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 1st International Electroacoustic and Composition Competition „eviMus“
Summary:Solo plus electronics call
Deadline: 01 July 2017
Date Posted: 22 February 2017
Details: 1. Internationaler Kompositionswettbewerb
für elektroakustische und intermediale Musik „eviMus“

1st International Electroacoustic and Composition Competition „eviMus“

The Festival eviMus (Saarbrücker Tage für elektroakustische und visuelle Musik) call for new electroacoustic works for its 1. Internationale Kompositionswettbewerb
für elektroakustische und intermediale Musik.

Work for:

flute (piccolo, C, G Alto or C bass) and electronics,

or saxophone (soprano, alto, tenor or baritone) and electronics.

Electronics: tape, live electronics, with or without video, maximum of eight channels

Duration: between 6 and max. 12 minutes.

CONDITIONS OF PARTICIPATION

The competition is open to composers of all nationalities born after 1977 (40 years old), each of whom may submit only one work, which was not commercially published or awarded a prize in any other national or international competition. The works must have been composed between 2012 and 2017. The length can be between 6 and max. 12 minutes.

The jury will award two prizes. It may also declare the deserted category or assign Honorary Mentions. The jury’s decision is final and without appeal. Any situation not covered by the rules will be managed by the jury.

Prize: 1000€ und premiere
Prize: 500€
The jury will announce the results during the 4. Saarbrücker Tage für elektroakustische und visuelle Musik – eviMus 2017.

How to apply:

All applications must be sent via DropBox or Google Drive in a single folder to the email: competition[at]evimus[dot]de.

The application must fulfill the following requirements:

-PDF or DOC with contact information, composer’s biography, nationality, date of birth and a description of the idea of your work (program notes).
-Copy of birth certificate/ID/Passport in digital format
-Recent photo in digital format
-Audio file containing a stereo version of the piece
-PDF file with the score for instrument and electronic
-Optional: Electronics (patch, tape, description, audio, etc.)
-Participating in the competition signifies for candidates accepting all the conditions of this rule. Any breach of the rules involves the elimination of the work in the contest.

Start of applications: 1st february 2017
Deadline for applications: 1st July 2017
Web Site:evimus.wordpress.com/2017/02/01/1st-international-electroacoustic-and-composition-competition-evimus/

 FilmScore Competition 2017
Summary:Film Music Competition
Deadline: 01 May 2017
Date Posted: 22 February 2017
Details: The eagerly anticipated FilmScore Competition is LIVE and this year. we're animated.

This competition is for 14 - 19 year olds to write a score for a short film. We have selected 4 shot, animated films (2 are available now, 2 more will be online soon).

Simply sign up for the competition here and follow the instructions in the email.

New this year - we are thrilled to be working with Wiltshire Music Centre, to offer new expertise and exposure to the competition.

Do please share this with 14 - 19 year olds, secondary schools, teachers, music teachers, parents, we would love your help in spreading the word.

FilmScore 2017 opens on 6th February 2017

The deadline for submissions is 1st May 2017

The shortlist will be announced on 22nd May 2017

Grand final will be held in mid-June 2017

Web Site:www.bathfilmfestival.org.uk/about/

 12th Thailand International Composers Competition
Summary:Woodwind Call for Scores
Deadline: 01 May 2017
Date Posted: 22 February 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/competition.html

 Trio Anima Mundi 2017 Composition Prize
Summary:Piano Trio Competition
Deadline: 01 September 2017
Date Posted: 22 February 2017
Details: Trio Anima Mundi (Kenji Fujimura – piano, Rochelle Ughetti – violin, Noella Yan – cello) is an international award-winning chamber music ensemble based in Melbourne, Australia. Their annual subscription series has become noted for its eclectic and diverse programming, presented by the ensemble with ‘welcome energy and persuasive authority’. Along with the standard canon of music for piano trio, Trio Anima Mundi has rediscovered many gems from the past, presenting rare performances of works by the likes of Theodore Dubois, Hermann Goetz, and Charles Stanford. Their debut CD recording of piano trios by William Hurlstone, Max d’Ollone, Dag Wiren and Miriam Hyde on the Divine Art label was a 2013 Musicweb International Recording of the Year. The seventh Trio Anima Mundi Composition Prize will be held in 2017.

REGULATIONS

Eligibility: The competition is open to living composers of all ages and nationalities. Previous winners of this competition are ineligible. Composers must submit a work for piano trio (piano, violin, cello) of 6-10 minutes duration. It may be a multi-movement work, but the total duration must not exceed the maximum of ten minutes. No electronics or amplification are permitted. The internal workings of the piano (such as string plucking) may not be used.

The submission must consist of:
- completed application form
- copy of the application fee payment receipt
- short biography (approx. 200 words)
- short programme notes about the composition (up to 200 words)
- publicity photograph; and ONE COPY EACH of:
- full score (piano) - violin part - cello part (optional: MIDI recording)

The minimum size for the score will be A4. We strongly encourage you to submit your composition score and parts as Sibelius (.sib) files (or PDF files) on a USB drive, SD card, or CD-ROM, or submit via online file transfer (such as Wetransfer). We will also accept printed submissions via post.

If a recording (e.g. MIDI) is available, it can be submitted in .wav, .mp3 or mp4 format (optional). The submitted work may not have been previously published, performed, commercially recorded or received an award from another competition. Multiple entries are permitted. However, each score must be accompanied by a separate application form and fee. The submission must be made via anonymous entry. A codename must be chosen and indicated on the application form. All scores must be marked with the codename. Scores must not have any marking which may identify the composer.

Deadline for submission: All entries must be received by 5pm Australian Eastern
Standard Time on Friday 1st September. Late submissions will not be accepted.

Application fee: AUD$40 per entry. This must be paid online by going to www.trioanimamundi.com and following the links to the composition prize.

Selection process: All submitted works will be reviewed by a jury panel, which will include members of Trio Anima Mundi. Any jury member or their students will not be able to participate in this competition.

The jury’s decision is final and may not be appealed. The jury reserve the right not to award a prize, or to share the prize.

Prize: The winning entry will receive a cash prize of AUD$1000 and its world premiere performances during the 2017 Trio Anima Mundi Series. Two performances will be made, on 29th October and 12th November, and may be recorded for future broadcast or CD. All participants must agree for their work to be performed, recorded and broadcast by Trio Anima Mundi.

Participants will not receive any fee for the premiere performances or broadcast of their work. In the event that there is more than one winner, the prize money will be shared at the discretion of Trio Anima Mundi. The prize winner(s) must agree for their name and images (e.g. photographs) to be used for publicity purposes, without remuneration, by Trio Anima Mundi.

