMPETITION:
1. The organiser of the competition is Espoo Music Festivals Association together with Tapiola Choir, Female Choir KYN, Spira Ensemble, EMO Ensemble and YL Male Voice Choir.

2. The competition is open to all nationalities with no age limit. The number of submissions is not limited but each submission should be under separate pen name. The participation fee is 50 Euro for each composer regardless of the number of submissions. Payment should be transferred to Espoo Music Festivals IBAN: FI60 8000 1770 8312 96, BIC: DABAFIHH. Reference: Surname, first name & date of birth. Participation fees are non-refundable.

3. The last date of submission is 31 January 2018 at 24.00 (UTC +3). Any entries that reach the Competition Office after that date will be disqualified.

4. Categories: Children’s choirs (SSA), women choirs (SSAA), male choirs (TTBB) and mixed choirs (SATB). The composition may be either an a cappella or an accompanied (max. 5 musicians) piece. The instruments that may be employed are those of a symphony orchestra, big band, rock band and the computer.

5. The composition must be previously unperformed and unpublished, and its duration is to be between 4 and 8 minutes. The text of the composition may be sacred or secular and in any language. If the text is not in the public domain, and the composer is not the author and copyright holder of the text, it is the responsibility of the composer to obtain permission from the copyright holder before the application deadline.
Web Site:vocalespoo.fi/event/internatio...

 3rd Peter Rosser Composition Award 2018
Summary:Quintet competition
Deadline: 02 March 2018
Date Posted: 19 October 2017
Details: The Hard Rain SoloistEnsemble is a contemporary music group from Belfast devoted to the performance of modern and contemporary music.
Greg Caffrey (Artistic Director)
Sinead Hayes (conductor), Joanne Quigley (violin), David McCann (cello), Aisling Agnew (flutes),
Sarah Watts (clarinets), Daniel Browell (Piano)

Hard Rain News:

CALL FOR SCORES!

We're excited to announce that we are now accepting entries for the 3rd Peter Rosser Composition award!

The 1st Peter Rosser Composition Award, in 2016, was jointly established by Hard Rain SoloistEnsemble and the Peter Rosser Foundation in memory of our esteemed colleague and friend. It is supported by the Arts Council of Northern Ireland, The Contemporary Music Centre, Ireland, Cormac O’Kane of Red Box Recording Studio, Belfast as well as through generous donations made in Peter’s memory by friends and colleagues.

Submission to the award is open to composers born or domicile in N. Ireland and Republic of Ireland. The competition is open to composers regardless of age. However, the award is aimed at emerging composers. The organisers, therefore, welcome submissions from composers at the start of their careers.

1.1 All submitted compositions should not have been performed before, must not be published and should be written speci cally for the 3rd Peter Rosser Composition Award and the Hard Rain SoloistEnsemble.
The following statement must appear in a preface page of the score:
“This score was written for submission in the 3rd Peter Rosser Composition Award 2017 and for the Hard Rain SoloistEnsemble”.
1.2 Compositions must use all 5 of the following instruments: Violin, Cello, Flute (optional doubling picc & alto), Bb Clarinet (optional doubling bass clarinet) and piano. Scores that differ in any way from this instrumentation will not be admissible. The use of electronics or a tape element is not permitted.
1.3 The composition should be between 5 and 8 minutes duration and should state the exact duration in the preface page.
1.4 Only composers who can attend the workshop and performance in Belfast on Tueday 27th March 2018 will be eligible for the award. A travel bursary for composers traveling to the event from within NI and ROI will be made available through the Contemporary Music Centre, Ireland.
1.5 The decision of the jury in relation to the shortlisting of works and the bestowing of awards is final. No further correspondence will be entered into.
1.6 The jury reserves the right not to make awards where it feels a minimum required standard has not been met.
1.7 Only one piece may be submitted by a composer.
1.7 Previous winners of the Peter Rosser Composition Award are not eligible to enter the competition. Previous runners up are eligible.

Deadline for submission: 4pm Friday 2nd March 2018
Web Site:www.hardrainensemble.com

 Too Pretty To Punch
Summary:Artistic collaboration
Deadline: 31 December 2018
Date Posted: 19 October 2017
Details: CALL OUT 2:​ Artists + Musicians
I’m looking for 3 transgender visual artists or animators and a musician/composer/sound engineer to collaborate with to make animation for a new piece of theatre, Too Pretty To Punch that I’ll be developing throughout 2018.

Too Pretty To Punch is a one person celebration of trans visibility and self acceptance; a mix of clown, mime, music, spoken word and video projection focusing on society’s obsession with trans bodies, judging our acceptability on how attractive we are.
The idea behind the project is to celebrate gender diversity while dispelling myths about trans people; presenting us as we are, rather than as the monsters the media seems so hell bent on painting us as.

Artists:
My writing is vibrant, lively, and often full of pop culture references though I’m interested in all styles and mediums of art to collaborate with (digital, 3D, oil, pastel, watercolour, charcoal, collage, sculpture, comic book etc).

I’m interested in you bringing your voice to the table, creating and contributing based on your own experiences as a transgender person.

In its most basic form this will involve creating a series of still images to accompany poetry and physical theatre, that I will animate by various means depending on the medium and style and then projection map onto a selection of boxes and surfaces around the stage.

Sound/Music:
This role will involve creating music/soundscapes to accompany the projections and poems.

It will also involve helping write the music and record backing tracks for several songs in the show that I’m writing. I’ll accompany myself for some of them on the banjo. One such song is all about different gender identities, set to the powerpuff girls and transformers theme tunes.
Web Site:www.edwardday.co.uk

 fivebyfive
Summary:Chamber repertoire call
Deadline: 01 January 2018
Date Posted: 19 October 2017
Details: Call for Scores 2018

fivebyfive is excited to announce a call for scores! We are looking for original pieces and arrangements, as well as grant and project proposals with the goal of expanding our available repertoire and being introduced to future collaborators.

Submissions are due by Monday, January 1st, 2018 with selected performances to take place in April 2018 and our following 2018-19 season.

For pieces selected for our April 2018 concert composers will receive a $250 honorarium and a live recording for promotional use.

Guidelines:

• Pieces must be for the full instrumentation or nonspecific/open instrumentation
• Instrumentation: Flute (double on Alto), Clarinet (A and bass), Electric guitar (effects available), Double Bass (possibly electric bass, please contact), Piano (limited extended techniques)
• Submitted pieces must be acoustic only, no electronics or computers. However, grant and project proposals are open to anything
• Pieces can include structured improvisation
• April's concert has a loose theme of "Night" but since we hope to be performing more pieces that strike a chord with us the following season it is not necessary to follow the theme

Submission:

Email PDF score and parts, mp3 of recording or MIDI realization (if available) and contact info to 5by5music@gmail.com.

We look forward to hearing your work, meeting you and the possibility of doing something meaningful together.

Any updates will be made to this page. For questions please contact 5by5music@gmail.com

Web Site:www.fivebyfivemusic.com/call-f...

 Echofluxx 2018
Summary:Call for Experimental Video Works
Deadline: 18 March 2018
Date Posted: 19 October 2017
Details: Echofluxx is a festival of new media, visual art, and experimental music produced by FMErá of Prague. This year it will again present international and Czech performers in a four-day festival at Paralelní Polis in Prague, May 2-5, 2018.

Fix Media Works - Works for experimental video (1 channel) and sound (2 channels) selected by a panel of international adjudicators.

See Echofluxx 18, 17, 16, 15, 14, 13, 12, 11

Echofluxx, an annual PRAGUE festival of new media, visual art, and experimental music, requests submissions of experimental works for combined 1-channel video and 2-channel sound from artists of all ages. Approximately 1 hour of work will be presented throughout the festival as selected by an international panel of sound and video artists. Pieces of 10 minutes or less will be given preference. Up to three works may be submitted at $15 for the first and $10 each for additional work. Submission deadline is Sunday, March 18, 2018 with hirez resubmission files due in mid April. Works must be uploaded to YouTube or Vimeo for adjudication. Selected works will be delivered via services like WeTransfer.com and preferably in MP4 format.

Include the following information in email to: submission@echofluxx.org

1. Your name, phone, YouTube/Vimeo link of piece(s) plus personal website address if available.
2. Title of the piece(s), duration(s) and names/bios of all collaborators.
3. Performance history of submitted work(s).
4. Program notes for submitted work(s).
5. When making PayPal payment, include your name and YouTube/Vimeo link(s) to connect payment and submitted work(s).
Web Site:echofluxx.org/ECHOFLUXX18/FFes...

 Scottish Awards for New Music 2018
Summary:Composer Awards Nominations Open
Deadline: None
Date Posted: 19 October 2017
Details: Following on from the inaugural event in 2017, New Music Scotland are pleased to launch the second annual Scottish Awards for New Music. Created by New Music Scotland with support from the National Lottery through Creative Scotland’s Open Project Fund, Help Musicians UK, the Incorporated Society of Musicians, Holiday Inn Glasgow Theatreland, Steinberg, and EVM Marketing, the awards will celebrate and champion the highest standards and achievements of Scotland’s composers, musicians, sound artists, programmers, producers and ensembles. They will highlight and showcase the innovative, experimental and ground-breaking work taking place in Scotland, as well as the depth and breadth of the country’s contemporary music scene.

The Scottish Awards for New Music are welcoming nominations for music being made by Scottish and Scottish-based creators and facilitators of new music. The eleven categories, including three new ones for 2018, are listed below. Partnerships with Hands Up for Trad and Jazz from Scotland have enabled the creation of new categories which focus on experimental and ground breaking traditional and jazz music. Nominations are open from Saturday 7 October 2017 until Monday 11 December 2017 and can be made by both members of the public and industry professionals. Nominations can be made via the website where details of eligibility and submission criteria can be found: www.newmusicscotland.co.uk/awards2018.

An international panel of composers, performers, programmers and music industry experts will meet in January to discuss the nominations, following which a shortlist will be announced. Profiles of the shortlisted entries will be available on New Music Scotland’s website in the weeks leading up to the awards evening on Wednesday 7 March 2018.

New Music Scotland Chair, composer Oliver Searle said, “The Awards offer a fantastic opportunity to raise the profile of new music in Scotland and further afield, spreading news of the innovative new music scene to potential audiences around the globe. Rarely do you manage to gather so many of the key figures and institutions of new music making in Scotland together in one room. Coupled with the high profile supporters and partnerships involved in making this event a reality, the Scottish Awards for New Music 2018 promises to be an exciting event for Scotland’s new music sector.”

Alan Morrison, Head of Music, Creative Scotland, said, “Music is an art form that never sits still – it is always pushing back barriers and reshaping the cultural landscape. The Scottish Awards for New Music celebrate such experimentation and throw a spotlight on our most talented composers, musicians, sound artists and ensembles. Scotland is one of the most vibrant and collaborative countries in the world for new music, and these awards raise the profile of this exciting sector both nationally and internationally.”

COMPOSER ELIGIBILITY

Composers must have been born in Scotland, or have been ordinarily resident in Scotland for at least two years prior to 1st July 2017. Non Scottish or Scottish based composers can have works nominated as part of the Award for Creative Programming.
Composers may be any age.
Composers do not have to be members of New Music Scotland.
Students are eligible

WORK ELIGIBILITY

To qualify, new works must have received their première in a public performance, either live or broadcast/online, between 15 December 2016 and 15 December 2017
The community/education project category: For Projects that may be nominated, they can have started prior to, but must have been concluded between 15 December 2016 and 15 December 2017.
Recorded works must have been publicly released on any format between 15 December 2016 and 15 December 2017
Works do not have to have been published.
Nominations may be submitted by anyone, including from the composer, performer, audience or organisation. If self nominating, you must also nominate 2 other works (in any category) that are not by yourself.

AWARD CATEGORIES

The nominator should choose the category which most closely fits the work. NMS reserves the right to move the work to a different category if appropriate.
NMS reserves the right to add, remove or redefine categories if necessary.

Electroacoustic/sound art work
For a new work or installation written and/or performed during 2017 that can be described as either electroacoustic or sound art (or both!)

Dorico Award for Small/Medium Scale Work sponsored by Steinberg (1-10 performers)
A piece of new music, of any style or instrumentation, written and/or performed in 2017 by 10 performers or fewer.

Large Scale New Work
A piece of new music, of any style or instrumentation, written and/or performed in 2017 by 11 performers or more.

Recorded New Work
A recording of new music for commercial release in 2017 for CD/LP, TV, film, digital/online platforms, or other audio-visual medium. This may include the recording of an existing work released within the calendar year.

The ISM Award for Collaboration
Celebrating collaborative new music in 2017, including projects that are cross-genre, cross-art form, multi-disciplinary, or those that bring together unique combinations of partners. Collaboration should have taken place between two or more active parties to the extent of which the work would not exist without the partnership.

Community/Education project
Music-making, listening, appreciation, participation projects taking new music as their medium, and widening access to those in Scottish communities and/or education settings. This may take the form of a one-off event, or an ongoing project with or without specific outcome over the calendar year of 2017.

Contribution to new music in Scotland
Marking the contribution made by an individual or organisation that has contributed significantly to the new music sector in Scotland during 2017.

Help Musicians UK Award for New Music Performer(s) of the Year
An award to celebrate musicians who perform new music at the highest standard. This could be the best one off performance or a number of performances that adds to a portfolio of work over 2017.

Award for Creative Programming
An award to celebrate Creative Programming. This could be a one off production/commission, a festival programme, a programme series, or an audience development initiative that has been of an exceptional standard and demonstrates genuine imagination in its execution.

Award for Innovation in New Folk Music in association with Hands Up for Trad
Traditional Music plays an important role in Scotland’s musical scene. This award, in partnership with Hands Up for Trad, celebrates the musicians who use elements of both traditional and new music (as defined at the start) in an original and experimental way.

Award for Innovation in New Jazz Music in association with Jazz from Scotland
Scotland’s vibrant jazz sector regularly sees experimentation and creative projects come to fruition . This award, in partnership with Jazz from Scotland, celebrates the musicians who use elements of both jazz and new music (as defined at the start) in an original and experimental way.

SUBMITTING AN ENTRY
All nominations are to be submitted online via the New Music Scotland website newmusicscotland.co.uk/awards2018
There is no limit to the number of works which may be submitted.
Self-nomination is allowed but must be balanced by the submission of two other nominations (i.e. not self-nominations) in any categories.

Nominators will be asked to provide:
Creator name, work title, performers, when & where heard, reason for nomination (depending on category max 200 words), links to supporting reviews, recordings, articles, online information, nominator name and contact details, demographic information of nominator

JUDGING
Judging will be made by a specially appointed panel, the members of which will be chosen by NMS.
In each category there will be a final shortlist, announced in advance of the award ceremony.
NMS reserves the right not to make an award in any category.
The final decision regarding all aspects of the Scottish Awards for New Music, including the interpretation of these rules, resides with the Board of NMS.

AWARD CEREMONY

The presentation of the awards will take place at a reception on Wednesday 7th March 2018 at the Drygate in Glasgow
In each category the winning individual/organisation will be presented with a Scottish Award for New Music
Web Site:www.newmusicscotland.co.uk/sco...

 Southeastern Composers' League
Summary:Chamber Competition
Deadline: 29 January 2018
Date Posted: 19 October 2017
Details: Arnold Salop Memorial Competition for Undergraduate Students
Philip Slates Memorial Competition for Graduate Students

Arnold Salop and Philip Slates were SCL members from some time in the past. They must have been beloved members, great leaders or highly active composers to have a competition named for them.
CONTEST RULES

1) Submit one chamber music composition for 8 or fewer performers. It may be vocal, instrumental or electronic. Compositions may also combine acoustic and electroacoustic sounds. Works submitted must be original musical compositions which have received no previous award at the time of submission. Only one submission per student is allowed.

2) Composers who submit compositions must either (a) study with a person who is a member in good standing of SCL, or (b) become a student member of SCL. There are no other curricular or age restrictions.

3) A cash prize for First and Second place winners in each competition will be awarded. The judging panel reserves the right to grant no award.

4) Submissions must be received by noon eastern time, on 29 January 2018.

5) All submissions must be done electronically. Please submit one score in PDF format and one audio file, if available, in MP3 format.
a) Complete the online application.
b) Submit score in PDF format.
c) Submit audio in MP3 format (optional)
Web Site:www.southeasterncomposersleagu...

 COMPOSITION COMPETITION “TORRE DELLA QUARDA” – 2018
Summary:Competition with two categories
Deadline: 15 April 2018
Date Posted: 11 October 2017
Details: The composition competition “Torre della Quarda” is an international event; it will be a key element of Festival Internazionale di Musica di Savona and it will contribute to enrich an artistic proposal which has reached in 2018 its sixth edition. The principal objective of the competition is to give support to the composition of new musical pieces and to promote the creativity in the musical field. Our hope is to bring the best emerging talent of composition from all over the world to Savona.

The participation will be open to competitors from all the world countries, without limits of age, aesthetical trends and compositional styles. Our aim is to stimulate a dynamical relationship between an active audience and authors sensitive to creative innovation. The winners will receive their awards in a special ceremony during the Festival and their compositions will be played as concerts, parts of the Festival itself.

A further aim of the competition is to act as a significant occasion of cross interaction, overcoming generational and geographical divides. Different generations of composers will have the opportunity to meet and compare their various perspectives. The same will happen between musical schools of different origins, born from different cultures but sharing the universal language of sound.
The Musical Edition Da Vinci Publisher (https://amiosaka.com/da-vinci-classics/), with office in Osaka in Japan, will publish the winner musical piece. This support is further confirmation of the international profile of the competition.
For the 2018 edition the jury is as follows:

STEFANO GERVASONI (Composer, President of the Jury Panel)
PIERRE RIGAUDIÈRE (Musicologist – France)
ANDREA CAVALLARI (Composer)
GIORGIO COLOMBO TACCANI (Composer)
MARCO LOMBARDI (Composer)

Section 1 – Chamber music Formations admitted:
• Piano solo (also prepared with discretion)
• Solo Flute (the performer may use: piccolo, flute in C, flute in G)
• Solo Clarinet (the performer may use: Eb clarinet, clarinet in Bb, clarinet in A,
Eb alto clarinet, bassett horn, bass clarinet)
• DUO: Flute (piccolo, flute in C, flute in G) + clarinet (Eb clarinet, clarinet in Bb,
clarinet in A, Eb alto clarinet, bassett horn, bass clarinet)
• DUO: Piano (also prepared with discretion) + flute (piccolo, flute in C, flute in
G)
• DUO: Piano (also prepared with discretion) + clarinet (Eb clarinet, clarinet in
Bb, clarinet in A, Eb alto clarinet, bassett horn, bass clarinet)
• TRIO: Piano (also prepared with discretion) + flute (piccolo, flute in C, flute in G) + clarinet (Eb clarinet, clarinet in Bb, clarinet in A, Eb alto clarinet, bassett horn, bass clarinet)

The length of the composition must be between minimum 2 minutes and a maximum of 10 minutes.

Each candidate may present one or more compositions in the same category and/or different categories.

Section 2 – Orchestra composition
Instrumentation available. It is required the use of no fewer than 15 instruments:

2 Flutes in C
2 Oboes
2 Clarinets (Bb/A)
2 Bassoons
2 Horns in F
2 Trumpets (C/Bb)
Timpani (1 player – 3 timpani: 32'' - 28'' - 26'') Strings (7/6/4/4/2)

The length of the orchestra composition must not exceed 15 minutes and it has no limit of minimum length.

Not admitted production of compositions for solo instrument and orchestra.
People applying for section 2 can send one only composition.

It is possible to propose compositions for solo string orchestra.

In both sections (chamber music and orchestra) the use of electronic disposals is not permitted, at all.

Web Site:www.ensemblenuovemusiche.eu/en...

 The Greater Bridgeport Symphony 2018 Emerging Composer Competition
Summary:Orchestra Competition
Deadline: 27 April 2018
Date Posted: 11 October 2017
Details: The Greater Bridgeport Symphony announces a national competition for innovative composers of orchestral music. The winner may premiere his or her composition during a concert conducted by the Symphony’s dynamic maestro, Eric Jacobsen, during the 2018-2019 GBS season at the Klein Auditorium in Bridgeport, Connecticut. This competition embraces Maestro Jacobsen’s goal of premiering new works, and his vision of bringing orchestral music to a new generation of fans.

Application and Digital Submission Deadline: Friday, April 27, 2018

Finalists: Notified by June 29, 2018

Three finalists will be chosen to have their works rehearsed by the orchestra. Each finalist is eligible for up to $250 in travel reimbursement to attend a reading rehearsal.

1st Prize: $1000
plus the opportunity to Premiere Composition at a GBS 2018-2019 Concert

2nd Prize: $500 3rd Prize: $250
Open to all orchestral composers ages 18-32 who are residents of the U.S.A.

Application with digital file deadline: Friday, April 27, 2018
Please go to the “Emerging Composer Competition” link on http://GBS.org for application and rules.

Web Site:www.bptsym.org

 Look & Listen Competition
Summary:Solo singer with accompaniment call.
Deadline: 01 January 2018
Date Posted: 11 October 2017
Details: The Look & Listen Festival Composers Competition is an annual call-for-submissions to foster and support contemporary composers and music pioneers from all over the world. The winning work is chosen to be featured as part of the upcoming festival in NYC and the composer receives a cash prize of $500.

For this upcoming season, Look & Listen Festival is looking to expand the contemporary vocal repertoire by accepting works for soprano, accordion, cello and clarinet.

The competition is free and open to artists of any age, ethnicity, citizenship, gender and background to apply.

To submit a work, please observe the following guidelines:

Works must be written after 2010
Works must be written for this specific instrumentation:
Soprano, accordion, cello and clarinet

OR

Soprano and accordion

OR

Soprano and banjo

Submissions should include a short biography
Submissions should include a score and mp3, if possible
Limited to 3 submissions per composer
You must obtain all necessary rights to use any text that is not in the public domain.

Deadline: January 1, 2018

Results announced: March 1, 2018

Please direct all questions to phyllis@lookandlisten.org

Note: If your piece has a video component, please put the link to a webpage (vimeo, youtube, etc) in your bio and on the first page of the score. The judges will then access the video while listening to the musical component of your submission.

Technical Note: Please limit the size of your mp3 to under 20MB (under 10 if possible). Please submit only one mp3, if your piece is in movements, combine them into one mp3. There are tools available online to help you do these things. Visit http://audacity.sourceforge.net/ (for both Windows and Mac) and http://www.goldwave.com/(for Windows).
Web Site:www.lookandlisten.org/competit...

 Carl Orff Competition
Summary:Themed competition
Deadline: 28 February 2018
Date Posted: 11 October 2017
Details: A composers contest based on a predetermined theme

The Carl Orff Competition will change its theme on an annual basis and invite composers from around the world to create their very own variations. The entries will be published online, on a specified date, and reviewed by the public. The Top-10 compositions will then be performed in concert where a jury selects 3 winners who are presented with cash prizes.

The composition should contain an excerpt from the poem ''Orpheus.Eurydice.Hermes'' by Rainer Maria Rilke. In the poem, Orpheus leads his beloved Eurydice in the company of the God Hermes out of the underworld. The plan can only succeed if he doesn't turn around to her. Otherwise Eurydice will not be permitted to leave the underworld.

The sculptures appearing below by Antje Tesche-Mentzen should serve as a source of inspiration (see website link, below).

It should also be noted that Monteverdi in his opera ''Orfeo'' used a rhythm during the song ''Nehmt mich auf Ihren stillen Wälder'' which corresponds to the initials of Carl Orff ''CO'' in Morse code.

On the occassion of the renaming of the competition this is a fact which could be taken into account but is not obligatory.

The composer may choose freely with regard to the melody and harmony of the composition.

The prerequisites for a competitive entry are as follows:

• The text must be fully completed. It is only a part of the poem ''Orpheus.Eurydice.Hermes'' not the entire poem. It can be in German, English or Spanish (Poem texts have already been provided in PDF format).
• The work must between 4 and 6 minutes in duration.
• The work must be written for solo baritone (alternatively solo soprano), harp (alternatively piano) and a frame drum. The singer should be able to play the frame drum.
• The work must be written in a manner that it is also playable (see harp)
• The work must be written using one of the following music notation programs: Capella, Finale, Sibelius, Primus, MuseScore, Encore, Lilypod or ABCplus


Web Site:www.carl-orff-competition.com

 Martin Read Foundation
Summary:Young Composers’ Commission
Deadline: 31 December 2017
Date Posted: 11 October 2017
Details: Martin Read Foundation invites composers aged between 14 and 19 to take part in an annual Call for Works.

Selected composers will be commissioned to write a new piece for workshop and performance by our ensemble in residence at the annual MRF Festival of Contemporary Music.

MRF also makes financial awards to support young composers’ development through tuition by our associated composers, performance and recording opportunities.

You will need to submit
• 2 contrasting compositions
• A short covering letter telling us a bit about you, your aspirations and your compositional experience so far, and including your contact details.

Applications are to be submitted by Sun 31st December 2017 (see details below)

More information:
Web Site:www.martinreadfoundation.org/m...

 MYO EMERGING COMPOSERS COMPETITION
Summary:Competition with two categories
Deadline: 20 December 2017
Date Posted: 11 October 2017
Details: MYO is hosting an Emerging Composers Competition, open to all unpublished composers under the age of 22 as of July 1, 2018. This national competition has a Choral Division and an Orchestral Division and MYO Members and Alumni are actively encouraged to apply.

Deadline: Wednesday, December 20, 2017 (All materials must be received by this date)

Please read this entire page before filling out the online application form.

Eligibility
Applicants must be under the age of 22 as of July 1, 2018. This is a national competition, open to all unpublished composers. There will be two Divisions:
1. Choral Division
2. Orchestral Division
Winners may be selected from each Division.

Composition Categories
Works submitted should be for one of the following ensembles:
A. SATB Youth Choir (high school students)
B. Symphony Orchestra (high school students)

Rules
1. Scores must be submitted in PDF form.
2. Your composition must be an original and unpublished work (no arrangements of existing works will be accepted).
3. A short written description of the composition outlining inspirations and important features.
4. A full score and a complete set of parts must be included in PDF form.
5. A private YouTube or audio file (digital or live) rendition must be included with application.
6. Only one composition will be accepted by the same composer.
7. The submitted work may have been previously performed, but can not have won any previous competitions.
8. The composition may not exceed 10 minutes in length.
9. The work may be one or more movements.
10. Submitted works may not be submitted again in subsequent years.
11. A completed online application and a non-refundable $25 application fee must accompany each composition.

Application Fee
There is a $25 non-refundable application fee due at the time of the application and submission of score.

Prizes
Finalists in each Division will receive a cash award and may have the composition performed by one of the MYO ensembles in the 2018–2019 season.
First Place: $500
Second Place: $200
Third Place: $100
The winning compositions will be announced by Wednesday, January 17, 2018.
The judges reserve the right not to award a prize in either Division.

Application
Please include the following items with the online application:
1. Full score and complete set of parts (PDF form)
2. A private YouTube or audio file (digital or live) rendition of the composition
3. Age Verification – Please provide proof of age. A copy of your birth certificate, passport, or driver’s license is acceptable.
4. $25 Application Fee (payable online through PayPal)
5. A short written description of the composition outlining inspirations and important features (250 words maximum).

APPLY FOR THE COMPETITION

Web Site:www.myo.org/myo-programs/emerg...

 2018 Earplay Donald Aird Composers Competition
Summary:Chamber Call for Scores
Deadline: 31 March 2018
Date Posted: 11 October 2017
Details: Deadline: March 31, 2018

Earplay sponsors the annual Earplay Donald Aird Composers Competition, open to composers of any nationality and any age. Earplay performs the prizewinning piece and presents a cash prize of $1,000 to the winning composer. The competition honors the late composer/conductor/Earplay board member Donald Aird, an ardent supporter of the creation and performance of new music. A list of past competition winners, finalists, and honorable mentions is here.

You can submit an Aird competition application electronically or by mail. Please send mail if you have questions or comments.

Eligibility:
• Applicants may be of any nationality.
• Applicants may be of any age.

Compositions:
Works are limited to 1 to 6 players (at most 1 of each, e.g., not 2 violins) from Earplay's ensemble:
• flute/piccolo/alto flute
• clarinet/bass clarinet
• piano
• violin
• viola
• cello
Works may include electronics.
Works may be of any duration (8-15 minutes preferred).
Works may have been previously performed.
Each composer may submit any number of pieces.

Award:
Cash prize: $1,000.
Performance by Earplay during our next season.
Earplay will announce the winner in fall 2018.
All entries will be considered for future performance.

Deadline:
Applications must be submitted online or postmarked by March 31, 2018.

Application:
Earplay strongly encourages you to use online application, but if you prefer you can print an application form, fill it out, and mail it instead. You can use online application even if you intend to mail some parts of your application (composer bio, score, program note, recording, or payment). Sorry, mailed submission materials cannot be returned.

Checklist:
• Completed online application (preferred) or application form
• Brief composer biography
• Score (all composer identification removed)
• Brief program note
• Recording (not required but strongly recommended)
• Application fee US $26 per score (cash, check payable to Earplay, or PayPal payment)

Mailing address:
Earplay
2018 Earplay Donald Aird Composers Competition
560 29th Street
San Francisco, CA 94131-2239
USA

Further information: aird@earplay.org
Web Site:earplay.org/www/competition.ph...

 Mostly Modern Festival (MMF) Institute
Summary:Composition Programme
Deadline: 01 March 2018
Date Posted: 05 October 2017
Details: The Mostly Modern Festival (MMF) Institute is the educational component of the Mostly Modern Festival, offering a combination of intensive one-on-one instruction and professional performance experience. The institute has over 100 students & over 20 faculty members. There will be an orchestra, a choir, 4 chamber ensembles, masterclasses, lectures, and private lessons. The Institute is open to musicians 18 and older, and welcomes people in all stages of their career. APPLY HERE: Early-Bird Deadlines Dec. 1 and Jan. 1st.

MMF takes place at Skidmore College at the Arthur Zankel Music Center. Skidmore College is ideally located in Saratoga Springs, New York, three hours by car from NYC, Boston, Philadelphia and Montreal. All public performances take place at the stunning Helen Filene Ladd Concert Hall, a 600-seat acoustically tuned space.

Instrumentalists (up to 70 instrumentalists accepted)

• Perform in the American Modern Orchestra.
• Participants perform alongside the faculty with different conductors each week, Maestros Christopher Rountree, TBD, and Kent Tritle.
• Receive private lessons from performance faculty.
• Access to all masterclasses, and a pass to everything at the festival.
• Check this page for American Modern Orchestra instrumentation.

Singers (up to 60 vocalists accepted)

• Perform in the American Modern Choir.
• Work under the baton of Maestro Kent Tritle and Nicol Matt.
• 4 rehearsals/coachings per week, dress rehearsals and 2 performances.
• Access to all masterclasses, and a pass to everything at the festival.
• Visit this page for details on the American Modern Choir.

Composers (up to 30 composers accepted)

• Receive a fully-professional, live performance from: American Modern Ensemble, one of the three Guest Ensembles, or the American Modern Choir. (ensemble determined during the acceptance process).
• Composers can also apply for an orchestral reading with the American Modern Orchestra.
• Two composers will be chosen to a have their work performed by the American Modern Orchestra.
• Receive top-of-the-line 4 camera-shot video (video posted on the MMF YouTube page) and audio WAV file of your performance.
• Professional ensembles work intimately with composers in rehearsals, the dress and the performance.
• Receive meetings/lessons with the Composition Faculty.
• Access to all masterclasses, and a pass to everything at the festival.

Conductors (up to 8 conductors accepted)

• Conduct the American Modern Ensemble or the American Modern Choir.
• Conduct the readings with the American Modern Orchestra. Readings will be mentored by the Faculty Conductors and Composition Faculty.
• 2 conductors conduct a piece for the American Modern Orchestra, one each week.
• Group seminar with all conductor faculty members.
• Receive top-of-the-line 4 camera-shot video (link to video posted on the MMF YouTube page) of your performance(s) at the festival.
• Access to all masterclasses, and a pass to everything at the festival.

All performances are recorded and fully edited for participants: both audio and video. Composers and conductors receive audio WAV files and links to polished videos of their performances (shot with 4 cameras) posted on MMF's YouTube channel. Composers who take part in the orchestral readings receive un-edited audio recordings of their readings (editing available for an additional fee).

There will be two "ad hoc" concerts that will provide an opportunity for participants and faculty to showcase modern repertoire of their choice. Performers will be given guidelines and may submit proposals for pieces they'd like to play. Works will be chosen on a first-come first-serve basis, based on time and programming considerations.
Web Site:mostlymodernfestival.org/about...

 1ST KRZYSZTOF PENDERECKI INTERNATIONAL COMPETITION
Summary:Quintet Competition
Deadline: 31 January 2018
Date Posted: 05 October 2017
Details: FOR YOUNG COMPOSERS

1.

Krakow Branch of the Polish Composers’ Union announces 1st Krzysztof Penderecki International Competition for Young Composers. Composers from every country, who will not be over the age of 35 at the moment of its closing, can take part in the Competition.

2.

The subject of the Competition is a composition for flute, clarinet, violin, viola, and cello,
with a duration from 9 to 14 minutes. Flute and clarinet cannot be modified.

3.

One participant can submit no more than two compositions. A composition cannot be earlier performed, published in any form or awarded in any competition.

4.

3 copies of a score together with parts for performance as well as score in pdf format on
a compact disc, marked with an emblem and a title, with duration written, and a sealed envelope marked with the same emblem, containing an application form, a short bio note,
a note about the piece and a photo (in jpg format), should be sent to the address:

Związek Kompozytorów Polskich

Oddział w Krakowie

ul. Dunajewskiego 5

31-133 Kraków

With annotation: 1st Krzysztof Penderecki International Competition

for Young Composers

not later than on 31 January 2018 (the date of submitting the score decides).

5.

The Jury of the Competition: Marcel Chyrzyński (chairman), Zbigniew Bargielski, Ivan Buffa (Slovakia) and Wojciech Widłak, grants one Main Prize – 1000 USD. What is more,
the awarded composition will be performed in April 2018 on the concert during
30th International Festival of Krakow Composers.

The Jury may not award the Main Prize. Honorary awards may be granted. The decision of the jury is irrevocable and will be announced not later than on 15 February 2018.

6.

Participating in the Competition, a composer declares that the composition can be recorded for purposes of the Organisers of the concert, without any financial claims from his side.

Copies of the score and parts of compositions will be further the property of the Krakow Branch of the Polish Composers’ Union.

7.

Application for the Competition means that a composer agrees to these Regulations. Compositions not meeting the requirements of the Regulations will not be taken into account during the Competition.

8.

Organisers of the Competition have the right to change the date or to cancel the performance of the awarded composition from independent causes.