The winner(s) of the 2017 Trio Anima Mundi Composition Prize will be notified via email and announced on the Trio Anima Mundi website (www.trioanimamundi.com) by Friday 13th October. The winner(s) will be offered a complimentary ticket and invited to attend the premiere performances. Any travel and accommodation-related costs will not be covered by Trio Anima Mundi. After the premiere performances, the composer must agree to indicate clearly in any subsequent (published or unpublished) score, recording or performance of the winning work that the work was ‘winner of 2017 Trio Anima Mundi Composition Prize’.

Return of scores: After the winner is announced, no scores will be returned unless the initial submission is accompanied by a self-addressed envelope large enough to contain the scores, and with sufficient postage for return receipt. Trio Anima Mundi will not take any responsibility for scores which are unable to be returned due to insufficient postage.

Postal Entries to be sent to:

Associate Professor Kenji Fujimura
c/- Sir Zelman Cowen School of Music, Building 68, 55 Scenic Boulevard,
Monash University, Victoria, AUSTRALIA 3800 Electronic Entries to be sent to: Kenji.fujimura@monash.edu

Enquiries: kenji.fujimura@monash.edu

Applications close: Results announced: Premiere performances:
5pm, Friday 1st September
Friday 13th October
Sunday 29th October and 12th November
Web Site:www.trioanimamundi.com/blank-page

 Sound Riot CALL FOR SCORES 2017
Summary:Chamber Call for Scores
Deadline: 31 March 2017
Date Posted: 22 February 2017
Details: Sound Riot is thrilled to announce its first annual call for scores. Submissions will be considered for programming and recordings in the 2017/2018 season.

Please read the guidelines before submitting any questions.

Requirements:
+ Works for any combination (a subset or the full ensemble) of the following instruments: cello, clarinet, percussion*, piano, soprano, and mezzo soprano.
+ PDF of complete score plus program note and short bio (all in one PDF document). No files larger than 2048 KB.
+ Recording is preferred but not required.
+ One submission email per composer will be considered, but more than one piece may be included in the email.
+ There is no entry fee.

Eligibility:
+ Composers of all ages, experience levels and genres are welcome to submit.
+ Composers in the USA and abroad are welcome to submit.
+ We do not and will not discriminate on the basis of race, color, religion (creed), gender, gender expression, age, national origin (ancestry), disability, marital status, sexual orientation, or military status, in any of its activities or operations.

Instructions:
Submit recording and PDF entry via email to soundriotnashville@gmail.com. Subject line: CALL FOR SCORES.

Note: There is no guaranteed prize because this is not a competition. Think of it as a proposal. If your piece is selected, we will discuss appropriate compensation for you, and a short exclusivity agreement for us.

*Available percussion instruments: marimba, glockenspiel, snare drum, suspended cymbals, tambourine, triangles, castanets, found objects
Web Site:www.soundriotmusic.com/call-for-scores

 Composer Librettist Development Program
Summary:Music Theatre Programme
Deadline: 31 March 2017
Date Posted: 22 February 2017
Details: American Lyric Theater (ALT) is pleased to announce that applications for the next cycle of the company’s nationally acclaimed Composer Librettist Development Program will be accepted from February 15 to March 31, 2017. There is no fee to apply for the program.

ALT will celebrate the Tenth Anniversary of the CLDP – the only full-time professional initiative in the country to mentor emerging opera composers and librettists – during the 2017-18 season. In tandem with this milestone, we are thrilled to announce two significant enhancements to the program: the introduction of stipends for artists accepted into the program; and the creation of the first comprehensive apprenticeship for an opera dramaturg in the United States.

Launched in 2007, ALT’s Composer Librettist Development Program (CLDP) is the most intensive mentorship initiative for emerging opera composers and librettists in the country, with a highly credentialed faculty and proven track record for developing the skills of gifted artists, incubating successful operas, and fostering lasting collaborations. Prominent alumni of the CLDP include composers Christopher Cerrone, Kamala Sankaram, and Jeremy Howard Beck; and librettists Royce Vavrek, Stephanie Fleischmann and Deborah Brevoort. Audiences around the country are enjoying operas developed through the CLDP and by CLDP alumni at a wide variety of venues, including Lyric Opera of Chicago, Houston Grand Opera, Washington National Opera, Fort Worth Opera, Opera Philadelphia, Opera Saratoga, Utah Opera, Tulsa Opera, Fargo Moorhead Opera, The PROTOTYPE Festival, and many more.

At the center of the CLDP is ALT’s core-curriculum, which consists of classroom training and hands-on workshops with some of the country’s leading working artists. For the 2017-18 season, principal faculty mentors will include composer/librettist Mark Adamo; librettist Mark Campbell; stage director Lawrence Edelson; dramaturg Cori Ellison; and composer Jake Heggie, who joins ALT for the first time this season. In addition, several internationally recognized composers and librettists are invited each season to be guest artists within the classes and workshops of the core-curriculum.

Artists who are accepted into the CLDP will participate in the core-curriculum from September 2017 through early May 2018. All artists accepted into the program this season will be required to live in the metro-New York City area, or be willing and able to commute to New York City for all CLDP activities. Following first-year participation in the program, select artists are invited back to continue as Resident Artists at ALT for at least two more years, during which they are commissioned to write new operas while continuing to receive intensive personalized mentorship as their works are developed. While participation in the CLDP during the first year of the new cycle requires residency in the New York City area or the ability to commute to New York for classes and workshops, participation in subsequent years does not require full-time residency.

To help make it possible for artists to devote themselves to their activities in the CLDP, ALT will provide a modest living stipend for first-year Resident Artists this season. Each artist participating in the program will receive a stipend of $1,250 per month for 8 months between September 2017 and April 2018 (a total of $10,000 per artist). The goal of providing this stipend is to supplement artists’ income, while taking into account the intensity and work load of the program. Composers and librettists who are invited to return to the CLDP after the first year in the program to write a full-length opera are paid commission fees, in lieu of the stipend, payable in increments tied to specific deliverables throughout the developmental process. Please note that acceptance into the CLDP does not guarantee a future commission from ALT.

Applications to the CLDP are welcome from any emerging composer or librettist who is a U.S. citizen or legal resident. Artists may apply individually, or as members of a writing team; however, all artists who enter the program are required to collaborate with multiple writing partners. ALT defines an emerging opera composer or librettist as an artist who has acquired significant skills as a composer and/or playwright/librettist through academic study, practice and professional experience; who demonstrates a unique and important musical and/or theatrical perspective that could benefit from intensive mentorship as part of the CLDP; and who has not yet had a main stage work commissioned and/or performed by a professional opera company. Artists’ work in other genres often has been performed professionally, as ALT’s definition of emerging applies specifically to an artist’s development and career stage as a writer of opera. ALT embraces the work of gifted operatic writers from diverse ethnic/racial backgrounds. There are no age minimums or maximums for participation. Three composers and three librettists will be accepted into the program this year.