Any questions send to the Secretary of the Competition – Aleksandra Patalas, e-mail address: sekretarz@zkp.krakow.pl
Web Site:festiwal.zkp.krakow.pl/en/konk...

 Fight for the Right
Summary:Opera Opportunity
Deadline: 01 January 2018
Date Posted: 27 September 2017
Details: Fight for the Right is a global commissioning competition for composer and librettist teams to create original music dramas based on themes of women's education. The winning entry in the competition will receive a full mainstage production during Pittsburgh Festival Opera's summer festival in 2019.

Malala Yousafzai
Michelle Obama
Oprah Winfrey
Rudy Bridges
The kidnapped Chibok girls
Your next-door neighbor?

These women, among many others, have changed the narrative of women's education. What will be your story? We want to amplify girls’ and women’s voices, offer them a platform to imagine, speak, sing, and write about what they can change, what they can achieve, and how they can better their lives through access to education. Only the educated are free. Help change the world through music and drama. Women composer/librettist teams are especially encouraged to apply.

ELIGIBILITY & TIMELINE

Applicants will submit online:
• A work sample of vocal writing by the composer (aria, art song, opera scene, etc.): score and recording (preferred) or MIDI file.
• A work sample of dramatic writing by the librettist (libretto or play preferred): a complete work is preferred. Excerpts will be accepted.
• A synopsis of the proposed story dealing with women or girls and their journey to overcome obstacles in their wish to transform their lives through education, either formal or informal. Stories may be fictional or based on actual people and events. Read more under "Details and Guidelines. (1,000 words max.)
• A description of the concept and motivations for applying, answering the specific questions found here
• Headshots, resumes, and bio information for the creative team
• A $25 application fee

Timeline:
• January 1 2018 Deadline to submit proposal.
• February 1 2018 Semifinalists are notified.
• Spring 2018 Semifinalists write libretto and write and orchestrate one scene.
• Summer 2018 Scenes are workshopped in Pittsburgh. A finalist is chosen.
• Fall 2018-Spring 2019 Finalists complete their work
• Summer 2019 Finalists' work is presented as a mainstage production

PRIZES

Semifinalist teams receive:
$1,000 total for the composer(s), $500 total for the librettist(s), a travel stipend and free housing in Pittsburgh for the workshop period (June/July 2018)
Semifinalists will be featured in a crowdfunding campaign in spring 2018 and will receive a percentage of the funds raised.

Finalist teams receive:
An additional $4,000 for composer, an additional $2,000 for the librettist, a full production in the 2019 season, a travel stipend, and free housing in Pittsburgh for the production period (June/July 2019)

DETAILS AND GUIDELINES
• Applicants will submit materials by Monday 1 January 2018.
• Four submissions will be selected as semifinalists and notified in early 2018. These four creative teams will work to write the full libretto and compose and orchestrate a scene from the work to be workshopped at the 2018 summer festival in Pittsburgh. Based on the workshop process and scenes presentation at the festival, one piece will be selected for a full production in the 2019 festival.
• The story must focus on, in some way, women or girls and their journey to overcome obstacles in their wish to transform their lives through education, either formal or informal. Stories may be fictional or based on actual people and events. Stories can address a fight to be educated against all odds. Consider Ruby Bridges, Malala, or a local single mother attending night school. Stories could explore a conflict that arises by a girl's wish to learn and grow in a reactionary community. Consider the Chibok school girls kidnapped by Boko Haram. Stories could examine the struggle of a Western woman married to a Middle Eastern man, who has certain views of a woman's place in the world. Perhaps the story follows a young African girl's journey to become a doctor in order to help fight against the practice of FGM. There are many possibilities for subject matter—the story must simply be relevant to women's Fight for the Right to education.
• Composers may write their own librettos. Multiple submissions from the same teams will be accepted, but they must submit a new application for each additional work.

For semifinalists:
• There is no specific length requirement for the full libretto. The finalist's full 2019 production may not last longer than 2 hours and 30 minutes.
• The piece may have a maximum of 12 roles (including chorus members) and the cast must be at least 50% women.
• Music can be written in any style, as long as it serves the story. Pittsburgh Festival Opera has produced a rich variety of works in the past, including many newly commissioned music dramas, jazz and gospel operas, contemporary 'classical' works and reimagined traditional operatic works.
• Operas can be written with an accompanying ensemble of up to 15 instruments in mind. Once selected, semifinalists will work to orchestrate their workshop selections. Semifinalists should discuss the use of nontraditional orchestral instruments with the PFO artistic staff. Composers retain the copyright of submitted works, but Pittsburgh Festival Opera retains the right to produce the works for five years from submission without royalty payment.
• All submitted works will be added to a database used by universities and opera companies seeking composers and new works. Arrangements with other companies will be between the artists and those companies; Pittsburgh Festival Opera will not be involved.

APPLICATION INFORMATION
Application
Visit yaptracker.com to apply. Application will go live shortly.

Deadline
Submissions must be received by Monday 1 January 2018 at 11:59 pm.

Please email jgoodloe@pittsburghfestivalopera.org with questions.

Web Site:pittsburghfestivalopera.org/ar...

 Young Composers' Competition 2018
Summary:Young Composers’ Competition
Deadline: 30 April 2018
Date Posted: 27 September 2017
Details: Your entry is now invited to the CSO Young Composers' Competition for 2018.
The aim is to encourage young musicians to compose works for full symphony orchestra.

The winning composition will be played by CSO as part of the programme for their public concert in Cheltenham Town Hall on 20th October 2018. A recording will be made and given to the winner.

Rules and requirements
You
1 must be born or normally resident in the United Kingdom;
(This notice is initially being circulated in Gloucestershire and surrounding counties, but recipients are free to forward it to others.)
2 must be aged under 19 on 1st September 2018;
3 must not have been on any Higher Education course before September 2018.

Your work 4
-should be written for orchestral ensemble (woodwind, brass, strings, timpani)
up to a maximum of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons,
4 horns, 3 trumpets, 3 trombones, tuba, strings, timpani;
-must be original, and must not have been published or broadcast publically.

Adjudication

Results
-with an entry fee of £15 payable to Cheltenham Symphony Orchestra; 10 must be received by secretary@cheltenhamsymphonyorchestra.info
-postal address: 1 Moorend Grove, Cheltenham GL53 0EX by 30th April 2018; all entries will be acknowledged.
-will be completed by 30th June 2018.
-will be announced on the CSO website, and sent to all entrants, in July 2018. is required to produce a full set of parts by 31st August 2018;
should last between 4 and 5 minutes;

Your entry
-must include a separate document with your name and contact details;
- must also include a certificate of authentication, as for A level exams, together
must be submitted in the form of a pdf and mp3/mp4 audio track;

The Winner
-is expected to attend the final rehearsal and concert, on 20th October 2018
-may also attend other rehearsals of their work.

The Winner also
-grants Cheltenham Symphony Orchestra a perpetual, irrevocable, non-exclusive and royalty-free right to perform, broadcast and record your entry and to reproduce the score for such purposes; and,

Runners-up
-where your entry is subsequently published, broadcast or recorded by yourself or a third party under licence, you will agree and procure that included below the title will be the following inscription: "Winner of the 2018 Cheltenham Symphony Orchestra Young Composers' Competition"

The first and second runners-up may ask for their works to be played by the orchestra at a Thursday evening rehearsal on dates to be agreed with each composer; a full set of parts will have to be provided two months in advance.

For further enquiries, please contact
-secretary@cheltenhamsymphonyorchestra.info

Cheltenham Symphony Orchestra wishes all entrants the best of luck and the finest of ideas.
Web Site:cheltenhamsymphonyorchestra.in...

 OPERA CREATION LAB for Composers and Singers
Summary:Opera writing course
Deadline: None
Date Posted: 27 September 2017
Details: Program Dates: July 5-15, 2018
COSI 2018 is pleased to offer its OPERA CREATION LAB for Composers and Singers, directed by Dean Burry, in combination with members of COSI’s magnificent artistic teams.

Apply for this summer’s COSI OPERA CREATION LAB for Composers and Singers via COSI’s YAPtracker link.

FOR COMPOSERS: In receiving your application for the program, you will then be contacted by us to submit two examples of your compositions. Vocal and/or instrumental pieces are welcome, though examples of previous operatic writing are encouraged.

Successful composer applicants will:

Submit a vocal composition or opera scene before the program.
Collaboratively create a scene while at the program.
Receive a final public presentation and recording.

For composers, the summer Opera Creation Lab includes:

• Vocal masterclasses that will inform about writing for the voice, and the particular considerations for each voice type and differences within those voice types (writing for different kinds of sopranos, for example).
• Dramaturgy and the libretto – how to work with a libretto or consider writing one.
• Building a Composing Career in Opera
• Elements of Design
• Private lessons with Dean Burry.
• Interactive sessions with Music Director Shannon Hiebert and the performers of your music.
• Making important connections with singers and opera professionals with whom you may work in the future.
• Access to all COSI opera performances and courtyard concerts for the duration of the Opera Creation Lab.

“COSI’s Opera Creation Lab exceeded all my expectations. It was incredible to hear my music so soon after writing it. The singers were wonderful, engaged and creative. Seeing our scenes brought to life gave me a new understanding and appreciation for all the dramatic work that goes into making opera work. This, in turn, will forever affect how I approach the combined forces of music and drama. Thank you so much!” Katherine Saxon (COSI 2017), University of California Santa Barbara.
“The week that I spent at the COSI Opera Creation Lab for Composers and Singers was a completely enriching experience. There is nothing more inspiring than working in an environment surrounded by young driven performers and seasoned instructors. I look to forward to seeing the growth of this amazing program and am proud to have participated in its inaugural year.” Ryan Henwood, Dalhousie University.


Web Site:www.co-si.com/opera-compositio...

 The Molinari Quartet's Seventh International Competition for Composition
Summary:String Quartet Competition
Deadline: 01 April 2018
Date Posted: 20 September 2017
Details: The Molinari Quartet's Seventh International Competition for Composition

Through its Composition Competition, the Molinari Quartet wishes to encourage young composers to write for string quartet. Over the past centuries, the string quartet has become, thanks to the great masterpieces written for it, a highly valued but dreadful form to write for, for composers. But even today, in 2017, the string quartet is as alive and exciting as ever !

The Molinari Quartet contributes to the development of the string quartet literature by encouraging composers to send new original scores to its Competition.

The Molinari Quartet is pleased to announce its Seventh International Competition for Composition for string quartet.

Composers are invited to submit an original work for string quartet by April 1st 2018. The winning compositions will be played in concert during the Molinari Quartet's Twentieth and Beyond series to be held in Montreal (Quebec, Canada) during the 2018-2019 season.

The jury will be comprised of the Molinari Quartet's artistic director and its musicians, in addition to well-known Canadian composers Brian Cherney, Denis Gougeon and Maxime McKinley who will determine four winners. The winning compositions will be performed by the Molinari Quartet during a special concert during the 2018-2019 season. After the concert performance the jury will deliberate and choose the order of the winners. The First Prize winner shall receive a $3000 grant as well as a silkscreen by renowned Canadian artist Guido Molinari. The second prize winner will receive a $2000 grant and the third prize winner a $1000 grant. The fourth finalist will receive and Honourable Mention. The jury reserves the right not to grant all prizes.

The winners will be invited to work with the Molinari Quartet prior to the concert and to participate in the Dialogues sur le Plateau series, a public workshop of discussions and analysis produced by the Molinari Quartet.

Rules for Eligibility:

• Candidates must be 40 years old or less as of April 1st 2018, the due date for registration.

• The work must not exceed 20 minutes.

• Only works for string quartet that have neither been performed professionnally nor published as of April 1st 2018 shall be accepted.

• Works for quartet and electronics are accepted.

• Scores must be received by the Molinari Quartet at the latest April 1st 2018. (The post office stamp shall be recognized as the receiving date)

• Scores in pdf format are also accepted and must be received at the latest April 1st 2018 at the following address : qm@quatuormolinari.qc.ca

• USB keys are also accepted

• Registration fees of $30 CAN must accompany all scores. *

• A candidate may submit more than one work, but each work must be sent separately.

• Parts and scores shall remain the property of the Molinari Quartet.

• The candidate must send a score as well as separate playing parts to the Molinari Quartet.

• All scores must be sent anonymously; only a pseudonym can appear on the score pages.

• The candidate shall also send a sealed envelope bearing his or her pseudonym which will contain his or her name, postal address, e-mail address, telephone number, birth date, nationality (for statistics), resumé as well as a statement as to the fact that the work is yet unpublished and that it has never been performed professionnally.

• The composer whose work has been chosen as one of the winning compositions, will not receive any extra payment for the execution or recording of the work.

• The winners of the competition commit themselves to find the necessary funding for a stay in Montreal to work with the Molinari Quartet and assist to the performance in the 2018-2019 season.

* The registration fees may be paid by cheque (to Molinari Quartet), Paypal (qm@quatuormolinari.qc.ca) or cash. We also accept US dollars and Euros but you must add 5$ to cover the bank’s conversion fees.

Competition Calendar:

Competition launch: September 2017

Due date for registration and receiving scores: April 1st 2018

Jury: May 2018

Announcement of winners: May 2018

Winners Concert: 2018-2019 season

Please send the scores to :

Molinari Quartet

P.O. Box 56536

Montreal, Quebec

Canada H1W 3Z3


For more information write to : qm@quatuormolinari.qc.ca or call 514-527-5515
Web Site:quatuormolinari.qc.ca/en/conco...

 Laura Schwendinger Residency
Summary:Residency Opportunity
Deadline: 21 January 2018
Date Posted: 20 September 2017
Details: Residency Statement
I welcome the opportunity to explore and discuss the act of creating art music, through discussion with my fellow composers and to listen to and talk about, the music we create. I am fascinated with what inspires composers and the techniques they use in their compositions, and would welcome composers who are interested in discussing these questions, and any other ideas related to them. When I present my own works, I try to describe my personal approach and its intersection with visual arts, as well as my efforts to create a music in which craft and inspiration meet to make something that goes as deeply into expressivity as possible.

I suggest that if you are also a performer, that you bring your instrument, so we can experiment with ideas as they come during our sessions, and try out works in progress together.

Application requirements
Prospective Associates should submit:
1. two representative PDF scores with corresponding sound files (no larger than 15 mb) or web links (.doc, .docx, .pdf)
2. a brief resume (.doc, .docx, .pdf)
3. short bio, 400-word max. (.doc, .docx, .pdf)
4. If you are planning on bringing an instrument, a sound file sample of your playing would also be encouraged, if it is to be part of your participation in the residency.

Residency Fee: $900
Includes a $100 administration fee, weekday meals and housing; does not include artist materials, transportation, or weekend meals.

Scholarships / Financial Assistance
Only accepted Associate Artists may apply for financial assistance. For details, please visit the master artist details page.

Application fee: $25
Click here to Apply!
Web Site:atlanticcenterforthearts.org/m...

 Ret Frem Ensemble
Summary:Rolling Call
Deadline: None
Date Posted: 20 September 2017
Details: New contemporary music ensemble Ret Frem are calling for composers of all ages to submit scores for chamber ensemble. We will accept both new scores and pieces that have been performed before. Successful submissions will be added to our repertoire through rehearsal and performance.

THE CALL
We accept scores in two categories:

Category 1: Scores for quartet of flute, clarinet, violin and cello (with standard doublings). Category 2: Scores for any combination of flute, clarinet, violin, cello and piano/electric keyboard (with standard doublings).

There is no fee for submission.
Scores can be in any style and of any duration.
Scores for solo instrument are just as valid as a quintet or anything in between, in

Category 2.
We will contact composers whose scores we wish to perform as and when our programme permits. The call is ongoing and there is no deadline: scores will be selected based on the curation of specific concert programmes.

Selected scores may be performed several times during our season.

Please fill in the attached Submission Form and send to:
admin@retfrem.com or Ret Frem Ensemble,Top Flat, 79 Brighton Road, London N16 8EQ << N.B. NEW ADDRESS

N.B. Not all our performance venues have pianos.
Web Site:www.retfrem.com

 «Call for Sounds»
Summary:Science and music
Deadline: 11 February 2018
Date Posted: 20 September 2017
Details: The purpose of this call is to encourage artists to find creative new ways to convey scientific ideas through their music. Participants are invited to submit their creations as soundfiles* (with a maximal duration of 10’ minutes), which will be object of an open online voting process on the weeks following the the submission deadline of February 11th, 2018.

The pieces have to be inspired on some of the materials (images, animations, graphs) available at www.soundsof.net/materials. The ‘sound’ (piece/recording/sonification etc.) selected by the community as best conveying the scientific idea will be awarded with €2000.

1. Terms of application

1.1 Who can apply?

- composers of every age and nationality

1.2 What to submit

You can submit ‘sound works’ of any kind and genre. It could be a recording, an electroacoustic piece, a sonification or a combination of all those. We particularly encourage the use of a creative approach and the piece’s ability to convey the specific idea (image, animation, concept) by means of sound alone. The only limitations are:

Length: all submissions must be under 10’ minutes. A larger piece divided in different movements is not acceptable either; a submission must contain only 1 sound file.
Originality: Remixing someone else’s work, as well of any kind of copyright infringement is not acceptable. No transcriptions or arrangements (except arrangements of the composer's own works) will be eligible.

NOTE: Although the use of voice is perfectly fine, in the piece the music should speak for itself. If you have any questions concerning these limitations or any other aspects, don’t hesitate to email us at soundsofmatter@univie.ac.at.