This season, ALT is also establishing an Apprenticeship for an emerging Opera Dramaturg, integrated into the proven CLDP curriculum. While there are training programs for dramaturgy in theater, there are currently no dedicated opera dramaturgy programs in the United States. This new Apprenticeship will be open to a NYC-based artist who will participate fully in the core-curriculum of the CLDP, be involved in workshops of new operas already in ALT’s development pipeline, and will receive private mentorship from internationally renowned dramaturg Cori Ellison and other members of the CLDP Faculty.

Candidates for the Dramaturg Apprenticeship are being sought from individuals who have a demonstrated interest in the development of contemporary opera. We are seeking a highly motivated, creative thinker who is interested in deepening his/her knowledge of opera from both a historical and practical perspective, while participating in a hands-on manner in the development and creation of new works. Candidates may include those with a stage directing background, graduates of theatrical dramaturgy programs, or others with diverse practical experience in the opera field. The successful candidate will demonstrate a broad-based interest and knowledge of opera; sharp critical faculties; exceptional analytical skills and the ability to articulate their opinions in a clear and compelling manner; compassion and understanding of the sensitive nature of the creative process; and the ability to identify both with his/her fellow artists and the audience.

For more information about the Composer Librettist Development Program, including application requirements, please visit www.altnyc.org/composer-librettist-development-program/.

Web Site:www.altnyc.org/composer-librettist-development-program/

 THE MATAN GIVOL INTERNATIONAL COMPOSERS COMPETITION 2017
Summary:International Chamber Competition
Deadline: 30 April 2017
Date Posted: 22 February 2017
Details: 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

1,000 euro and one public performances on June 15th 2017. The piece will be conducted by Pierre-Andre Valade 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+picc, alt, oboe/ e.horn, clarinet+bass, bassoon, 2 violins, viola, cello, d.bass, piano/ sampler, percussion: vibraphone, 4 octave marimba, glockenspiel, bass drum. Usage of prepared pianos should be discussed with the ensemble.
No usage of additional instruments (percussion 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 30th 2017 (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 2017 will be published on the web site www.meitar.net and the social networks no later than May 15th 2017.

DEADLINE FOR SUBMISSION OF COMPLETE APPLICATIONS: APRIL 30TH 2017 (23:59 JERUSALEM TIME)

 Hillcrest Wind Ensemble 2017/18 Call for Scores
Summary:Wind Ensemble Call
Deadline: 06 November 2017
Date Posted: 22 February 2017
Details: Eligibility
This composition competition is open to all North American composers. Members of the HWE and their families are not eligible. All entries must meet the guidelines below to be considered.

What we’re looking for:
1) Style/Subject Matter: All styles of music will be considered. All compositions must be original works for wind ensemble (composer’s transcriptions are okay) and NOT have been previously published or performed in order to be performed as a World Premiere Performance. (No self-published works will be accepted – publish your work after the contest.)

2) Wind Ensemble: score for standard wind ensemble. We have the following instruments:
6 Flutes (up to 3 piccs), 2 Oboes, 2 Bassoons, 1 Eb Clar, 6 Bb Clar, 1 Bass Clar, 1 Alto Clar or Contra Alto Clar, 2 Alto Sax, 1 Tenor Sax, 1 Bari Sax, 5 Cornets/Trumpets, 4 Horns, 3 Trombones, 2 Euph/Baritones, 2 Tubas, 1 String Bass, 1 Timpani, 1 Mallet, 2 Percussion
Do NOT include English horn, soprano sax, harp, piano, etc. We don’t have those instruments.
We have limited technology for electronics. If your composition includes electronics it should be easily accessible. Vocals are permissible for up to 4 singers, SATB or solo voice.

3) Duration: Preference is given to works between 4 and 10 minutes in length.

4) Entry Fee(s): The entry fee is $20 for each submission. If submitting pieces via E-mail, then checks should be mailed under separate cover to the address below.

5) Difficulty: Pieces should be for medium to advanced players. Grade 3 to 5.

6) If in the opinion of the judges no entry is deemed worthy of the prize, none shall be awarded.

Deadline for submissions: November 6, 2017 (postmarked or E-mail by 11:59pm).
The winning entries will be notified in December 2017. Parts needed by January 10, 2018.

Awards
There will be two cash awards: 1st place of $500.00 and 2nd place of$250.00. Winning pieces will be performed at the HWE Spring Concert in 2018.

What to submit
1) Score: professional quality score which is bound or a PDF file E-mailed.

2) Composer information: Information sheet with your name, address, telephone number and E-mail.

3) Recording: Live or MIDI sound file is okay. Recordings must be WAV or MP3 format. If we can’t listen to it, we won’t consider it. CDs should be labeled. E-mailed files should be MP3, 6MB max.

4) Entry fee(s): a non-refundable application fee of $20.00 in the form of a check must be included with each submission. All checks must be made payable to "The Center - HWE", with “HWE Composition” noted in the memo. US funds only. Entry fees are tax deductible.

Email PDF score and MP3 file (no larger than 6mb) to hwe.contest@gmail.com
Entry fee can be mailed separately, but must be postmarked no later than November 6, 2017.

You may alternatively mail hardcopies and recording (WAV or MP3 file) to:

Hillcrest Wind Ensemble
PO Box 3606
Chula Vista, CA 91909

For questions E-mail: jjwink@cox.net
Web Site:www.hillcrestwindensemble.com/index.html

 Edwin Fissinger Choral Composition Prizes
Summary:Choral Competition
Deadline: 01 June 2017
Date Posted: 22 February 2017
Details: NDSU Music honors the legacy and traditions of noted choral composer and long-time NDSU choral conductor Edwin Fissinger with its annual choral composition competition.

The Edwin Fissinger Choral Composition Prizes will be awarded to the first and second place winners.

2017 Deadlines
-Score submission: must be received by June 1, 2017
-Announcement of winners: September 1, 2017
-Premiere of winning composition: October 2017
-Application fee: $25 per composition
Pay online at NDSU Marketplace
Or mail check (payable to North Daktoa State University) to:
Dr. Jo Ann Miller, NDSU Challey School of Music, Dept 2334, PO Box 6050, Fargo, ND 58108-6050
Must be postmarked by June 1, 2017

Guidelines
Entries should be:
-for mixed choir (SATB), divisi is acceptable
-unaccompanied, or with keyboard accompaniment, obbligato instruments ok
-three to eight minutes in duration
-original, not previously performed publicly, and unpublished (by an -established commercial firm) works only. The text may be sacred or secular, either in the public domain or copyrighted, as long as a letter of permission from the copyright owner is included with the submission
suitable for an accomplished high school or university choir

Qualifications
-Open to all composers, except for current NDSU faculty, staff, and students.
Prior winners may re-enter only after five years.
Prizes/Performance
-First: $1,000
-Second: $500
-NDSU reserves the right to not award prizes in any given year.
-The composer of the first prize work must be present at the premiere performance in October 2017.
-NDSU will reimburse actual travel, lodging and food expenses up to a maximum of $750.
-Winners will be announced at www.ndsu.edu/music/fissinger/index by September 1, 2017.
-The first prize winner's piece, with the approval of the composer, will have their composition considered for publication in Pavane Publishing for placement in the Jo Ann Miller Choral Series. The second prize piece will be considered for publication.