1.3 Application material

1) Complete the online application form (soundsof.net/call4sounds) Applicants may submit up to 2 works to the Call4Sounds, regardless of their submissions to the other two categories (MAIN and MDW category).

2) Submit a short program note about the work (max. 1 page A4, in English) where you explain the connection between your piece and any the materials (image, idea, animation, concept, dataset etc.) available at www.soundsof.net/materials that inspired you. The relevance of this connection will be, together with the quality of the music submitted, the primary evaluation criterion. It is therefore in the applicant’s best interest that the concept is clear, accurate, and related to one of the seven research lines (Nano carbon-metal hybrids, Nucleation, Polymers, 2D-Materials, Metallic glass, Ferroic Materials, Diffusion) presented on the website. Incomplete or vague applications will NOT be considered.

All materials should be submitted electronically. If unable to submit a digital application via the provided online form, please send us all application materials via e-mail soundsofmatter@univie.ac.at with the SUBJECT: ‘Call4Sounds’. You are strongly encouraged to use Dropbox, Google Drive, or other free cloud storage for any extra materials as they may be too large to send as email attachments. Application deadline will be February 11th, 2018. Late applications will not be considered.

2. Online voting

On the five weeks following the submission deadline, an online voting process will begin. The process will be open, so anybody interested will be able to vote for their preferred piece at www.soundsof.net/vote.

3. Nomination

At the end of the voting process, the results will be announced by the organisation and the winner of the €2000 prize will be made public.

4. Interactive installation

Together with the winning piece, the organisation will select seven pieces to be part of an outdoors interactive installation at the the University of Vienna. Selected composers will be notified in advance and special participation diplomas will be issued for them.

5. Change of terms

The «Sounds of Matter» composition competition reserves the right to change these terms in the best interest of the project.
Web Site:www.matter.soundsof.net/call4s...

 Arts Letters & Numbers
Summary:Residency Programme
Deadline: None
Date Posted: 20 September 2017
Details: Arts Letters & Numbers is a place of creative urgency and intensity of purpose, a place to create new linkages, new thought processes, new path- ways of understanding that embody our best hopes and aspirations. It is a place where many elements come together to co-construct questions and works, of empathy, of ethics, of imagination; it is a place to explore the nuanced fragilities in our shared stories.


We strive to cultivate a space that encourages collaborative and individual creation: to think, make and act alongside others within a community. With our Residency Program, artists from wide range of disciplines will be able to come together, ask and engage their questions, create and share their work. When people are free to act, interact with and support one another, new works and ideas emerge.


We are situated within an enthusiastic and supportive community that is highly active in the short term programming of Arts Letters & Numbers, including Events, Courses, and Workshops that run in parallel to and interweave with the Residency Program. To further expand the conversation and space of Arts Letters & Numbers – both within the Residency Program and the broader community – as an Artist in Residence you will be encouraged to participate in and host some of these features, as well as proposing your own events to foster and enrich this dialogue, i.e. lectures, exhibitions, performances, etc.


Arts Letters & Numbers is constructed by us: not just those who are directly involved in its day to day operation, not just the fellows, participants, visiting artists and local community members, it has and continues to be built by everyone who sets foot in this remarkable place. It is being constructed by and between us. This aspect of Arts Letters & Numbers is foundational.



At the Mill we have a full metal and wood-working shop, and spaces for building, cooking, filming, photographing, performance, and large-scale drawing, sculpture and painting. Our spaces are flexible and you are invited to create your own. Currently, the second floor of the Mill is under construction and is unfortunately not to be used for creative work. However, the shop is still available for everyone to use. In addition to the Mill we also have our barn, located next to the house. This flexible indoor - outdoor space serves as our main studio space, with additional more private spaces to be found in the house.



One of our traditions has been the sharing of ideas over a great meal, and this has become a vital part of Arts Letters & Numbers. We will all share one kitchen and though you are individually responsible for your food, it is often the case that everyone in the house gathers to cook and share dinners together.

IMG_1214.JPG

You will be hosted in the House on the Hill, in one of our nine bedrooms; these vary in size and, we offer both private and shared arrangements. We will do our best and try to give everyone the privacy they need.

The duration of your stay can vary from one week to three months. The fee per 2016/2017, covering accommodation and access to the facilities, starts at $175 per week.

We are accepting applications continuously and will review them on a rolling basis.

If you have any questions regarding our residency program, please send us an email.


We are looking forward to welcoming you to

Arts Letters & Numbers!
Web Site:www.artslettersandnumbers.com/...

 Opportunity: New Voices, Talent Development Programme
Summary:Register interest for programme
Deadline: None
Date Posted: 20 September 2017
Details: Date: Registration closes, noon on Tues 17th Oct
Produced by: Sound and Music
New Voices: a new Talent Development Programme for new ideas, new sounds and new music

Do you create or compose your own music or sound? Then this could be the opportunity for you!

Taking the successful models, wonderful partnerships and expertise from our previous Embedded and Portfolio Programmes, as well as our Pathways Programme we are thrilled to announce and introduce you to New Voices, Sound and Music's reimagined Talent Development Programme.

We are looking for composers and artists creating their own original new music and sound to be part of New Voices

New Voices aims to be representative of the diverse range of composers working across the UK today.

Overview

Become part of New Voices, an 18 month Talent Development Programme tailored to your needs
Get the benefit of 6 months of bespoke, external and expert coaching and mentoring
Explore and realise your creative ideas and ambitions, in your own style, in your own way
Join a network of your creative peers from across the UK, who will be going through the New Voices programme at the same time as you
Be part of a unique supportive residential weekend with these peers and with Sound and Music staff
Make public facing work for audiences, through your own creative activity and collaborations, and/or through working with other organisations
Receive a bursary of £1,500, travel and accommodation expenses, plus a production grant of up to £6,000 if you are organising the final public outcome yourself
Work with Sound and Music to explore digital as well as live outcomes of your work
Sound good?

Great. At this stage, you only need to register your interest, and then we will get in contact to discuss and to find out if this opportunity is a good fit.

If you need any other support to access this opportunity, or need this information in another format then we’re here to help, so please do contact us: Director of Programmes, richard.whitelaw@soundandmusic.org

Keep reading to find out more.
Web Site:www.soundandmusic.org/projects...

 Heriot-Watt University Composer Competition
Summary:Choir Call
Deadline: 01 February 2018
Date Posted: 13 September 2017
Details: An invitation to write an ensemble piece open to all un-published composers in SCOTLAND. No age limit.

The piece is to be written for the group, ‘Inchcolm New Music Ensemble’, based at Heriot-Watt University, Edinburgh. The INME has a policy of commissioning composers to write for a flexible ensemble. We have premiered over 50 new works in the last 19 years.

The composition starting point [inspiration] shall be the Celtic plainchant composed and sung on Inchcolm, an Island in the river Forth near Edinburgh where hundreds of years ago, Augustinian monks lived and worshiped in the Abbey.

The composition should have a duration of around ten minutes, and be written for voices and any combination of orchestral instruments [not keyboard]. Pieces must be written with flexibility of voicing and/or instrumentation in mind as the group that will perform the piece could be formed of any combination of voices and instruments.

The voice parts may be:

Four part: SATB

Three part: SAB

Two part: Mezzo sop and Baritone or ST singing in unison and AB singing in unison.

The instrumental parts must be written as part 1, 2, 3, 4 and 5. Parts one and two written in the treble clef for instruments such as flute, violin and oboe. Part three in the treble or alto clef for instruments such as viola, clarinet or horn. Parts four and five written in the bass clef for instruments such as bassoon, cello or double bass.

Please take into consideration that the standard of the ‘Inchcolm New Music Ensemble’, although amateur, is high.

1st Prize £500

Deadline for submissions: 1st February 2018.

For further information and sample plainchant music, please contact:

Steve King

Director of Music at Heriot Watt University

e-mail: s.king@hw.ac.uk
Email:s.king@hw.ac.uk

 Kalamazoo Mandolin and Guitar Orchestra
Summary:Mandolin and Guitar Call
Deadline: 01 February 2018
Date Posted: 13 September 2017
Details: The Kalamazoo Mandolin and Guitar Orchestra is issuing a Call for Scores for its 2017‐2018 season.

FIRST PRIZE: $250 and a Premier Performance by the KMGO
DEADLINE FOR SUBMISSIONS IS FEBRUARY 1, 2018
COMPOSERS OF ALL AGES ARE ENCOURAGED TO APPLY
CALL FOR SCORES APPLICATION

RULES FOR SUBMISSION
1. Must consist of the following make-up: Mandolin 1 (4), Mandolin 2 (9), Mandola (3), Mandocello (3), Contrabass (1), and Guitar (4). Divisi may be used as much as wanted but may not exceed the numbers listed above. Guitars are classical 6-string standard tuned guitars.
2. There is no restriction on length of the work.
3. The work must NOT make use of any soloists and must use the standard ensemble only as listed above.
4. Mandolas are to be scored in treble clef transposing at the octave.
5. Scores must be postmarked no later than February 1, 2018
6. Application must be included with the submission.
7. Please submit one score and one complete set of parts. A CD containing a recording of your work may be included but it is not mandatory. (Midi and mp3 files are acceptable.) Materials will not be returned. DO NOT send originals.
8. There is no fee required to enter this contest.
9. The applicants will be judged by a four member panel of KMGO members and last year’s winner, Chris Acquavella
10. The winner will be notified no later than March 31, 2018
11. Premier performance will take place during the 2018 season of the KMGO schedule.
12. Winning composition will become a permanent part of the KMGO music library.
13. Winning composition will be awarded a prize of $250.
14. Submitted compositions must NOT have been previously performed or published.



Web Site:www.kalmando.com/call-for-scor...

 Risuonanze 2018
Summary:Competition with Several Categories
Deadline: 19 March 2018
Date Posted: 06 September 2017
Details: Associazione Culturale TKE is calling for pieces to be performed at the “Risuonanze 2018 - incontri di nuove musiche” Festival, which will take place in Friuli Venezia Giulia region - Italy.

The Call is open to composers of any nationality and age.

Pieces should be written or the specified instruments and chamber groups (please see below); use of tape and/or electronics is not allowed.

The submitted works should not have been premiered in any public performance in Italy; if selected, these works will be presented as “world premieres” or “Italian premieres”.

Works of any aesthetic and stylistic direction, not longer than 6 minutes in duration may be submitted.

All music performed in the Festival will be radio-broadcast and professionally recorded; composers will be given a copy of the recording of their works.

18 Euros (non-refundable) must be payed via bank transfer or PayPal as a donation for contribution to costs; this amount allows to submit 1 to 6 different works.

Festival “Risuonanze 2018” is based on the direct relationship between composers and audience, so composers attending the performances are much appreciated. In that case, there is no refund for travel and lodging fees.

Associazione Culturale TKE may select one or more pieces in each category; it may also decide not to choose any composition.


GUIDELINES


o Submission deadline: March 19th, 2018;
o Works written for:

a. UNACCOMPANIED:
o solo Piano
o solo Violin
o solo Flute [C Flute, Piccolo, G Alto Flute]
o solo Oboe
o solo English Horn
o solo Clarinet [Bb/A/Eb Clarinet, Bass Clarinet]
o solo Trombone
o solo Concert Accordion
o solo Voice [mezzo-soprano, range: F3 to Fa5 (piano dynamics) or Ab5 (forte dynamics)];

b. DUOS:
o Voice [mezzo-soprano, range as before] and Piano
o two Violins
o Flute [C/Piccolo/G] and Clarinet [Bb/A/Eb/Bass Clarinet]
o Flute [C/Piccolo/G] and Oboe [English Horn]
o Clarinet [Bb/A/Eb/Bass Clarinet] and Oboe [English Horn]

c. TRIO:
Flute [C/Piccolo/G], Oboe [English Horn] and Clarinet [Bb/A/Eb/Bass Clarinet]

o Regarding vocal works, the text should be in the public domain, otherwise the composer should be authorized for its utilization;
o Works not longer than 6 minutes in duration;
o All submitted works must be “world premieres” or “Italian premieres” in the Festival;
o Submissions via email only;
o Each submission consists in:
a. one to six scores,
b. payment proof 18 Euros (bank transfer: IBAN IT58P0634067684510701023136, BIC/SWIFT IBSPIT2U, beneficiary: Associazione Culturale TKE, or Pay Pal: please click the button below - as Description of payment please write “Call for Scores Risuonanze 2018”)
c. a short biography (170 words max.);
o The scores must be attached as PDF files;
o The biography (in Italian or English) must be pasted as text in the body of the email, together with first name, last name, date of birth and nationality;
o The payment proof (bank transfer or PayPal) must be attached as PDF file;
o In the body of the email, please specify whether the pieces, if selected, should be presented as “world premiere” or “Italian premiere”;
o Send the submission via email to callrisuonanze2018@gmail.com

The results will be announced not later than May 7th, 2018 on the Risuonanze website, and composers of the accepted works will be notified by email.

For any further information, please email: tkecallforscores@gmail.com

Web Site:www.risuonanze.it/calls/call20...

 Youth Music Tutor - Lyric writing raps/songs/poems, Aptitude Organisation CIC
Summary:Teaching Post
Deadline: None
Date Posted: 06 September 2017
Details: Closes: 11th September 2017
Location: West Midlands
Type: Part time
Salary: Paid (£25k-30k pro rata)

Description

Youth Music Skills Tutor - lyric writing £15-£25 per hour (depending on qualifications and experience)1-year Fixed, Term time only (38 weeks), 2 hours per week

Days & Hours: Thursdays 6-8pm. Additional hours may be available on an ad-hoc basis.
Actual salary for 2 hours per week term time: £1140 - £1900
Fixed Term End Date: 30/10/2018 (Initially)
Lead delivery of an accredited young people’s music programme which uses the tool of lyric writing songs and raps to support positive emotional development.

Hold relevant a qualification and/or experience in Music Performance Song/Poem writing, Sound Engineering, Music Technology, DJ Skills, Composition or other relevant music qualification

This post is subject to full enhanced DBS Service Check.
Location: The Crez, Jubilee Crescent Community Centre, Radford, Coventry CV6 3EX

Return Completed Application form to: tara@aptitude.org.uk
Closing date: Monday 11th September 2017
Interview Date Monday 18th September between 4.30pm-8pm (30 minutes time slot)W

ebsite: www.aptitude.org.uk Tel: 07871 917936

We are also recruiting for:

Youth Programme Casual/Bank Staff £9 - £25 per hour (depending on qualifications and experience) 1 year fixed Term

Contract: Zero hours (bank staff) 1 year fixed
Days & Hours: ad-hoc basis.
Main Purpose of role:
Delivery of a specialist skill that contributes to a new exciting programme to engage young people to be empowered through various activities that are fun, safe, social and educational (team building, developing self-confidence).
Where appropriate you will cover staff annual leave, sickness and when added support is required for trips and events.
• To develop, deliver, facilitate and participate in games, activities and discussions with young people
• To supervise young people and ensure general health & safety and rules of conduct.
• Build positive links with young people and promote active participation in activities such as planning and delivery of group work programmes on health, fitness, smoking, drugs, gangs, violence, relationships and bullying.

Hold relevant a qualification and experience in Music Performance Song/Poem writing, Sound Engineering, Music Technology, DJ Skills, Composition or other relevant music qualification.
Web Site:www.aptitude.org.uk
Email:tara@aptitude.org.uk

 Ablaze Records
Summary:Multiple Opportunities
Deadline: None
Date Posted: 06 September 2017
Details: Orchestral Masters, Vol. 6
APPLY
Calling for Orchestral Scores for our Sixth Volume of Orchestral Masters to be recorded in Brno, Czech Republic with the Brno Philharmonic in summer of 2018.
CLOSING DATE: February 1, 2018

New Choral Voices, Vol. 3
APPLY
Calling for Choral Scores (up to 16 voices divisi, a cappella) for our third volume of New Choral Voices CD to be recorded in Cincinnati, Ohio with the excellent Ablaze Records Choir Coro Volante directed by maestro Brett Scott in winter, 2017/18.
**NEW** CLOSING DATE: October 1, 2017

Electronic Masters, Vol. 7
APPLY
Calling for new recordings of Electronic or Electroacoustic works for our seventh volume of Electronic Masters.
CLOSING DATE: April 1, 2018

Millennial Masters, Vol. 9
APPLY
Calling for new recordings of Chamber music works for our ninth volume of Millennial Masters.
CLOSING DATE: April 1, 2018

Stage and Screen Series, Vol. 2
APPLY
Calling for new scores of music written for stage or screen to be recorded by full professional symphony orchestra in 2018.
CLOSING DATE: February 1, 2018

Pierrot Ensemble Series, Vol. 3
APPLY
Named after the ensemble created by Schoenberg for his landmark work Pierrot Lunaire, this is a call for scores for Pierrot ensemble (flute, clarinet, piano, violin, cello) but without voice and with the possible addition of one percussionist and/or fixed format electronics to be recorded by principal players of the stunning Brno Philharmonic Orchestra.
CLOSING DATE: February 1, 2018

Sinfonia Series, Vol. 2
APPLY
This is a call for scores for Brno Philharmonic Ensemble, a large 15 member group consisting of one of each orchestral instrument (flute, oboe, clarinet, bassoon, horn, trumpet, trombone, bass trombone, tuba, piano, percussion (1), 2 violins, viola, cello and double bass) to be recorded the stunning Brno Philharmonic Ensemble.
CLOSING DATE: February 1, 2018

Composer Monograph CD—APPLY
Ongoing, submit your proposal anytime.