Judging Panel
Jo Ann Miller, Director of Choral Activities, NDSU
Michael Weber, Associate Director of Choral Activities, NDSU
Charlette Moe, Assistant Director of Choral Activities and Music Education, NDSU
Dale Warland
Allan Petker, Pavane Publishing

Submission Guidelines
-Include name, address, phone number(s), and email address when making payment via NDSU Marketplace or if paying by check, in a sealed envelope accompanying the score.
-Send by PDF file to Jo.Miller@ndsu.edu
-Submitted scores must be in Finale or Sibelius.
-A midi file is strongly recommended
-All scores selected for performance will be reproduced by NDSU
-Submissions must be submitted via email by 11:59 PM on June 1, 2017 or postmarked by June 1, 2017.
-If not submitting a PDF, mail submissions to:
Dr. Jo Ann Miller, NDSU Challey School of Music, Dept 2334, PO Box 6050, Fargo, ND 58108-6050
-Email compositions to:
Jo Ann Miller, Director of Choral Activities, Jo.Miller@ndsu.edu

Web Site:www.ndsu.edu/performingarts/music/fissinger/

 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

 360 XOCHI QUETZAL: Free Artist Residency in Central Mexico.
Summary:Residency Opportunity
Deadline: 30 July 2017
Date Posted: 22 February 2017
Details: The 360 XOCHI QUETZAL Artist and Writer's Residency Program is located in Chapala, Jalisco, Mexico on the shores of the largest lake in the country where the perfect year-round climate and stunning lake and mountain views have long established the region as an international artist mecca. Residents will be inspired by the natural beauty, history and culture of this special part of central Mexico. Chapala is located 25 minutes from Guadalajara International Airport and 45 minutes from Guadalajara, one of the largest cities in Mexico boasting abundant cultural resources: museums, galleries, theatre and artist supplies. Xochi Quetzal is the Aztec goddess of creativity and fertility and protector of artisans. She is sure to inspire you during your stay!
MISSION: Our aim is to support artists, writers and musicians who would benefit from having uninterrupted time to devote to their creativity. By providing free housing and five gourmet meals a week, we hope that our residents can make artistic progress without the stress and distractions of daily life.*
CRITERIA: National and international visual artists, photographers, writers, playwrights, new media makers and musicians over the age of 23 are welcome to apply for the competitive residency. We base our selections on artists who demonstrate artistic accomplishment, submit a well-conceived residency project, indicate that this residency will make a significant impact and provide evidence of the self-reliance required for a residency in the developing world. Two-person collaborative teams are also encouraged to apply.
JURORS:
Alice Fogel, Juror for Writers and Musicians
Alice is the State Poet Laureate of New Hampshire (USA) 2014 – 2019 and recent winner of the Nicholas Shaffner Award for Music in Literature for her book Interval. Alice is the author of three poetry collections, including, Be That Empty (Harbor Mountain Press, 2007). She is also author of Strange Terrain: A Poetry Handbook for the Reluctant Reader (Hobblebush Books, 2009). Alice teaches creative writing and poetry at Keene State College, Keene, NH and Landmark College, Putney, Vermont. http://www.alicebfogel.com/
Justin Lytle, Juror for Musicians
Justin R. Lytle is an artist, comhttp://www.alicebfogel.com/poser, and designer based in Northern California. Justin holds a BFA from Cornish College of the Arts, and his work is found in various public and private collections. Justin is a classically trained pianist, and uses the medium of sound design as a foundational tool for his contemporary sculpture practice. He is the owner of Studio Arno, a small design studio, and he composes for the Seattle based music project Holy Cities. Justin was the second Resident at 360 Xochi Quetzel and has now joined us as the music juror. www.justinlytle.com
Deborah Kruger, Juror for Visual Artists
Deborah is the founder of 360 Xochi Quetzal and a mixed media artist who exhibits internationally. Her work in mixed fibers and screen printing is in private collections throughout North America. View her work at www.deborahkruger.com
RESIDENCY DATES:
Winter residency: December 14, 2017 - January 13, 2018
Additional residencies will be announced to our mailing list. To add your name, please click on the box at the top of our webpage: www.360xochiquetzal.com
You may also write to us in either English or Spanish at 360xochiquetzal@gmail.com
WINTER DEADLINE AND NOTIFICATION: The deadline for the Winter 2017 Residency is Midnight Mountain Time on Sunday July 30, 2017. Applicants will be notified no later than Sunday September 10, 2017.
APPLICATION GUIDELINES: You must submit your application through the CAFE website: https://www.callforentry.org/ Applications without work samples will not be considered (3 images for Visual Artists, 1 - 2 videos for Musicians, 5-page double-spaced writing sample for Writers, 10-page double-spaced sample for Playwrights, 5-page single-spaced sample for poets). Please familiarize yourself with CAFE which is a great website with many other artist listings and opportunities (see specifications below for more details). We do not accept email entries.
ONE-MONTH RESIDENCY APPLICATION FEE AND DISCOUNT: The application fee for the competitive one-month residency is $39.00. Take advantage of our 20% Early Bird Discount for applications received before June 25, 2017. Artists who are re-applying for one-month qualify for a $9 discount using our Coupon Codes. Only one discount will apply. You can download more information about Fees and Discounts from our website: http://360xochiquetzal.com/discounts/
APPLICATION SPECIFICATIONS: You may download more information about how to apply a Discount Code, How to Check Out and file specifications for video and writing submissions on our website: http://360xochiquetzal.com/how-to-apply/
*RESIDENCY AWARD: Winners of the competitive residency receive a free live/work space for one-month. Two writing residents will reside in the main residency house, which is in a hacienda style home with individual bedrooms/work spaces and shared living/dining room space. We have several live/work spaces a few doors away that each have a private kitchen, living room, bedroom and full bathroom and are geared towards musicians and visual artists.
Your residency also includes free wi-fi, all utilities, laundry on the premises, weekly maid service and a 27-page Residency Handbook.
Our new Guest Chef Program: Winter 2017 residents will be able to eat communally five evenings a week at the main residency house and enjoy gourmet meals (and leftovers!) prepared by our Resident Culinary Artist, who will consider your special dietary restrictions. If you know someone who would like to apply for this position, have them write to us at 360xochiquetzal@gmail.com
COSTS: You are responsible for your travel to and from Mexico. It is easy and safe to take an airport taxi which will cost $400 pesos to Chapala. Download driving directions from our Facebook Page: 360 Xochi Quetzal (join us too!). You will also need to pay for your local transportation, entertainment and some additional food. International calls can be made via skype or by getting a local cell plan from IUSAcell (ATT affiliate). Food is inexpensive in Mexico, typically costing about $20/week US. Eating out is quite affordable with meals costing $3 - 10 US.
STUDIO SPACE AND EQUIPMENT: For both personal and competitive residencies, we provide work tables and wall space for visual artists, desks and free wi-fi for writers. There is a professional easel for painters. Our Lower Casita has a Cress sample kiln for ceramic artists, which can fire up to cone 6 and is suitable for small ceramic or metal clay pieces. There is a 33” floor loom in our Middle Casita for weavers.
NEW RENTAL PROGRAM (design your own residency): If our competitive residency dates do not work for your schedule or if you do not win this year, consider renting one of our live/work spaces for 1 - 6 months. You do not have to apply through CAFE, just check our website for descriptions and pictures of the spaces and available dates http://360xochiquetzal.com/personal-residency-overview/. This is a perfect opportunity to finish a manuscript, prepare for a show, collect your thoughts, plan your next body of work. Read of some of the interviews with creatives who have come to Chapala for a personal residency.
Email us at 360xochiquetzal@gmail.com and let us know what month(s) you want to come and we will start the reservation process. We take reservations on a first come first serve basis and we are usually booking 6 months in advance. Plan ahead if you want to come in the winter!
WHAT IS CHAPALA LIKE? In a word, charming. This is a small town with a population of 22,000. You will hear horses trotting along the cobblestone boulevard in the morning on their way to the stables. Cowboys ride by using their cell phones. Birdsong accompanies you throughout the day. In the winter, thousands of white pelicans entertain us on the lake. Trees blaze with psychedelic color year round. The mountains turn green during our four-month rainy season (June - Sept). Vendors pass by during the day hawking fresh strawberries, bottled water, and ice cream.Read more about Chapala on our website: http://360xochiquetzal.com/the-magic-of-lake-chapala/
FUN: All live/work spaces are walking distance to a park with a running track, pool, tennis courts and walking trails. We are also 5 minutes from the malecon, a park-like promenade that runs along the lake for a mile. The lake is surrounded by hundreds of mountains and you will enjoy spectacular sunsets almost every night. The weather is sunny 300 days a year with average daytime temperatures in the 70s. Other nearby activities include hiking, dancing and thermal springs.
COMMUNITY: Chapala and nearby Ajijic have dozens of cafes, galleries, cultural centers, art openings, and hundreds of artists to connect or study with. Everything you need is within walking distance and our bus service is frequent and inexpensive. This is a safe place to live, work and the residency houses are secure.
MISC: Although speaking a little Spanish will make your time here more culturally integrated, you do not need to speak the language to get what you need. You are just a 5 minute walk from many stores, restaurants and buses.
HOUSE RULES: Competitive residents may be able to invite your spouse/significant other depending on our accommodations; check with us before making plans. If there is space, we charge a $200/month surcharge per guest prorated for the length of their visit. Your children and pets are not permitted (there are many bed and breakfast hotels nearby for visitors). Smoking, drugs and firearms are expressly prohibited.
NON-DISCRIMINATION: 360 Xochi Quetzal encourages applications from artists of all backgrounds and does not discriminate on the basis of age, race, national origin, religion, creed, sex, sexual orientation, HIV status, marital status, disability, or veteran status.
Please join our mailing list at the top of our webpage: www.360xochiquetzal.com
For more information, write to us at 360xochiquetzal@gmail.com
Join/Like us on our Facebook Group Page: 360 Xochi Quetzal
Follow us on Twitter: @360XochiQuetza360 XOCHI QUETZAL: Free Artist Residency in Central Mexico.
Web Site:www.callforentry.org/festivals_unique_info.php?ID=4110