Performer Portrait CD—APPLY
Ongoing, submit your proposal anytime.
Web Site:www.ablazerecords.net/submissi...

 The Harry Freedman Recording Award
Summary:Call for Proposals
Deadline: 19 January 2018
Date Posted: 06 September 2017
Details: Deadline: January 19, 2018

About the Fund: The objective of the award is to offer a composer the resources to refine a work in order to generate a more definitive and satisfactory version for inclusion in a recording and future performances.

The Harry Freedman Fund was established by the Freedman family to commemorate the pioneering Canadian composer. The fund offers the Award every second year to a Canadian composer working in collaboration with one to six musicians, or a Canadian composer-performer. The award will contribute to the creative costs (rehearsal and editing of a piece), or the recording costs, associated with making audio recordings of Canadian composers’ music for a confirmed future commercial release—in any physical and/or digital format. The Harry Freedman Recording Award is valued at $3,000 Canadian.

Eligibility: A CMC Associate Composer in good standing is eligible to apply. Associate Composers over 65 who apply must be members (making a minimum $125 donation). CMC Associate Composers in good standing will have paid their $125 annual membership fee for 2018 prior to submission of their award application. Composers must apply in collaboration with a solo performer, a group of performers, or an ensemble of up to six performers. Proposals from composer-performers will also be considered.

The Fund accepts proposals that meet the following criteria:

1. The recording will be the first commercial release of the proposed work.
2. The proposed work has no more than six (6) performing parts, with or without electroacoustics.
3. The proposed work must be premiered prior to the release of the commercial recording.

Proposal Requirements: Proposals will be submitted through an online form, and should include the following:

1. Description: Describe the proposed recording project (3000 characters max)
2. Timeline: A brief outline of when the piece would be rehearsed, and the expected recording and release dates (2000 characters max)
3. Budget: Indicate how the $3,000 will be spent (2000 characters max)
4. Proof of Premiere (PDF): Documentation of a former performance, or an upcoming performance for the proposed work
5. Résumé or CV (PDF): Both the composer and performer(s) should submit résumés or CVs
6. Letter(s) of Agreement (PDF):
a. The composer and performer(s) sign a statement of intent that confirms their collaboration on the recording project and;
b. Where applicable, submit a short letter from a record label confirming a future release
7. Support Material:
a. A score of the proposed work (PDF)
b. An archival audio or video recording of the proposed work, preferably in performance or a demo recording from rehearsals (link to streaming audio/video), MIDI recordings will not be accepted
c. If the archival recording of the proposed work does not feature the performer(s) collaborating on the commercial recording, a separate recording of the collaborating performer(s) must be submitted to demonstrate their abilities (link to streaming audio)

*Streaming audio/video files should be hosted on Soundcloud, Youtube, Vimeo, Bandcamp, or another reliable streaming site. Files must remain available until March 2018.
** A proposal that does not include a score and recording of the proposed work will not be accepted
Proposals must be submitted electronically using the online form. Proposals must be received no later than 5pm PST on January 19, 2018. Submissions received past this date will not be considered. CLICK HERE TO SUBMIT ONLINE

Proposal Evaluation: Proposals will be evaluated on a competitive basis by a jury selected by the Canadian Music Centre. The Fund jury will be comprised of five members from the national music community who will offer their perspective on music composition, performance, and sound recording, among other topics.
Proposals will be assessed based on their artistic merit and the benefit to the respective careers of the affiliated composer and musician(s). The jury must also determine that an applicant will be able to carry out the project. Unsuccessful proposals will be encouraged to resubmit and, where possible, constructive feedback will be offered to encourage the realization of their recording.
The decision of the jury is final and there is no procedure for appeal.

Conditions: The successful applicant(s) will be announced and acknowledged at a public event to be held in Spring 2018 in Toronto, Ontario. The successful applicant(s) must guarantee that they and the performer(s) will be able to complete their selected project no later than April 2019.
The commercial recording must acknowledge the support of the Harry Freedman Recording Fund and the Canadian Music Centre in the liner notes.

Questions & Clarifications: Should you have any questions regarding the Fund and its Award, please contact the CMC Ontario Regional Office by e-mail at mfava@musiccentre.ca or by phone at 416-961-6601 x 207.

Representing Canada’s largest community of composers, the Canadian Music Centre has been connecting Canadians and sharing our stories, through music, for over half a century. The Centre provides access to an extensive collection of music and recordings (both digital and on-site) through five regional offices in Halifax, Montreal, Toronto, Calgary and Vancouver. We also provide music rental and publishing services for 24,000 works created by 850 Associate Composers since 1959.

For more information, please visit: musiccentre.ca.



Web Site:www.musiccentre.ca/regions/ont...

 THE MATAN GIVOL INTERNATIONAL COMPOSERS COMPETITION 2018
Summary:Chamber Call
Deadline: 01 April 2018
Date Posted: 30 August 2017
Details: Meitar Ensemble announces the 3nd Matan Givol International Composers Competition.

-Composers from all over the world are invited to present works for Meitar Ensemble.
-The competition is an open call for composers of all ages and nationalities.
-The promotion of New Chamber and Ensemble Music was Meitar Ensemble’s goal and ambition for many years. With this competition we take on yet another path to find those hidden jewels of New Music and bring them to the front stage .

I. PRIZE FOR THE WINNING COMPOSITION

2,000 euro and one public performances on June 30th 2018. The piece will be conducted by Ilan Volkov and recorded live.

II. CONDITIONS FOR ENTRY AND APPLICATION

There are no age limit or nationality restrictions for composers.
-Instruments: The compositions submitted for the competition must use any combination of the following instrumentation, with a minimum of five performers:

flute (doubling on picc and alto flute), clarinet (doubling on bass clarinet), violin, viola, cello, piano, percussion: vibraphone, 4 octave marimba, glockenspiel (any other requirements for percussion instruments should be discussed in advance).

-Usage of prepared pianos should be discussed with the ensemble.

-No usage of additional instruments (instruments which are not on the list, live electronics, etc.) is allowed.

-Scores submissions via email only. Scores will not be accepted if they do not meet the conditions for entry.

-The works duration must be between 8 to 15 minutes.

-Pieces that have won awards in other competitions will not be accepted, never the less, pieces subjected to the competition are not obliged to be new compositions.
Deadline for entries: The scores, the registration application and the enclosed documents must be sent no later than April 1st 2018 (23:59 Jerusalem time) to the following email address: ceme.meitarensemble@gmail.com

A COMPLETE APPLICATION WILL HAVE THE FOLLOWING ITEMS:

-A full online Application Form (see at bottom of the page)

-Scores (in PDF form) to be under pseudonym (the committee will not receive the participants names) + Short description of the work

-An artistic and academic curriculum

A copy of the Entry Fee payment document

-The jury will consist of Meitar Ensemble members and the ensemble’s composer in residence, Mr. Philippe Leroux and the ensemble’s conductor in residence, Mr. Pierre-Andre Valade

-The jury’s decision is final and cannot be legally challenged. Furthermore, the jury reserves the right to award no prize.

-The entry fees are non-refundable.

-The results of the Matan Givol International Composers Competition 2018 will be published on the web site www.meitar.net and the social networks no later than May 15th 2018.

DEADLINE FOR SUBMISSION OF COMPLETE APPLICATIONS: APRIL 1ST 2018 (23:59 JERUSALEM TIME)
Web Site:www.meitar.net/composers-compe...

 ​​​​​​International Competition for Women Composers
Summary:Competition for women composers
Deadline: 31 January 2018
Date Posted: 30 August 2017
Details: The Brixworth Music Festival, England, announces an international competition for women composers.
We are looking for a work that is 6-8 minutes long and is scored for voice (soprano and/or baritone) and three to five instruments taken from the wind quintet formation (flute, oboe, clarinet, horn or bassoon) plus voice. The text should have some reference to William Shakespeare. There is no age limit for entrants.

The following prizes will be awarded:

1st Prize: £500
2nd Prize: £500
Honourable Mention

The prize-winning work (1st prize) will be played by the John Clare Wind Quintet at the next Brixworth Music Festival in April 25th 2018. The jury is not obliged to award all prizes.

The jury is made up of the following members:

Vivienne Olive (Composer)
Gwion Thomas (Baritone)
Chloe Thomas (Soprano)
Graham Tear (Flute player, John Clare Wind Quintet))
Peter Dunkley (Clarinettist, John Clare Wind Quintet)
External judge – Judith Weir (Composer)

The committee of the Brixworth Music Festival reserves the right to find a replacement for absent jury members.

Web Site:www.brixworthmusicfestival.co....

 LONDON EAR festival of contemporary music
Summary:Competition with 2 categories
Deadline: 13 January 2018
Date Posted: 23 August 2017
Details: Composers Competition, 2018

Submissions are invited in two categories:

Pieces for ensemble (see below)
Pieces for a solo instrument: flute or viola or piano

The performers will be:
Ensemble ö! (Switzerland)
Uroboros Ensemble (UK)
Neo String Quartet (Poland)

Roberto Fabriciani: flute / alto flute
Tomoko Akasaka: viola
Jonathan Powell: piano

Subject to the judges decision:

Each of the above six ensembles or soloists will perform one piece at
London Ear 2018: March 21-25

Instrumentation details:

Ensemble pieces may be for any three or more of the instruments in one of the mixed ensembles:

Ensemble ö!: flute/pioccolo/alto flute; clarinet (Bb)/bass clarinet; violin; viola, ‘cello; piano.

Uroboros Ensemble: flute/piccolo/alto flute, clarinet (Bb)/bass clarinet; oboe/cor anglais; harp; violin; ‘cello; piano; percussion (1 player): marimba and any small, common, hand-held percussion instruments (e.g. triangle, maracas, claves etc – if in doubt email for clarification).

Neo Quartet: only pieces for the full quartet (vn1, vn2, va, vc) may be submitted.

Works for piano (solo or ensemble) should not be for ‘prepared’ piano. However, pieces requiring touching the strings, or using a plectrum, e-bow, etc are acceptable.

Submitted works must not involve electronics.

The competition is in two stages:

Stage 1: The judges will select six pieces: one piece for each of the above ensembles or performers, to be included in their concerts at London Ear 2018. (See also condition 11 below)

Stage 2: After the final concert on March 25th the jury will decide upon and announce the order of the winning works.

The performances will be recorded, as the 1st prize winning work may be released as a download on the Sargasso label (subject to agreement by all parties: composer, performers, and Sargasso).

The names of the members of the jury will be announced in the autumn of 2017

Web Site:www.londonearfestival.co.uk/?p...

 2018-2019 Association of Concert Bands Young Composers Composition Contest
Summary:Concert Band Competition
Deadline: 15 June 2018
Date Posted: 23 August 2017
Details: This composition contest is intended for young composers who are writing music for concert band. There are over a thousand community bands in the United States and more across the globe who are performing concert band music. These ensembles play music from across the spectrum - show tunes, patriotic selections, marches, transcriptions, new works for band. These bands are looking for new music that fits a more traditional style of concert band literature that audiences will enjoy. Composers should keep this audience in mind for their submission to this contest.

Eligibility:
• Composers under 30 years of age on submission deadline date.
• Composers must not be contractually obligated as an employee or under contract to any publisher or publishers.
ineligible: Current Members of the ACB Board and their family members

Guidelines
• A 3 - 5 minute duration piece of original composition for concert band at a grade level of roughly 4.
• Submissions must not have been previously published.
• Submissions must have been written within the past 18 months.
• Submissions must not have been previously performed in a public venue.
• Only one submission per composer will be accepted.
• Suggested Instrumentation:
o C Piccolo; 1st & 2nd Flute; Oboe; Bassoon;1st, 2nd, & 3rd Clarinet; Bass Clarinet; 1st & 2nd Alto Saxophone; Tenor Saxophone; Baritone Saxophone; 1st, 2nd, & 3rd Trumpet; 1st, 2nd, 3rd & 4th Horn; 1st, 2nd, & 3rd Trombone; Euphonium (BC/TC); Tuba; Mallet Percussion; Timpani & Percussion (expanded) Optional: Eb Clarinet, 2nd Oboe, 2nd Bassoon, Contrabass Clarinet, Piano
o Special Considerations: Extensive cross-cueing (always on solos for Horn, Bassoon, Oboe, Bass Clarinet); composers are encouraged to use expanded percussion, particularly mallet and accessory instruments. Plan for maximum of five percussionists.

Submit via email to acbcontest@gmail.com

• Cover Sheet with Composer's name, mailing address, email address, school affiliation (if current student), birth date, names of all files submitted (as a word document or PDF file).
• One PDF of the score labeled with the Title. Other identifying information must be removed.
• An .mp3 recording if available, MIDI files from the composing software are acceptable.
• Program notes. (separate from the score as a word document or PDF file)
• Naming conventions for files: TITLE_Initials_score.pdf TITLE_Initials_recording.mp3 (or .mid) TITLE_Initials_prognote.pdf (or .doc) For lengthy titles, truncate to the first 10 characters.
• If the composition is selected as the winner, a complete set of parts in PDF form is to be provided.
• Application fee of $25 by credit card ("buy now" below) or by check made out to the Association of Concert Bands with a copy of the cover sheet mailed to:

Association of Concert Bands
c/o Sarah McElfresh
905 4th Avenue Extension
Farmville, VA 23901
Web Site:www.acbands.org/compositioncon...

 Los Angeles Master Chorale
Summary:Choral competition
Deadline: None
Date Posted: 09 August 2017
Details: The Los Angeles Master Chorale is pleased to sponsor its third Young Composers Competition and seeks a new work to be premiered at its annual High School Choir Festival on May 18, 2018, performed by 16 members of the Master Chorale.

The Los Angeles Master Chorale High School Choir Festival, now in its 29th year, is the culmination of a year-long education program in which 900 high school students come together to sing as a massive choir under the direction of Artistic Director Grant Gershon at Walt Disney Concert Hall in Los Angeles. For more information about the HSCF please visit this page.

SUBMISSION DEADLINE: 2018 Deadline TBD

For full details:
Web Site:lamasterchorale.org/young-comp...

 Lake George Music Festival
Deadline: 31 January 2018
Date Posted: 02 August 2017
Details: 2018 Guidelines

• an original work of chamber music composed after January 1st, 2012.
• a complete work – no single movements of multi-movement works will be accepted.
• work must be in its original form – no arrangements; example: no piece originally intended for string orchestra submitted as a string quintet will be accepted.
• between 7 and 12 minutes in duration.
• scored for 3 to 8 players (not including a conductor, if applicable).
• written for the following instruments: violin, viola, cello, double bass, flute, piccolo, oboe, english horn, b-flat clarinet, A clarinet, bass clarinet, bassoon, horn, trumpet, trombone, bass trombone, tuba, piano, percussion.
• pieces scored for percussion must follow these additional guidelines.
• any combination of the above instruments is acceptable, however only two of the same instrument may be included; example: maximum of 2 flutes, 2 oboes, 2 percussionists, piano four hands, etc; with exceptions being a maximum of one tuba, one bass trombone. Works scored for up to 4 violins are acceptable. Works for two or more pianos are not acceptable.
• instrument doublings must adhere to the instrumentation restrictions, example: no alto flute, no contrabassoon.
• works may be written for amplified instruments, prepared piano, and off stage instruments.
• works may include non-interactive electroacoustic elements (e.g., CD playback).

HOW TO APPLY


The 2018 submission period will be from January 1st to January 31st. Please submit the following materials via ONE email with attachments to info@lakegeorgemusicfestival.com. The subject line of the email should read “LGMF Composition Competition” followed by your full name.

• An anonymous .pdf file of the composition score. The score should be labeled with the title of the work and printed date of composition only. Multi-movement pieces should be submitted together as one joint .pdf file.
• An anonymous recording in mp3 format. Recordings must be complete (no excerpts) and must be labeled with the title of the work only and sent as an email attachment. Live instrumental recordings are strongly preferred over MIDI renditions. If submitting MIDI please take the time to create an audio file which sounds as realistic as is possible. Composers submitting a piece for electronics/amplified instruments must submit a live performance or studio recording (not MIDI). Multi-movement pieces should be submitted together as one joint .mp3 file. Please edit out any tuning/clapping.
• A PayPal receipt proving the application fee has been paid. Please pay application fee at the same time when submitting materials.

In the body of the email, please include the following information: composer name, date of birth, college or university affiliation, composer phone number,

All steps outlined above must be completed and submitted in their entirety by the deadline. No exceptions can be made whatsoever. If you wait until January 31st, we cannot guarantee any issues that arise during staff review, including missing or incorrect documents, will be resolved by the application deadline. Consequently, LGMF urges you to submit immediately.

APPLICATION FEE
$10 – Payment will be accepted via credit/debit card through PayPal by clicking the button below. PayPal accounts are not required. Application fee is not refundable, please review guidelines carefully.
Any questions regarding the competition should be directed to competition administrator Alexander Lombard at info@lakegeorgemusicfestival.com


Web Site:www.lakegeorgemusicfestival.co...

 “Key to the Future” – Opera Composition Competition 2018
Deadline: 22 August 2018
Date Posted: 02 August 2017
Details: Objectives of the Competition: Creating a forum for and drawing attention to new "popular operas" conceived in the spirit of the Artistic Manifesto of Bartók Plus Opera Festival, that are capable of luring back large audiences to the opera house.
Eligibility of Applicants: Any natural persons who are contemporary composers can submit their work to the competition, irrespective of their nationality, country of residence or age. The competition is not “anonymous” - one can only apply with full name and address.