 Rare Form Call for Scores
Summary:Percussion Competition
Deadline: 20 March 2017
Date Posted: 22 February 2017
Details: Deadline: March 20, 2017

This call is open to anyone of any age or experience level.

Percussion Trio - Although any percussion instrumentation will be considered, portability will be taken into consideration. (Percussion instruments include standard percussion, word percussion, found objects, and other small instruments generally delegated to percussionists such as melodica and slide whistle.)
There is no length requirement.

Selected Works will receive at least 2 performances and a professional recording within a year of the first performance.

Submissions:
Send one score per email to RareFormTrio@gmail.com (multiple submissions welcomed but one per email please)
Please also attach (if applicable)
* Program notes
* Performance notes
* Performance history
* Audio files (live or midi accepted) (Please no huge files)

There is no submission fee.

Looking forward to reviewing the works!
Rare Form
(Rebecca, Ryan, and anna)
Email:RareFormTrio@gmail.com

 113 Composers' Collective
Summary:Competition with 3 Categories
Deadline: 30 April 2017
Date Posted: 22 February 2017
Details: CALL FOR SCORES
DEADLINE: APRIL 30, 2017
SUBMISSION FEE: $ 5.00 PER SCORE

113 is accepting scores for their 2017-18 concert season. Selected scores may be programmed at any point during the season. Composers who are accepted are encouraged (but not required) to attend. Composers of any age or nationality may apply. We are accepting scores in three categories:

1. Solo works for any instrument or voice type

2. Duos for saxophone with piano

3. Works for 1-4 Female Vocalists (2 Soprani and 2 Mezzo-Soprani)

Submissions may include electronics or improvisation.

Guidelines:

Scores should be submitted electronically to 113composers@gmail.com with the subject heading, “113 Call for Scores.” Please attach a PDF of the score and include the link to an mp3 recording (if available). Composers may submit multiple scores, but please note that there is a $ 5.00 fee for each score submission. Submission fees will be accepted through Paypal.
Web Site:www.113collective.com/opportunities/

 International Masterclass
Summary:Masterclass Opportunity
Deadline: 31 March 2017
Date Posted: 22 February 2017
Details: YANNIS KYRIAKIDES AND DARIO CALDERONE MASTERCLASS

The masterclass is aimed at composers and performers of any level or nationality who are interested in bettering their knowledge of contemporary music.

It is divided in two courses:
• the composition course, held by Yannis Kyriakides;
• the interpretation course, held by Dario Calderone.

The classes are structured in to four days, ending with a concert performed by the teachers, as well as a concert performed by the students in the interpretation course. By virtue of the strong artistic and professional collaboration between the two teachers, both courses will be interconnected; enrolling in one of the courses naturally determines the opportunity to follow the other.
Web Site:www.labiritmo.org/eng/home/

 2017 Student Composer Readings
Summary:Reading Session
Deadline: 15 May 2017
Date Posted: 22 February 2017
Details: Synchromy and Music @ Boston Court announce a Master Class/Reading Session for High School and Undergraduate student composers as part of DuoFest, LA’s Most Fearless Fusions.

As part of Music @ Boston Court’s DuoFest: LA’s Most Fearless Fusions, a weeklong festival of performing duos, Synchromy will be hosting a master class/reading session for student composers in Southern California. Selected composers will have their works read by some of the top professional musicians in Los Angeles and will receive feedback from both the performers and the professional composers of Synchromy. This will be a public session at the Boston Court Performing Arts Center in Pasadena, California on Monday, July 10, 2016, 7:00 PM.