Advertiser of the Competition: Miskolci Operafesztivál Nonprofit Kft. (Seat: 3525 Miskolc, Déryné u. 1; Reg. No: Cg: 05-09-016624, represented by Beáta Farkas, managing director). The Advertiser intends to advertise the Competition on a yearly basis, in accordance with its means and purposes, first in the year 2012.
Works to be submitted: Completed Work not yet performed on stage with an orchestra. There are no restrictions concerning the topic, language and the length of the Work. One composer can submit several Works and several authors can submit one joint Work.

Preliminary Registration and the Application Process: Application is possible by submitting the Application Form downloaded from the website. In the course of Preliminary Registration, this Application Form should be sent to the email address composersecretary@gmail.com. Completion of each point of the Application Form is mandatory.

The amount of the Application Fee: 150 EUR, payable to Advertiser's following bank account at OTP Bank: HU44 1176 3347 5721 7886 0000 0000.

Submission of the Work: Application documents can only be sent by way of postal delivery.

The following information should be indicated on the envelope, postal parcel etc.
• The name of the Advertiser: Miskolci Operafesztivál Nonprofit Kft.
• Its postal address: Miskolci Operafesztivál Nonprofit Kft., 3501 Miskolc, Pf. 634
• The name of the Competition: “Key to the Future” – Opera Composition Competition
• The Sender, in other words the Applicant

Materials to be submitted:
1., The full score of the Work on paper and electronic media.
2., A synopsis of the Work summarising the story in maximum 1 page in A/4 format.
3., The duly signed original copy of the Application Form.
4., The banking document verifying transfer of the Application Fee to Advertiser’s bank account.

In addition to the Work (score) Applicants may choose to submit (non-mandatory):
• The Orchestral Part of the Work, but in case the Work is shortlisted for the Finals, within 5 working days from the receipt of the notification thereof; Applicant shall submit the finished Orchestral Part to the Advertiser by electronic mail.
• Any other Sound Recording.

Application deadline: 00:00 hours CET, 22nd August, 2018 The Application Deadline means Delivery to the Advertiser of the Competition.

Professional pre-selection: Works will be judged by a professional Jury consisting of 4-7 experts. The Jury will select 3 or more of the submitted Works that they consider to be most in compliance with the principles of the Artistic Manifesto of Bartók Plus Opera Festival. These Works shall be the Finalists in the competition.

The decision of the professional Jury and the list of the Works shortlisted for the Finals shall be published on 1st October, 2018, on the www.operafesztival.hu website.

Advertiser shall have Works shortlisted for the Finals performed at the Liszt Ferenc Academy of Music in partially staged versions with piano accompaniment in the fourth quarter of the year 2018.
The Jury will select and Advertiser will announce the winning Work from the pieces performed in the Finals at the Liszt Ferenc Academy of Music.

The Winner will be announced on the www.operafesztival.hu website within 1 working day following the performance at the Academy.

Advertiser will present the entire winning Work in a fully staged opera performance with orchestra at the festival in Miskolc in the year following that of the Competition. Advertiser, however, is not obliged to have the winning Work performed at the Miskolc Opera Festival.

Prizes and Usage Rights: Each Work shortlisted for the Finals will be awarded 1500 EUR.

The winning Work will be awarded additional sum of 4000 EUR and the Advertiser will use its means and purposes to present this Work in a fully staged complete opera performance, at the Bartók Plus Opera Festival the following year.

Usage rights of the Works are treated in detail in the Competition Call:

All payments related to the Competition Prizes shall be effectuated until 31st January, 2019. Payment of all prizes shall be effectuated by Advertiser to the bank accounts specified in the Application Form. Taxation shall be in accordance with the legal regulations effective with respect to the Applicants’ nationality or country of residence.

Further questions about the Competition, Participation Criteria or Application Documents can be addressed to: Sára Szakács, Competition Secretary, at the following email address: composersecretary@gmail.com.
Entry Fee:€150
Web Site:operafesztival.hu/index.php/en...

 2018 ISB Composition Competition
Summary:Bass with various categories
Deadline: 01 June 2018
Date Posted: 02 August 2017
Details: The International Society of Bassists biennial composition competition is dedicated to the memory of double bassist David Walter, longtime ISB member, performing artist, composer and renowned educator.

DEADLINE: Online entries due by June 1, 2018.

The goal of the Competition is to encourage the creation of new repertoire and/or the discovery of unknown repertoire for the double bass. There are four divisions of the competition, open to all composers. There are no restrictions regarding past performances, publications or recordings of a work. However, widely known works that are deemed to have entered the standard double bass repertoire, based on the judgement of a panel of judges, will not be considered. Entries can be in any style, between 6 to 15 minutes long. WINNERS WILL BE ANNOUNCED ON OR SHORTLY AFTER SEPTEMBER 1, 2018.

• UNACCOMPANIED SOLO DOUBLE BASS DIVISION
• CHAMBER DIVISION: For one double bass in an ensemble from two to five players. Entries may consist of a prominent bass part plus additional players drawn from the following: piccolo, flute, alto flute, oboe, English horn, clarinet, bass clarinet, bassoon, saxophone, French horn, trumpet, trombone, euphonium/tuba, percussion (1 player), harp, guitar, piano/other keyboard instrument, violin, viola, cello and/or voice. Normal woodwind doubles are acceptable: flute/piccolo/alto flute, oboe/English horn, clarinet/bass clarinet.
• BASS ENSEMBLE DIVISION: A new work for two to eight double basses
• DOUBLE BASS AND ELECTRONIC MEDIA DIVISION: Includes video, live electronics, backing tracks, computers, etc.

GRAND PRIZE: $1,000 U.S. for each division, made possible by the generous support of The Ned and Frances Black Fund, and performances at the 2019 ISB Convention.


Web Site:basschurch.com/event/2018-isb-...

 The John Sanders Memorial Competition for Young Composers
Summary:Liturgical Choral Competition
Deadline: 23 March 2018
Date Posted: 19 July 2017
Details: In order to encourage the composition of music suitable for the liturgy, The Sanders Society will develop a biennial competition for young composers under the age of 30 years. The winning composition, a choral work of up to 6 minutes in length for SATB choir suitable for performance within a cathedral setting, will – if of sufficiently high quality – receive a first performance at a Choral Evensong at Gloucester Cathedral during the summer of 2018.

In addition the winning composer will receive an award of £1000.
The next composition competition for young composers will be judged in April 2018:

• Closing date: 23rd March 2018
• Judging: April 2018
• The winning composer will be notified by email, (confirmed by letter) and details of the winning composition will be announced on 15th June 2018 on this website
• First performance of the composition: Choral Evensong at Gloucester Cathedral: Summer 2018
• Judges:
o Dr. Christopher Robinson
o Bob Chilcott
o Adrian Partington
o Tim Rogers (Encore Publications)
Full rules of the composition competition for young composers and an entry form may be downloaded below:
• Competition Rules
• Entry Form

Entry forms for UK entries can be obtained by post, enclosing a stamped (93p) C5 envelope, from:
The Sanders Society,
144 Tuffley Avenue,
Gloucester
GL1 5NS
Overseas applicants please contact info@sanderssociety.org.uk.


Web Site:www.sanderssociety.org.uk/Comp...

 College Light Opera Company
Summary:Opera opportunity
Deadline: None
Date Posted: 12 July 2017
Details: New Works Initiative
The College Light Opera Company is seeking submissions for its 2018 New Works Initiative as part of its 50th jubilee celebrations. The winning one-act piece will be selected by a committee of judges. The winner of this competition will be awarded a prize of $2,000 and production of the new work as part of the 2018 festival season. The prize and production are contingent on the composer and librettist agreeing to the terms of the agreement. The CLOC New Works Initiative is intended to support emerging composer-lyricist teams.

Competition Rules
There is no entry fee. Please follow these guidelines in preparing your manuscript:

1. This contest is restricted to music-theatre works written in the English language.
2. Each composer and lyricist team may submit only one piece.
3. Submissions must be original, unpublished one-act operettas or music-theatre works written in English. Translations, and children’s operas are not accepted.
4. Works that have been professionally produced, published or had a workshop, concert or non-professional production are not eligible.
5. Works may not be under option, commissioned, or scheduled for professional production or publication at the time of submission.
6. Works must be submitted digitally in PDF format as well as using MIDI or equivalent format.
7. Works must utilize the full CLOC orchestra: 1 flute (doubles piccolo), 1 oboe (doubles english horn), 2 clarinets (doubles E-flat and/or bass clarinet), 1 bassoon, 2 horns, 2 trumpets, 1 trombone, 1percussion (drum set, timpani, etc.), 4 violins, 1 viola, 1 cello, 1 double bass, possible piano (note: we are an acoustic house and do not normally use synthesizers)
8. Works must utilize the full CLOC ensemble of 16 women and 16 men, include a solid balance of male and female roles and provide a strong and active role for the chorus. All principals must be drawn from this group of performers.
9. Works must not exceed 60 minutes in length and should be an appropriate piece to be used as a curtain-raiser for a Gilbert and Sullivan or other English light operetta.
10. The CLOC New Works Initiative reserves the right to reject any manuscript for any reason.

Web Site:www.collegelightoperacompany.c...

 3rd Keuris Composers Contest 2018
Summary:Orchestra and ensemble competition
Deadline: 01 February 2018
Date Posted: 12 July 2017
Details: The 3rd Keuris Composers Contest invites composers of all nationalities and ages to participate with compositions for youth symphony orchestra and ensemble (violin, cello and piano). The compositions should be challenging, but accessible and playable for the youth. All participating compositions will be anonymously judged. Six nominated pieces will be performed by Amersfoort Youth Orchestra and Keuris Ensemble during the Final Concert on 12 May 2018 in Flint, Amersfoort (Keuris' place of birth), The Netherlands. http://bit.ly/keuris3

6 Prizes of total € 5000, -
Web Site:www.keuriscompetition.com/

 All Score Illinois
Summary:String Quartet Competition
Deadline: 01 February 2018
Date Posted: 05 July 2017
Details: All Score Illinois is happy to announce TWO calls for works from composers in Illinois (Both with NO fees):

1. For all aspiring composers in Illinois not currently enrolled in a composition program (Due February 1, 2018):
Works for String Quartet (two violins, viola, cello), sub-groupings of those instruments, or fixed or live electroacoustic works (stereo only) will be selected for a performance at University of Illinois in late February 2018. (Pieces should have a maximum duration of about five minutes). As part of the performance, Champaign-based Fourth Street Records will record the pieces for the composers.
Email your score and parts (or audio for the electroacoustic works) to allscoreillinois@gmail.com and fill out the Statewide Call for Works entry form:
https://goo.gl/forms/INlSPWcABPiiw33F3

2. For University of Illinois undergraduates, undergraduate alumni and Illinois Youth Summer Music attendees (Due September 15, 2017):
Works for String Quartet (two violins, viola, cello) or sub-groupings of those four instruments. (Pieces should have a maximum duration of about five minutes).
Works chosen will be performed during outreach concerts in Fall 2017 and composers will receive a recording of its performance.

Email your score and parts to allscoreillinois@gmail.com and fill out the undegraduate/ISYM entry form: https://goo.gl/forms/z0ZJSzaprVlRVwv72
Web Site:www.facebook.com/AllScoreIllin...

 8SW Composer Competition
Summary:Chamber trio competition
Deadline: 12 January 2018
Date Posted: 21 June 2017
Details: We are very pleased to be holding the first 8SW Composer Competition.

Below you will find a detailed description of the guidelines, eligibility and submission requirements. Please note that applications will not be accepted before September 15, 2017.

Please direct all questions to Ms. Katherine Liu, Program Manager at 8SWcompetition@gmail.com. Please do not direct any questions regarding the competition through our contact link on this website.

8SW Composer Competition General Information

All applications and supporting materials will be accepted beginning September 15, 2017. All submissions, including the application fee, must be received by 11:59PM on January 12, 2018.

Eligibility and Description: The Competition is open to composers of all ages, but applicants must be enrolled in an accredited degree program at the time of application. Eligible programs include BM, BA, MM, MA, DMA, PHD or Artist Diploma.

FIRST PRIZE: Eight Strings & a Whistle will perform the New York Premiere of the winning composer's work in the Fall of 2018. The winning entrant will also receive a working rehearsal with Eight Strings & a Whistle, a feature on the Eight Strings & a Whistle website and a stipend of $300 to help defer travel expenses.

Scores and mp3’s should be emailed to 8SWcompetition@gmail.com as detailed below. Materials will not be accepted before September 15th.

The winner will be announced in May, 2018.

All applications will be adjudicated by a panel of composers and the members of Eight Strings & a Whistle. The decision of the judges is final.

Guidelines

The work may not have already received a professional premiere.

Proposed length: Total time between 6-15 minutes. The piece can be a multi- or single-movement work.

Entries must be written for flute viola and cello. In the writing for the flute, the composition must include C flute, either alone or in the following combinations: flute/ alto flute; flute/ piccolo; flute/ alto flute/ piccolo.

There can be no incorporation of electronics.

Only one submission per applicant.

One application fee of $11.00.

Competition Rules

Applications and supporting materials will be accepted beginning on September 15, 2017.

All applicants must submit:

I. Scores: The Score with no identifying markings in either the file or file name. This includes pseudonyms, dedications and commissioner names.

Scores must be created in Finale, Sibelius or some other type of of music entry software program. No handwritten scores will be accepted.

All scores must be in .pdf file format. Multiple movement scores should be submitted as a single .pdf file.

II. Recordings. Live or MIDI recordings must accompany each application. All recordings should be submitted as mp3 files. Recordings of multiple movement works should be submitted as a single mp3 file.

Recordings may not contain any identifying markings. This includes names of performers and composers in the file name as well as the metadata. If the recording is of a live performance, names of performers or composer cannot be heard/spoken on the recording.

III. Application Form: All applicants will complete the online application form. (link will be posted here on 9/15/17)

IV. Applications will not be considered complete until the $11 application fee has been submitted. Please submit payment here.

All questions should be directed to Ms. Katherine Liu, Project Manager at 8SWcompetition@gmail.com.
Web Site:eightstringsandawhistle.com/8s...

 2018 Composition Competition–Clarinet Quartet
Summary:Quartet competition
Deadline: 20 December 2017
Date Posted: 21 June 2017
Details: The ICA seeks previously unperformed works for clarinet quartet (3 B-flat clarinets and B-flat bass clarinet), 10-15 min. in length. The deadline is December 20, 2017; the winner will receive a $1000 prize and a performance of the work at ClarinetFest 2018.

For details, please contact Antonio Faioli, coordinator.

2018 Composition Competition–Clarinet Quartet

Antonio Fraioli, Coordinator Email: antonio.fraioli@libero.it

Eligibility: The competition is open to composers, clarinetists, and musicians who desire to further the repertoire of the clarinet quartet with an original composition.

Application:

1. Items must be received by December 20, 2017.

2. Applicants should email the Competition Coordinator, Antonio Fraioli and ask for a Dropbox “File Request” link. Upon receipt of this link, applicant will upload related files

3. The subject line for all email communication should read “ICA Composition Competition” followed by the applicant’s full name.

4. Scores must be submitted electronically (PDF only) WITHOUT the applicant’s name or any identifying information on the score or in the filename. Scores must be submitted to the “File Request” Dropbox link obtained from the coordinator in item 2.

5. In a separate PDF document, include contact information (name, address, phone, website, and email), a short bio (100 words or less) and name of submitted work(s). Include the applicant’s name in document filename. (this information will not be viewed by the jury).

6. A midi recording in .mp3 format or a clarinet quartet recording in .mp3 format may be submitted.

Contest Rules

Application fee: $25 US. Make amount payable to the “International Clarinet Association” in U.S. currency by bank check, money order, or credit card only. If paying by credit card, please use the credit card payment form. The application fee is non-refundable.
The 2018 Composition Competition call is for a work 10-15 minutes in length, scored for 3 B-flat clarinets and B-flat bass clarinet. The submitted work must have no prior performances.
Judging

A committee having no knowledge of the applicant will conduct the judging of scores and parts. Do not include any identification on the scores and on the .mp3 realization. The winner will be notified via email by January 31, 2018. The winning composition will receive a world premiere performance during ClarinetFest® 2018, July 6-11, 2018, in Ostend, Belgium. Travel expenses will be the responsibility of the winner. Free registration at ClarinetFest® 2018 will be provided. If the winner is a clarinetist, he/she must be a member of the I.C.A. Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. The ICA will provide the clarinetists for the premiere performance.

All scores and parts will become the property of the ICA Research Center at the University of Maryland Performing Arts Library and will not be returned.

$1,000 Prize

The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.
Web Site:clarinet.org/competitions/2017...

 Call for Works for Solo Recorder
Summary:Solo recorder works
Deadline: None
Date Posted: 21 June 2017
Details: Kethryn Bennetts is looking for pieces for solo recorder for an ongoing concert series starting Oct 2017. Can involve microtonality, especially quarter-tones and fixed media, preferably for one performer but other instrumental combinations can be considered.

E: kathrynbennetts@mac.com
WEB: www.bennettsbowman.org.uk
Web Site:www.bennettsbowman.org.uk/

 SOUND LAUNCH
Summary:Composition Courses
Deadline: None
Date Posted: 14 June 2017
Details: SOUND LAUNCH provides tailor-made courses and projects in performance, composition, technology and the music business. These are run by professional and qualified tutors.