Applicants can apply in one of two categories:
• Category A: young composers currently enrolled in high schools;
• Category B: undergraduate students currently enrolled in composition programs in the U.S.

Send us your new or previously composed original compositions (unpublished or self-published) up to 5 minutes in length, for one of the following instrumental combinations:
• Cello and Piano;
• Flute and Piano;
• Flute and Cello;
• Piano 4-hands.

In Category A (high school-level) applicants may also submit solos for any of the instruments included above.

How to enter
Please submit the following materials by Monday, May 15, 2017 at 6:00pm Pacific Time:
• Application fee of $25, paid via PayPal to synchromy@synchromymusic.org (include “call for scores” and the name of the composer as a “note” when you process this payment). Please copy PayPal transaction ID and add it to the application form (This application fee is non-refundable)
• The application form (click here to download .pdf, fill it out, and send as an attachment with your submission)
• Computer-engraved score (.pdf file) with program notes (if available)
• Recording, if available (attach mp3 file or include a permanent link to a larger .wav or .aif file; MIDI realizations converted to an audio file are acceptable)
• Short bio (.pdf file)

Hand-written manuscripts, arrangements of the works of other composers, or compositions with electronics will not be considered. Composers can submit only one piece for consideration. We only accept electronic submissions.
Please mark your score and bio clearly with your full name and the title of the piece. Please label all electronic files with your last name, title of the piece and name of the file (for example: Smith_Trio_score.pdf).

Email all application materials to synchromysubmissions@gmail.com . [IMPORTANT this is not the same email address as the one used to submit your application fee.]

Participation in the reading session is free for students selected through this call for scores. Attendance of the reading session at Boston Court Performing Arts Center (Pasadena, California, USA) on Monday, July 10, 2016, at 7:00 PM is Mandatory. Please note that no compensation will be offered to composers for the reading session participation or for travel and other expenses. Recordings of the session may be made, but may not be released publicly.
The selected composers will be notified via email by June 1, 2017. Composers must supply instrumental part for duets with piano (as an electronic .pdf file) via email by June 10, 2017.

Web Site:synchromymusic.org/student-composer-readings/

 National Youth Orchestra of Wales
Summary:www.nyaw.co.uk/e_nyow.html
Deadline: 10 March 2017
Date Posted: 14 February 2017
Details: As the first national youth orchestra in the world, the NYOW has 70 years experience in providing a first-class training experience for Wales’ young musicians and constantly delivers performances that are full of energy and passion. It is a flagship for youth music in Wales.

The NYOW presents concerts in prestigious venues across the UK and abroad, including; St David's Hall (Cardiff), Bridgewater Hall (Manchester), NCH (Dublin), The Sage Gateshead, Konzerthaus am Gendarmenmarkt (Berlin), Beethovensaal (Stuttgart), the Salle Erasmus (Strasbourg) and on the Italian island of Ischia. It is frequently invited to perform at prestigious international music festivals including the Three Choirs Festival, Fishguard International Festival and the North Wales International Music Festival.

Applications for Young Composers 2017 are now open!

Following four very successful years, the National Youth Orchestra of Wales will once again run a composers programme as part of this summer’s NYOW residency. Successful applicants will receive tuition in compositional techniques, instrumental writing and analysis of existing repertoire, all delivered by Mark Bowden (former Composer in Residence with BBC NOW).

In addition, composers will have the opportunity to write new music for groups of musicians drawn from within the ranks of the NYOW itself. You will be able to work with some of Wales’ foremost young musicians to develop and rehearse your music before presenting it in three stand-alone performances.

Are you a budding composer aged 13-21? Apply now for a first class experience!

Web Site:www.nyaw.co.uk/e_nyow.html

 Boston Choral Ensemble's Commission Competition
Summary:Choral Competition
Deadline: 01 May 2017
Date Posted: 14 February 2017
Details: Boston Choral Ensemble's Commission Competition aims to identify a talented composer and support her or him in the performance of a new work for chamber choir to be premiered by Boston Choral Ensemble. The commissioned work will be rehearsed, prepared, and integrated into the Ensemble’s program during the calendar year 2018.

Boston Choral Ensemble is a highly-skilled, auditioned choir of volunteers. Applicants are encouraged to consult past programs and audio samples to learn more about what might be appropriate for the ensemble.

The Ensemble is soliciting proposals for unaccompanied choral works under 10 minutes in length. The texts may be sacred or secular and in any language.

Details of the 2018 competition may be found below. Applicants with further questions are encouraged to contact the competition coordinator at Competition@BostonChoral.org.

CANDIDATE ELIGIBILITY
This competition is open to composers regardless of race, color, national origin, religion, creed, age, sex, sexual orientation, marital status, disability, or veteran status.
The following groups are ineligible to enter the competition:
• current Boston Choral Ensemble singing members;
• current Boston Choral Ensemble board members;
• current members of the Commission Competition Jury;
• spouses, partners, or family members of any of the above groups; and
• those who were members of any of the above groups within one year of entry deadline.

PARAMETERS OF NEW WORK
If selected as the competition's winner, the commissioned piece will meet the following criteria:
Essentials
• for UNACCOMPANIED mixed voices (SATB)
• up to 10 minutes in length
• generally no more than 4 parts but may include limited divisi (up to two per voice)
• limited or no solo vocal material
• the work must not have been performed in any public setting, recorded, promised to another group for first performance or first recording

Texts
This piece will be performed in our 2017/18 season during the Rainbow Connection concert which will be in May or June 2018 (tbc). This performance will honor the LGBTQAI community. The commissioned work can be on any subject however, it is strongly encouraged that chosen text be written by an LGBTQAI author or be about the LGBTQAI subject matter. Texts may be sacred or secular, and in any language provided it meets the parameters for the new work. If the intended lyrics are not in the public domain, and the composer is not the author and copyright holder of the lyrics, it is the responsibility of the composer to obtain permission from the copyright holder before the application deadline.

ITEMS TO SUBMIT
A completed online application form including
1 A short proposal idea for the new work outlining the details, at the discretion of the composer including, but not limited to proposed text, compositional technique, etc. (File name: Last Name, Proposal.pdf)
2 A short biography (about 250 words) and (File name: Last Name, Bio.pdf)
3 A works list, PDF files only. (File name: Last Name, Works.pdf)
4 Three (3) work samples that demonstrate current compositional activity. (File name: Last Name, Sample 1.pdf, Last Name, Sample 2.pdf, Last Name, Sample 3.pdf)
▪ It is recommended that composers include work samples that indicate skills appropriate to write for an unaccompanied choral ensemble.
▪ PDF files only. Notation files will not be accepted. Please combine ancillary materials—such as notes, texts, instructions—into a single PDF per work.
▪ Include (within the score PDF) an English translation for any text not in English.
▪ Include date of composition on the score.
5 Recordings of the submitted work samples (optional but recommended). Although this is optional, audio may assist in the initial assessment. These may be acoustic recordings or MIDI renderings; the quality of performances or MIDI renderings will not be judged. MP3 files only. (File name: Last Name, Audio 1.mp3, Last Name, Audio 2.mp3, Last Name, Audio 3.mp3)
6 An application fee of US $25 submitted via the application form.

TECH TIPS
Did you try to submit your application to BCE's Composition Competition but receive an error message or a blank screen? If so, please try one or all of the following to complete your application:
1. Update your browser to the most recent version
2. Make sure javascript is enabled for your browser
3. Download Google Chrome
4. If all of these do not work, please email all of your attachments to competition@bostonchoral.org and we will make sure that your application is submitted.
Thank you so much for your dedication to the competition. We are so excited to review all of this new music!

DISQUALIFIED SUBMISSIONS
▪ Late entries
▪ Incomplete entries
▪ Illegible copies

DEADLINE AND PROCESS FOR SUBMISSIONS
Materials must be submitted on or before May 1, 2017. Questions should be directed to competition@bostonchoral.org. Late applications will not be considered.

APPLICATION FEES
The $25 application fee can be paid on the application form.
Application fees are non-refundable and will not be returned to those disqualified for not meeting the requirements herein.

COMPETITION PRIZE
The winner will receive a prize of $1,500. Payment will be in US funds only. Prize monies will be subject to applicable tax laws and it the responsibility of the winner to properly report the prize.
The performance in concert of the newly-composed work will be recorded on CD and/or DVD. One copy of any such recordings will be furnished to the composer.

RETURN OF MATERIALS
No materials submitted for this competition will be returned.

ACCOMMODATION AND TRAVEL
The winner is encouraged to attend the final concert as well as any rehearsals for this event. Unfortunately, travel and accommodation expenses for the winner will not be covered by Boston Choral Ensemble.

JUDGING
The applications will be examined by a 4-5 person Jury chosen by Boston Choral Ensemble and will include the artistic director, a current member of the group, and one or two professional musicians not otherwise affiliated with Boston Choral Ensemble. The Jury will select a winner and identify any applicants deserving of an "honorable mention.” Boston Choral Ensemble, at the advice of the Jury, reserves the right not to award the prize. The Jury’s decision is final and may not be appealed.

PUBLIC DISCLOSURE
Boston Choral Ensemble will publicly announce the names of the competition winner (and "honorable mentions", if applicable), no later than June 1, 2017. The names of non-winners will not be made public and will be held in strict confidence. Composers whose works do not win the prize will be informed no later than June 1, 2017.
Web Site:www.bostonchoral.org/commission-competition/

 Composer Fellows
Summary:Composers Conference
Deadline: 15 March 2017
Date Posted: 14 February 2017
Details: The Composers Conference, guided for nearly 50 years by Pulitzer Prize-winning composer Mario Davidovsky, offers a unique opportunity for emerging composers, professional musicians, amateur chamber players, and conservatory-level instrumentalists and singers to come together as colleagues, audience, teachers and students in an atmosphere of fertile creativity and concentrated, high-level music making.

The Composer Fellows participate in intensive seminars and public colloquia, and each has a work publicly performed and professionally recorded by the Conference Ensemble. The Chamber Music Workshop offers amateur musicians daily coachings, workshops, masterclasses, ensemble readings, performance opportunities and evening concerts. Students in the Contemporary Performance Institute study, rehearse, and perform challenging repertoire of the 20th and 21st centuries. Concerts at the Conference feature classics and rarities from the 18th-21st centuries including music of the Composer Fellows and faculty.

DEADLINE FOR RECEIPT OF APPLICATION MATERIALS: March 15, 2017

Awards will be announced by April 15, 2017
Composers are invited to submit scores for judges’ selection of ten Composer Fellows. The work can include any combination of the following: 1 each of flute, oboe, clarinet, bassoon, horn, trumpet, trombone; 2 pianos, 2 percussionists, double string quartet, 1 contrabass, 1 soprano
Submissions for judging need not conform to this instrumentation. Composers are invited to submit one to three scores. Online application form will require a sound link for each score; link must lead DIRECTLY (one-click) to Soundcloud or other cloud storage where the file can be heard without being downloaded.

Fees
• Application Fee: $50
• Upon acceptance as a Fellow, composers will be awarded a partial tuition scholarship.
• Remaining tuition: $200
• Room and Board: $1400
The jury will select one or more Fellows to be awarded a partial Fellowship, which will cover a portion of these additional fees.
Complete application materials must arrive by March 15, 2017. Complete application consists of the following:
• Hard copy printout of online application form (on which you have indicated sound-file links). Apply Online
• Application fee of $50.00 made by check in U.S. funds, payable to the Composers Conference.
• Hard copies of score/s (please no more than three scores).

Submit materials to:
Composers Conference
Attn. Jane Mooney
11 Oakencroft Road
Wellesley, MA 02482
Please note: If you wish delivery confirmation, please contact us when you send your scores, and we will let you know when they arrive.
For return of your materials, please enclose a self-addressed stamped envelope.

Web Site:www.composersconference.org/programs/composer-fellows/

 CCRMA SUMMER WORKSHOPS 2017
Summary:Multiple Workshops
Deadline: None
Date Posted: 14 February 2017
Details: 6/19 - 6/23 Mobile Synth I - Mobile App Development for Sound Synthesis and Processing in Faust: Romain Michon
6/19 - 6/23 Virtual Analog Models of Audio Circuitry: François Germain, Kurt Werner
6/26 - 6/30 Mobile Synth II - 3D Printing and Musical Interface Design for Smartphone Augmentation: Romain Michon and John Granzow
6/26 - 6/30 Programming Max/MSP: Structuring Interactive Software for Digital Arts: Matthew Wright, Christopher Jette
7/3 - 7/7 Algorithmic Composition with Max/MSP and Open Music: Andrew Watts, Davor Vincze
7/10 - 7/14 Electronic Arts Ensemble: Constantin Basica, Alex Chechile
7/17 - 7/21 TO BE SCHEDULED
7/24 - 7/28 Music Information Retrieval: Steve Tjoa and Jeff Scott, Gracenote
7/31 - 8/4 Deep Learning for Music Information Retrieval: Irán Román
8/7 - 8/11 Formalized Score Control: Using Python and Abjad in Music Composition: Jeff Treviño, Trevor Bača and Josiah Wolf Oberholtzer
8/13 - 8/17 SuperCollider: Fernando Lopez-Lezcano and Bruno Ruviaro
8/21 - 8/25 Designing Musical Games: Gaming Musical Design: Rob Hamilton and Chris Platz
TO BE SCHEDULED: Perceptual Audio Coding: Marina Bosi, Richard Goldberg


GENERAL INFORMATION
The Center for Computer Research in Music and Acoustics offers intensive programs where top educators and researchers from the fields of music, engineering, and computer science will present a detailed study of specialized subjects. Each workshop is one week long. The workshops are open to the public. Most workshops are 9-5pm with an hour for lunch on your own, but check each workshop page for specific schedule information.