In the courses musicians are given the opportunity to improvise & jam, compose, arrange, write & co-write; whilst being infused with an awareness of different musical styles, genres and tastes & obtaining a fully accredited qualification.

Its nurturing arena is the perfect setting in which to explore and challenge personal creativity & confidence, as well as refining performance techniques and stage presence, through regular playing and gigs. The recording sessions offer the ultimate experience and an unmissable opportunity in which to fuse all the effort and achievements that have been made during the various courses.

It is an invaluable space to collaborate & meet with other like minded musicians, working hard but having fun!

SoundCheck
Jam, Improvise & Compose with Melody, Harmony & Rhythm Experts. An essential guide for all performers & songwriters.

Rising Artists’ Platform (RAP)
Weekly courses held at Schools, Colleges & Music Centres. In Songwriting, Performance & Music Technology with live Recording Experiences and Gigs.

Development of Recording Artists (DORA) Age 15+
Weekly Courses & Masterclasses in Performance, Songwriting, Recording & Media. With Recording Sessions, Gigs & Festivals and Media Live Lounge sessions. The Perfect Platform to Launch From & Become a Well Informed, Fully Equipped & Supported Artist.

Media Live Lounge Be Filmed, Photographed & Recorded for your Media Channels. Refine Your Stage Presence & Confidence, Air Your Music on Radio & Learn How to Interview, Present Yourself, & Market Your Music.

Recording Studio Experiences Production and Sound Engineering. Mixing, Mastering & Mic Positioning. Build A Studio.

• Banners/Backdrops & Album Art Workshop

• Training, Mentoring & Apprenticeships

• The Music Dr - How to survive & support yourself
• in the Music Industry

• Voice Coaching

• One to One Consultancy available
Web Site:www.soundlaunch.co.uk/music-co...

 Bromley Symphony Orchestra
Summary:Orchestra Competition
Deadline: 24 March 2018
Date Posted: 17 May 2017
Details: The BSO committee is seeking a new work for full orchestra to celebrate our 100th anniversary. (Works previously performed in concert will not be considered.) The adjudicator will be Professor Robert Saxton, whose decision will be final. He will choose the winners from the top three finalists, as voted on by the orchestra.

The winner, who must be a UK resident, will receive £1500. The winning work will receive its first public performance in our 2018-2019 season (concert planned for March 2019). The second prize will be £500. The committee reserves the right to select additional works for performance and may assign additional prize money for this purpose.

The work must be ‘celebratory’ in nature, no longer than 12 minutes in duration and composed for symphony orchestra including triple wind (with normal doublings available). Please limit percussion to a maximum of three players, and check with us at the email address below before including unusual instruments, electronics etc. For level of difficulty, composers should be guided by excerpts on our website.

Scores must be submitted by 24th March 2018. Electronic realisations may be appended. Shortlisted works will require parts prepared and printed for a workshop in June 2018. The recording made of each of the finalist’s works at the end of the event will be sent to the finalists, but the rights will remain with the Bromley Symphony Orchestra. At the workshop final, our playing members will vote on the shortlisted works, so it is crucial that parts be prepared to a high standard, including rehearsal marks and/or bar numbers. The works will be judged on musical merit as well as on practicality of performance. They will all be conducted on the day by our conductor, Adrian Brown.

Scores may be submitted from our contact form, by email (PDF attachment) to competition (at) bromleysymphony.org or by post to PO Box 1065, Bromley BR1 9QD.

Please include contact details (name, email and phone number), a brief biography and a programme note for your work. However, personal details must not appear on the score or parts, as the works will be judged anonymously.

Web Site:www.bromleysymphony.org

 7th Harerubeke International Composition Competition (International Composition Competition Harelbeke)
Summary:Wind Orchestra Competition
Deadline: 01 April 2018
Date Posted: 10 May 2017
Details: For the seventh time, the International Composition Competition Harelbeke will be organized in Harelbeke (Belgium). The aim of this competition is to encourage talented composers to integrate the achievements of contemporary music and current composition techniques into wind orchestra compositions.

Contemporary music, more specifically in the sector of music for wind and percussion instruments, deserves permanent backing. As town council, our aim is to motivate composers and performers and to provide a window onto the world. Building a musical bridge between international communities is essential for the future of mankind. This competition contributes to this goal.

A unique feature of this competition is that the works of the three finalists will be performed live by the wind orchestra Koninklijk Harmonieorkest Vooruit Harelbeke.

General provisions

1. The competition is open to composers of all ages and from all countries.

2. Each composer can enter only two works.

3. The duration of the work must be between 15 and 25 minutes (to be stated on the score).

4. The submitted works must be original in every respect: only unpublished works that have never been performed in public nor broadcast on radio or television and that have never won a prize at any national or international competition will be accepted. Adaptations of existing compositions or rearrangements or re-orchestrations of known tunes or folk songs will be rejected.

5. Only music compositions for wind orchestra will be accepted. Works for brass band or chamber music groups will not be accepted.

6. Compositions using electronics will not be accepted.

7. As the three shortlisted compositions will be performed live during the final, the orchestration of the work must not exceed the following instrumentation:

Piccolo; Flute 1&2; Oboe 1&2; English horn; Clarinet Eb; Clarinet Bb 1,2&3; Bass Clarinet Bb; Contra-Alto Clarinet Eb; Contrabass Clarinet Bb;

Soprano Saxophone; Alto Saxophone 1&2; Tenor Saxophone; Baritone Saxophone; Bassoon 1&2; Contrabassoon;

Cornet Bb 1&2; Trumpet Bb 1,2&3; French Horn F 1&2, 3&4; Tenor Trombone 1&2; Bass Trombone; Euphonium Bb; Tuba C;

Double bass;

Timpani; Percussion (max. 6 parts);

Piano; Harp

The works will be performed by an orchestra from Harelbeke with this instrumentation.

8. The score must bear a title and a pseudonym instead of the composer’s name. The submitted score must be accompanied by a scanned application form and a signed declaration of authenticity. The application form can be downloaded from the competition’s website: www.icch.be

9. The name of the composer must not appear anywhere on the score. Nor may the score contain any details that might lead to the identification of the composer.

10. The score should meet the following requirements: (1) realized in digital format (music notation software) and (2) submitted in PDF-format by uploading it onto the website www.icch.be

11. The composer must also include a short written preface to explain the work. If the composer has used an alternative music notation system, it must also be explained.

12. The jury reserves the right not to award all three prizes if the desired level is not reached.

13. The organization will preserve two copies of the score: (1) to be kept in the archive of the competition in Harelbeke, (2) to be kept in the music library of MATRIX in Leuven (http://www.matrix-new-music.be/).

14. The jury will announce the finalists on Monday 16 April 2018.

15. The finalists will be asked to attend a rehearsal with the orchestra on the day before the final. This rehearsal will take place in the presence of the jury members. Each finalist will have one hour to work with the orchestra. Travel expenses will be reimbursed by the organization. Hotel and subsistence expenses however must be borne by the composer.

16. If a prize-winning composer decides to have his work published by a music score publisher, the score must carry the words: with this work the composer was a finalist at the 6th International Composition Competition Harelbeke (Belgium).

17. If one of the finalists is disqualified, another candidate will be selected to take his or her place.

18. The jury’s decisions are final.

19. Entries submitted after the deadline will not be accepted

20. By entering the competition the candidate accepts the competition rules.

Entry to the competition
1. The competition is open to composers of all ages and from all countries. Each composer can enter only two works.

2. All inscriptions are done using the website www.icch.be

3. The submitted score must be accompanied by a scanned application form and a signed declaration of authenticity. The application form can be downloaded from the competition’s website: www.icch.be

Web Site:www.icch.be

 Musicians (incl. composer) and electronic programmer wanted, Billie Ray Martin
Summary:Set play to music
Deadline: 01 January 2018
Date Posted: 19 April 2017
Details: Closes: 1st January 2018
Location: London
Type: Part time (volunteer)
Salary: Unpaid

Jazz or Classically trained musicians as well as electronic programmers for ‘strange’ music project wanted.

We am looking for a rhodes player and someone who plays ‘weird’ instruments like Ondes Martenod for writing new songs for a new album and with a view to recording an album and performing the pieces live.

The style will be stripped down songs, emotional, moody, soulful but ‘weird’.

For reference please check on youtube:

‘Please forgive my heart’ played live by Bobby Womack and Damon Albarn

and:

Thom Yorke (Radiohead) Cymbal Rush (live)

Other influences to be explored are French chansons of the 60’s and all kinds of strange stuff – there is no limit.

There is also a play set to music I’m working on and again I’ll be looking for co-composers/arrangers etc. More in person.

PS. If you’re not trained but simply mad, that’s good too.

Me:

www.billieraymartin.com

Please contact: alexis.colby@hotmail.co.uk

Please don't get in touch if you do a zillion other things and really don't have time for a committed collaboration.
Email:alexis.colby@hotmail.co.uk

 Works for baritone (voice) and piano or organ for church use
Summary:Voice works required
Deadline: None
Date Posted: 22 February 2017
Details: I am the bass section leader at First Presbyterian Church in Bonita Springs, FL. I am looking for repertoire to perform as a part of church services as introits or offertories. Works should be at least two minutes long, set a sacred English text (Biblical or a sacred poem, etc.), and be scored for baritone singer with piano or organ. Texts can be general Christian texts or specific to the church calendar (Lent, Advent, etc.). Single movements from larger works are welcome. The Biblical Songs (Op. 99) of Dvorak are a good guide for the type of thing I am looking for in terms of subject matter, but I welcome a variety of harmonic languages (tonal, post-tonal, etc.).

Please send a PDF file of scores and link to recordings (if available) to bahrline@yahoo.com.

I perform at least one solo a month, so I am looking for works continually. If chosen I will provide you with a recording and bulletin from that weeks service. Depending on the season and church schedule, I a may perform the work on 1-3 services in a given weekend.
Email:bahrline@yahoo.com

 RIX ANNELIE DE MAN 2018
Summary:Keyboard Competition
Deadline: 01 January 2018
Date Posted: 08 February 2017
Details: Rules for Composers

Application deadline: 01 January 2018

There is no age limit and no entrance fee. The competition is for composers from all nationalities.
In the composition the harpsichord should have the principal role. The duration should not exceed 10 minutes.

Prizes

1st prize composers competition: € 2500 2nd prize composers competition: € 1000
Black Pencil prize: t.b.a.
Audience prize: t.b.a.

Additional prizes will be considered

Setting

Harpsichord in chamber music settings is the preferred instrumentation. However, solo harpsichord pieces will be also considered.

We encourage the combination of harpsichord with the instruments available in the Orgelpark, please see: www.orgelpark.nl.

We encourage composers to use the instruments of the Black Pencil ensemble for their harpsichord compositions: recorder (blockflute), panflute, viola, accordion and percussion. Please see www.instrumentalways.com

The harpsichord may be combined with other instruments, electronics, video and/or theatrical elements. The Annelie de Man Foundation will guarantee a live performance with an ensemble not exceeding more than 6 musicians (harpsichordist included).

Black Pencil – Ensemble in Residence

Black Pencil will be ensemble in residence in the 2018 edition of the Prix. It means that you can count on the expertise of the virtuoso members of Black Pencil for writing new compositions, making use of the instrumentation of the ensemble.

Jorge Isaac – Recorder (blockflute), Artistic Director Matthijs Koene – Panflute
Esra Pehlivanli – Viola
Marko Kassl – Accordion
Enric Monfort – Percussion
Please check www.BlackPencil.org
The Black Pencil Prize will be awarded to new compositions making use of the full instrumentation of the ensemble together with harpsichord.

Application

Candidates should supply:
- A biography (in English) and recent photo of the composer
- The score of the piece, together with the necessary performance instructions - If possible a recording (aiff, wav or mp3 format), or a video file from a live performance. Midi is also accepted
- Use your real name (pseudonym is not needed)
- A composer can submit more than one composition

Please send your entry to: prix@admf.nl. Your entry must be both in: - Pdf
- Mp3

Jury

Guus Janssen (http://www.guusjanssen.com) Wim Hendrickx (http://www.wimhenderickx.com) Roderik de Man (http://www.roderikdeman.com) and an organist to be selected by the Orgelpark

The jury will choose 3 works to be performed from which the winning composition will be selected. We reserve the right to make necessary changes.

Please understand that the PRIX receives many applications. Send the information about the compositions as clearly as possible. Thank you!
Web Site:www.admf.nl/NL/competition.htm...

 An Opportunity for New Music
Summary:Performance Opportunity
Deadline: 01 January 2018
Date Posted: 10 January 2017
Details: This year I am starting a new project geared toward promoting new repertoire for trumpet. My plan is to produce a video of one brand new piece for trumpet and piano each month, making digital downloads of the sheet music available for sale through my website as each video is released. What I'm looking for is classical works for trumpet and piano. These can be any length, any style, any difficulty level, whatever inspires you most, but I'm looking specifically for works that have never been performed or recorded before!

I have the first 3 months worth of pieces chosen already but if I'm going to be able to carry this on in the future obviously I will need many more pieces!

Submitting a piece does not guarantee that I will select it for performance, but if I do select your piece I will let you know which month the video will be premiering and 50% of any sales of the music will go to you!

Thanks for considering being a part of this. I know this is a lofty goal but I'm really looking forward to this project and hopefully with your help it will work to bring more attention to new music and create a broad library of new repertoire for the trumpet over the coming years!

If you have questions or would like to submit a work you can reach me at newtrumpetmusic@gmail.com

Thanks!
Web Site:www.michaelbrest.com/composers
Email:newtrumpetmusic@gmail.com

 Soundfly's new online course with Tim Hansen teaches you the fundamentals of Composition
Summary:Composition Course
Deadline: None
Date Posted: 16 November 2016
Details: SOUNDFLY'S NEW COURSE TEACHES YOU THE FUNDAMENTALS OF MUSIC COMPOSITION & DEEPENS YOUR UNDERSTANDING OF EMPLOYING THEORYhttps://soundfly.com/courses/introduction-to-the-composers-craftUse code: SOUNDANDMUSIC for 20% off!As a composer, there are many different tools in your tool belt that can bring interest and originality to your music. You can use time signatures to add complexity, tonality to add emotional pull, rhythm to add drive, or something else to create some other unique dynamic. This course will take you through the essential elements of modern composing. Led by Australian composer Tim Hansen, you'll explore the beat, time signatures, rhythm, tonality, timbre, texture, and structure, with key examples to demonstrate along the way. By the end of this course, you'll be able to employee these tools more effectively in your compositions.This one-of-a-kind month-long course combines fun instructional videos, step-by-step guides, downloadable resources, and professional support and feedback to help you unlock your vision for notated music. You'll have the opportunity to get personal mentorship and consulting from an industry expert, as well as access to a revolving-door community of fellow students and advisors. Now who's ready to get composing?
Web Site:soundfly.com/courses/introduct...

 Andrew S. Way Music Foundation
Summary:Funding Opportunity
Deadline: None
Date Posted: 31 August 2016
Details: The Andrew S. Way Music Foundation is committed to the composition, education, and performance of new music. The process by which this is achieved has two major components: first the grant selects composers to write new music (for a school or organization), then music educators apply for the opportunity to perform the music with their ensembles in live concert. When the two are matched, the foundation will also help facilitate and encourage communication between the composer, the educator, and the ensemble. Currently accepting all applicants from the Bay Area.

The Andrew S. Way Foundation welcomes composer and school/organization applicants from all walks of life and musical paths, and is dedicated to supporting all types of music.
Web Site:aswaymusicfoundation.org/appli...

 New Music Message Board
Summary:Opportunity to connect with performers
Deadline: None
Date Posted: 31 August 2016
Details: This is a new group dedicated to connecting composers of new works with performers of new music. Composers can post whatever they feel comfortable. Performers can search for the desired instrumentation with the search tool, and hopefully curate some performances. Please don't hesitate to post as many works as you would like.

The group is in the formative stages, and will hopefully grow from a Facebook group to a professional website and online community. So, please share the group with anyone who may be interested from anywhere in the world!!
Aaron
Web Site:www.facebook.com/groups/939142...

 BBC Introducing
Summary:Showcase Opportunity
Deadline: None
Date Posted: 12 April 2016
Details: Whether you’re a performer or composer writing music under any classical style BBC Introducing is a fantastic platform to get involved with. Introducing has been supporting unsigned, undiscovered and under the radar since 2007, giving new UK artists a chance to get their music out to new fans. To date the Uploader has had from over 150,000 artists and have seen many of them go on to achieve fantastic milestones in their career from recording a session at Maida Vale to headlining Glastonbury!With BBC Introducing the process is simple; you go to www.bbc.co.uk/introducing and share your music via the BBC Introducing Uploader. A team of presenters and producers here at Radio 3 will then listen to your music and choose a selection of the best compositions and performances to play on the station.From performing at a BBC showcase to being approached by other composers and writers, there are lots of opportunities that could you could send your music to us via the BBC Uploader and, in some cases, be played on the radio just hours later. If you’re an emerging musician and looking for new opportunities then head over to the bbc.co.uk/introducing for opportunities on Radio 3 and beyond.
Web Site:www.bbc.co.uk/programmes/p010j...

 Sorodha Composition Competition 2016: String quartet
Summary:String Quartet Call
Deadline: None
Date Posted: 04 November 2015
Details: Sorodha is proud to announce the fifth edition of its annual composition competition.

For this festive edition, we welcome compositions for string quartet and have the utmost pleasure to be able to work with the Tana String Quartet on this occasion. Their leader, Antoine Maisonhaute, was one of our judges last year, and this year they all join us as performers.

The submission deadline is Monday 29th of February 2016, and the entry fee is € 10,00.

The jury will select five works, which will be executed at a public concert on Saturday 23rd of April 2016 by the Tana String Quartet, after which the jury will award two prizes (€ 1,000.00 and € 500.00).

The winning piece will be performed by the Tana String Quartet at the Académie du Festival d'Aix-en-Provence on the 20th of July, 2016 (details forthcoming).

Please keep following checklist in mind before sending us your score:
• is your work written for string quartet (2 violins, viola, cello; no electronics, either)?
• was it originally written for string quartet?
• has is not been performed, broadcasted or prized in another competition before?
• is your score anonymous?
• will we be able to tell it apart from the others based on the title only? Ok, then; otherwise please add a motto, code or other distinctive sign.
• is it formatted as PDF file and A4 pages?
• does your second PDF file contain all the necessary data?
• has the entry fee been paid by PayPal (an extra € 1 will be charged to cover the transfer costs)?
• have you checked the time zone if filing on the last day before the deadline from elsewhere than Western Europe?

Please take notice of the fact that we cannot accept submissions by regular mail, only by email!


Web Site:www.sorodha.be/EN/contest.php

 DALLAS SONGWRITERS ASSOCIATION SONG CONTEST
Summary:Song Writing
Deadline: None
Date Posted: 27 August 2015
Details: How can I enter?

It’s easy! You can enter online at any of these sponsoring sites: Broadjam or on the DSA website or download an entry form here and print out, and mail your entries to:

Dallas Songwriters Association (DSA)
2011 Song Contest Director
Sammons Center for the Arts
3630 Harry Hines Boulevard #20
Dallas, TX 75219

How much is the entry fee?

$25 each entry. Please note EACH entry must have an accompanying form sheet. If you are a member of DSA or plan to join, you can get a $5 discount off your membership or renewal for each song contest entry. To join DSA or renew your membership, go to dallassongwriters.org. We’d love to have you as a member!

Who owns the songs I enter?

You do! You retain all rights.

What has to be on the lyric sheet?

The song Title and Category appear at the top of the sheet. Your lyrics, marked with “Verse” “Chorus” etc., follow the Title. For a sample, click here. Do not write your name on the lyric sheet or on the outside of the CD case -- simply fold your lyric sheet white-side out (so that the back side shows) and legibly write the song Title and Category on the back of the lyric sheet, and place it inside the CD case so that the song Title and Category show through the CD case.

If I don’t write my name on my lyric sheet, how do you know which one is mine?

Song Contest staff keeps track of which name goes with which song – all names are withheld from the judges so that the judges can select the winners with the highest level of fairness possible. Once the judges select the semifinalists and winners, the song contest staff reveals the names of the winning artists.
Web Site:faqdsasongcontest.blogspot.co....

 CALL FOR SCORES 2015 – Cello and Contrabass
Summary:Electroacoustic Call
Deadline: None
Date Posted: 20 May 2015
Details: 1. Call for Narrator/Speaker/Vocalist/Actor plus Electronic Music Scores (performer and "tape")

2. Call for "tape" pieces that have explicit political meaning

Narrator/Speaker/Vocalist/Actor plus Electronic Music Scores (performer and "tape")

Composer/performer Rodney Waschka II is looking for works for narrator or actor or speaker and electronic music fixed on two channels. Works will be considered for performance on the Arts NOW Series and elsewhere. You can read a review (http://www.cvnc.org/reviews/2009/022009/ArtsNow.html) by the Classical Voice of North Carolina of a concert of this type of music performed in February, 2009. Waschka has performed works by Alden Jenks, Pertti Jalava, Mansoor Hosseini, Stephen Pope, Allen Strange, Pauline Oliveros, Mara Helmuth, and others.

If you have composed such a piece or are interested in composing such a work, please contract me.

"Tape" pieces that have explicit political meaning

Pieces of this type are needed for programming for the Arts NOW Series.

Please contact me if you have a piece that you think might be appropriate.

Thanks.
Web Site:www.waschka.info/call_for_scor...

 Sarasota Opera Request For Submission of New Youth Works
Summary:Opera for Young People
Deadline: None
Date Posted: 15 April 2015
Details: Sarasota Opera is pleased to invite composers to submit works for a new opera for possible production in November 2017 by Sarasota Youth Opera, one of the most comprehensive programs in the United States.

This invitation is open to any living composer or librettist, of any age, who is a United States citizen.

The submission deadline is Wednesday, September 30, 2015, at 5 pm.

Click HERE to download submission form

About Sarasota Youth Opera:

Since 1984, Sarasota Youth Opera (SYO) has given young people age 8 to 18 an opportunity to experience the magic of opera through participation in after-school choruses, Sarasota Opera mainstage productions, summer workshops, and the Youth Opera's own full-scale productions.

Regarded as a leader in the commissioning and producing of works for young voices, SYO is the only program in the United States committed to presenting annual, full-scale opera productions for young voices with professional musicians, direction, and costume and scenic design.

Since 1986, five commissioned world premieres and over 20 additional youth opera productions have been presented. Past commissions include:

2012 Little Nemo in Slumberland (music by Daron Hagen, libretto by J.D. McClatchy)
2004 The Language of Birds (music by John Kennedy, libretto by Peter Krask)
1998 Eye of Ra (music by Tom Suta, libretto by Diana Colson)
1993 Her Lightness (music and libretto by Polly Pen)
1989 Deadline

Our most recent commission, Little Nemo in Slumberland, featured over 106 young people and used a ground-breaking projection technology called SCRIBE (Self-Contained Rapidly Integratable Background Environment) to bring Winsor McCay’s comic strips to life. Since it’s 2012 premiere, Little Nemo in Slumberland has been performed by The University of Kentucky Opera Theatre, Tulsa Youth Opera, La Sierra University, and Pittsburgh High School for the Performing Arts.

In November 2014, SYO presented Dean Burry’s The Hobbit. Based on the writings of J.R.R. Tolkien, this classic adventure was brought to life with a cast of over 95 young people and 12 professional musicians on the stage of the Sarasota Opera House.

Both Little Nemo in Slumberland and The Hobbit performed to sold-out audiences.

Basics:

-English Libretto
-60 minutes of playing time. One Intermission optional.
-10 to 15 solo youth roles in treble voice
-Optional 1 to 3 adult players. Adults may portray more than one character.
-SSAB youth chorus ensemble that is featured predominately throughout the work
-Chamber orchestration of no more than 13 instruments, may include piano
-Roles with specific physical requirements are best avoided
-Entirely sung (minimal spoken narration or dialog optional)

Aesthetics:

"Sarasota Opera is dedicated to performing classic works of opera in a manner that is true to the composer’s intentions. In the years that we have been doing productions with our Youth Opera, I have found there are few works of substantial musical value for young people to perform. In our desire to increase the repertoire we are looking for music that is rooted in the classic music style, reflecting how that music is written today without the influence of other genres such musical theater, jazz or other popular idioms.

"The Youth Opera was begun as a way to get young people interested in art music. The works we are looking for should help achieve that goal and be musically sophisticated enough to appeal to adults while still accessible to children."

--Maestro Victor DeRenzi
Artistic Director, Sarasota Opera

Guidelines:

-Copyright clearance must obtained prior to entry
-Submissions must be unpublished works not currently accepted by a publisher for publication or rental
-Works may have been workshopped, but should not have received a premiere performance
-Works should show an awareness of the practical realities of rehearsal and performance
-Sarasota Opera will hold the rights for the premiere performances and one subsequent production

Submission:

-Piano-Vocal format
-Minimum 30% complete (approximately 20 minutes of music)
-Submission must include at least one (1) chorus ensemble number
-Each composer may submit up to three (3) works
-Manuscripts should be legible if hand-written

Submission should include:
-Submission Form
-Letter of Introduction
-Resume
-PDF of PV and Libretto
-Each score must have a title page containing characters, voice types, and brief synopsis for proposed work
-If submitted in hard copy, please include a self-addressed stamped envelope for return
-Inclusion of a recording of work-shopped scenes, full opera, or midi recording is optional

If no entry is deemed appropriate, the panel reserves the right to not make a selection and no fee will be awarded.

Submissions May Be Sent To:

Sarasota Opera
New Youth Works Submission
61 N. Pineapple Avenue
Sarasota, FL 34236

youthopera@sarasotaopera.org

Materials may be submitted electronically via this Dropbox link: Submit Materials.

If submitting electronically, please include “Composer Last Name, Composer First Name” at the beginning of each file name (eg: "Doe_Jane_Opera_Title").

Timeline:

September 2015 Submission Deadline
December 2015 Finalists Announced
May 2016 Finalists Submitted Completed PV
August 2016 Final Selection(s) Announced – Winner(s) Complete Orchestration
November 2017 Premiere Production

Fee:

Composer $15,000
Librettist $10,000
Composer/Librettist (wrote both) $20,000
Web Site:www.sarasotaopera.org/Request_...

 School of Music of Azusa Pacific University and J.W.Pepper Music
Summary:High School Competition
Deadline: None
Date Posted: 11 March 2015
Details: This High School Composition Contest is offered jointly by the School of Music of Azusa Pacific University and J.W.Pepper Music. It’s intent is to encourage the composition by high school students of high quality music that is accessible to reasonably well-developed high school music ensembles and performers. While this is the first year of the Contest, it is intended that it be an annual event.

The prizes for the winning composition in each category are:

1) $1000 cash

2) Public performance and recording by the appropriate Azusa Pacific University music ensemble.

3) Consideration for publication by J.W.Peppers publishing arm, Wingert-Jones Publications.

4) A complimentary subscription for J.W.Pepper’s My Score® self-publishing platform, valued at $99.

There are five categories of music being sought for the Contest. They are listed below, along with the length limitations for each category.

1) Orchestra 5 to 8 minutes

2) Choral 4 to 6 minutes

3) Wind Ensemble 5 to 8 minutes

4) Jazz Ensemble 5 to 8 minutes

5) Chamber 5 to 8 minutes

Plan to submit a properly notated score and demo recording. The winner in any category will be expected to provide clear, readable parts for the appropriate ensemble. Details are at the “How to Enter” tab above.

The choral composition may be accompanied or unaccompanied. It can be for mixed chorus, women’s choir, or men’s choir. Any accompaniment should be limited to piano and/or no more than two other common instruments.

The chamber composition may be for string quartet, string quintet, woodwind quintet, brass quintet, piano trio, piano quintet, guitar ensemble, guitar with bowed strings, or any common solo instrument. Other small groupings may be considered. If you would like to compose for a non-standard chamber group, it is suggested that you send email to musiccontest@apu.edu with a description of the ensemble to get approval of the ensemble for which you wish to compose.

Instrumentation for the other ensembles follows.

Orchestra:

Wind Ensemble:

Jazz Ensemble (big band):

Please see the “Contest Rules” tab above for further details, and the “How to Enter” tab for instructions about how to apply for the contest and submit your composition(s).

The contest is not yet “live.” It will be opened on April 1, 2015. After that time, questions not answered at the Contest Rules and How to Enter tabs may be directed to musiccontest@apu.edu.
Web Site:www.apumusiccontest.com/?page_...

 CALL FOR SCORES
Summary:Ongoing Chamber Call
Deadline: None
Date Posted: 04 December 2014
Details: rarescale has an ongoing call for scores and are interested in hearing from composers of all ages and nationalities. We are seeking quality chamber works for any combination of the following instruments:

flute/alto flute/bass flute (Kingma System)
oboe/cor anglais
clarinet/bass clarinet
bassoon
violin
viola
cello
piano
guitar
soprano
electronics

Please note that due to the high volume of works received we are unable to perform all the works sent to us, but we will keep details of all submissions in our database for future performance opportunities.

Please send scores and all performance materials as PDF or Sibelius 6 files to rarescalescores@gmail.com Recordings are preferable but not essential, and please bear in mind rarescale's charitable remit to promote the alto and bass flute.
Web Site:rarescale.org.uk/section468038...

 Flexible Persona
Summary:Journal seeks compositions
Deadline: None
Date Posted: 13 August 2014
Details: The Flexible Persona, a literary journal, is looking for the work of minimalist composers for our audio issues. We would feature a 10–20 second clip of your work before the story is read and then a work up to five minutes in length at the end of the broadcast with credit to you and link to your website/work. For questions or to submit links to your work, please e-mail us at: theflexiblepersona@gmail.com. Please do not send audio attachments. http://www.theflexiblepersona.com

Web Site:www.theflexiblepersona.com
Email:theflexiblepersona@gmail.com

 Duo Scordatura "Call for Scores"
Summary:Violin and Viola Duet Call for Scores
Deadline: None
Date Posted: 28 May 2014
Details: Want to have your composition performed next year?....
Yeah you do!!!

Through out the the 2014-2015 season WE will be selecting and performing new works for the Duo of violin and viola.

1. There are no guidelines or fees!!
2. Your composition must be awesome. (very very important!!!)
3. You can use scordatura tuning (but not required...read rules #1 and #2)
4. Summit compositions to us through our email address icon at top right corner
4a. include a resume/bio
4b. include PDF of composition....score and individual parts
4c. recommended to also summit any recording or midi of the piece
4d. last but not least your contact info.

Web Site:www.duoscordatura.com/call-for...

 Wild Rumpus New Music Call
Summary:Chamber Music Call
Deadline: None
Date Posted: 22 May 2014
Details: Deadline: Rolling.

Wild Rumpus is happy to consider pieces by young/emerging composers that match our instrumentation (or a subset of it) for performance by the ensemble. Our instrumentation is:

flute
clarinet
trombone
piano
percussion
electric guitar
soprano
violin
cello
double bass

Eligibility
Composers who fall under at least ONE of the following categories are eligible to apply:

(a) Composers under 40
(b) Composers of any age who are not regularly commissioned by ensembles of national or international prominence

Application Materials
For each piece, submit:

Score (PDF)
Recording (MP3) — some exceptions possible; please see our FAQ.
A bio (suitable for printing in a concert program) and resume/CV
There is no fee to apply.

Please note that this call is rolling. We’ll select pieces from the general call as needed, depending both on our interest in the piece and the logistical demands of the concert for which we’re programming.

Web Site:wildrumpusmusic.org/general-ca...

 11th Joan Guinjoan International Prize for Young Composers
Summary:Prize for ensemble
Deadline: None
Date Posted: 31 October 2012
Details: 1.The contest is open to composers of every nationality under the age of 35 at December 1st, 2012. Former winners of this award are not allowed to submit again.
2.Each participant may submit an unlimited number of works, which cannot previously have been published, premiered or commissioned. Works performed in the educational context of conservatories and schools of music will not be considered premieres.
3.The work, in a contemporary style, should be 10 to 15 minutes long.
4.The work must be written for an open formation of 6 to 15 instruments, with optional electronics, chosen from among those in an orchestra, piano, accordion, guitar, voice and typical jazz –electric guitar, bass and keyboards– instruments, “cobla” instruments, and instruments of early music: harpsichord, recorder, viola da gamba, cornet, sackbut, early bassoon and plucked string instruments. It is also possible to include a small choir of four voices (SATB, 4-4-4-4), which will be considered as four different instruments. There may not be more than two instruments the same, except for violins, for which there is a maximum of 10, violas and cellos, for which there is a maximum of 4.
5.The composer must submit six copies of the score and one registration form for each work presented. The work must be written and printed with a notation software which allows automatic extraction of parts, or the participants must commit to send the parts in case of being winners. Once the winner has been chosen, the composers may collect 5 copies of their works within one month from date of the award. One copy will remain in the archives of the School.
6.The amount of the award is 3.000 €. The chosen work will be premiered by the Escola Superior de Música de Catalunya with the option to be professionally recorded on CD by the School.
7.Apart from the winning work, the jury may decide to give honorific mentions to other works submitted which are considered of special interest. The works worthy of this distinction will be premiered together with the winning work.
8.The Escola Superior de Música de Catalunya will have publishing and distribution rights to the score, the CD or any other format of the winning work.
9.All written or audio-recorded editions of the winning work will be marked “Premi Joan Guinjoan de l’Escola Superior de Música de Catalunya, 2012”.
10.The jury will be made up of five composers chosen from the Department of Theory and Composition of the School. The names of the members of the jury will be announced once the award decision has been made public. Their decision may not be appealed. The decision will be announced before January 10th, 2013.
11.The deadline for submitting scores is December 1st, 2012.
12.The works will be submitted under pseudonym.
2nd Prize:Euro 3000
Age Limit:35
Duration:6 to 15 minutes
Web Site:www.esmuc.cat/eng/Departments/...

 C4 Ensemble
Summary:Call for choral scores
Deadline: None
Date Posted: 18 September 2012
Details: The C4 ensemble invites composers to submit scores for chorus and electronics for possible future performances. More details can be obtained from the ensemble via the link listed above.
Web Site:www.c4ensemble.org

 North/South Consonance
Summary:call for scores (various combinations)
Deadline: None
Date Posted: 20 April 2011
Details: - All composers are eligible for consideration
- Solo, chamber ensemble and chamber works up to 18 performers will be considered
- Vocalists, percussion and/or electronics are acceptable
- One work will be selected for recording on the North/South label
- $25 non-refundable fee per composition submitted required
(Checks must be negotiable through a US bank)

Complete submission guidelines posted at

http://www.northsouthmusic.org

Mail submissions to

NORTH/SOUTH CONSONANCE, INC.
P.O. Box 698 - Cathedral Station
New York, NY 10025 – 0698
USA
Web Site:www.northsouthmusic.org