IMPORTANT NOTE
All workshops are subject to change or cancellation based on low enrollment. Any workshop with low enrollment will be cancelled at least 3 weeks before start date of workshop.

TUITION AND FEES
Most workshops are $450 for the week, plus a $50 non-refundable registration fee, however, tuition can vary from workshop to workshop, and in many cases includes materials fees. Several workshops are now offering scholarships - please check the individual workshop pages for details.

ACADEMIC CREDIT
No academic credit is offered for participation in the workshops.

HOUSING
Housing costs are not included in the course fee. For housing options, please check SUPost.com and craigslist.

DIRECTIONS
Directions to the CCRMA Workshop held at the Knoll, 660 Lomita Drive, Stanford, CA can be found here: ccrma.stanford.edu/about/directions

PARKING
Parking costs are not included in the course fee. Parking information can be found at the Stanford Parking and Transportation website: https://transportation.stanford.edu/parking

CONTACT
Nette Worthey
CCRMA Administrator
660 Lomita Drive
Stanford University
Stanford, CA 94305-8180
650-723-4971 x320
networth@ccrma.stanford.edu

REGISTRATION
All workshops held at CCRMA require a $50 non-refundable registration fee.
Web Site:ccrma.stanford.edu/workshops

 ​KC VITAs CALL FOR SCORES
Summary:Choral Competition
Deadline: 15 April 2017
Date Posted: 14 February 2017
Details: KC VITAs is a mixed vocal ensemble dedicated to the performance of new choral and vocal music. We aim to provide opportunities for contemporary composers to have their works performed and recorded by a professional ensemble, provide performers the chance to premiere new works in close collaboration with composers, and promote the continued creation and performance of new music.

IMPORTANT GUIDELINES FOR COMPOSERS:
• Submissions may use any combination of voice parts or soloists, with or without piano accompaniment. Submissions for full choir, small ensemble, or solo voice are welcome. Unaccompanied choral scores must include a keyboard reduction. Additional instruments are welcome (parts should be included with your submission).
• Submissions will be evaluated anonymously. Please remove any identifying information from your score before sending. Save your score using the title as the filename with no other identifying information (example: TITLE.pdf).
• Any text used must be in the public domain or you must provide documentation showing that you have obtained the rights to reproduce, perform, and record the text with additional permission to commercially distribute the recording. Submissions shown to violate any copyright agreements will not be considered.
• Submission fee: $15. Only one piece per submission. Composers may submit up to 3 entries (each as a separate submission).

Web Site:kcvitas.org/call-for-scores.html

 The Claremont Chorale
Summary:Choir Competition
Deadline: 01 September 2017
Date Posted: 14 February 2017
Details: The Claremont Chorale, a volunteer, independent community chorus based in Claremont, California, will celebrate its 50th anniversary in the 2017-2018 season. As a part of a year-long celebration, the Chorale is sponsoring a choral composition competition. The winning composition will be performed by the Chorale in a Spring 2018 concert that will conclude the anniversary year.

Criteria:
Difficulty level: The winning composition must be at a technical level that makes its performance possible by a volunteer adult choir of 60 voices: SATB with occasional divisi, moderate vocal ranges and harmonic language. Due to the intention of performing the winning work, this criteria will be very important in the judging process.

Text: of the composer’s choosing, sacred or secular. The text should be in the Public Domain, of the composer’s own creation, or else be accompanied by documentation clearly confirming that the composer has secured permission to set it to music and to present it in public performance. [Any costs related to securing said permission are solely the responsibility of the composer.] Texts that somehow relate to themes of singing or the anniversary occasion are particularly encouraged. English is preferred, but pieces that use other languages will be considered.

Accompaniment: a cappella or with piano accompaniment Length: less than 10 minutes

Submission Process:
Submissions must be received by September 1, 2017

• Compositions need not be newly created for this competition; however all submissions must not have been previously performed in public.
• Electronic submissions (PDF) are strongly preferred, using the email address below. Scores submitted in hard copy will only be returned if they are accompanied by a self-addressed, stamped envelope.
• Scores must be clear and ready for duplication and performance, using one of the standard music printing programs (Sibelius, Finale, etc.).
• A completed copy of the form below must accompany each submission (see p. 3). Please remove all identifying marks from submitted scores as the judging will be conducted anonymously.
• The names of all participants will be held in confidence. No more than two compositions will be accepted from a single composer.

Evaluation: A panel comprised of two guest judges and the Chorale’s Music Director will review all submissions and select the winning composition. This evaluation will take into account the quality of the piece and its suitability for a successful performance by the Chorale. The winning piece and composer will be announced before December 31, 2017. The decision of the judging panel is final; the Claremont Chorale reserves the right to make no award.
Web Site:www.claremontchorale.org

 Arts Letters & Numbers
Summary:Residency Programme
Deadline: None
Date Posted: 14 February 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.


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/programs/residency-1/

 European American Musical Alliance
Summary:Composition Course
Deadline: None
Date Posted: 14 February 2017
Details: The European American Musical Alliance’s Institute delivers our core philosophy by means of intense musical instruction. Our approach and philosophy is method-centric – transcending culture, aesthetic and time. Through a unique approach to contrapuntal principles, we observe the inherent function of sound across musical works and performances, formalize those functions and offer a method of analysis that becomes the bedrock for musical decision-making.

Our Institute offers summer music programs in Composition, Conducting and Chamber Music at the historic Schola Cantorum in Paris, France. These programs offer intensive study of the crafts of counterpoint, harmony, analysis, and musicianship as well as personalized training in composition, conducting and chamber music performance taught by professors from The Juilliard School, the San Francisco Conservatory, Mannes College the New School for Music, Westminster Choir College, the Paris Conservatory, the Ecole Normale de Musique de Paris and La Schola Cantorum.

Classes are held at La Schola Cantorum in Paris, founded in 1895 by the French composers Vincent d’Indy, Charles Bordes and Alexandre Guilmant to counteract the stifling atmosphere of the Paris Conservatory.

Important musical figures from all over the world have studied and taught at La Schola Cantorum, including: Eric Satie, Darius Milhaud, Edgar Varèse, David Diamond, Bohuslav Martinu, and Isaac Albeniz. Organists such as Louis Vierne, Olivier Messiaen, Maurice Duruflé, and Jean Langlais also passed through its hallowed halls.

La Schola Cantorum itself is an historic 17th Century ‘Hôtel Particulier’, originally constructed as a Benedictine Convent, conveniently situated in Paris’ Latin Quarter, the artistic heart of Paris. The Schola Cantorum boasts a fully operational original 1902 Cavaillé-Coll organ, Steinway concert grand, and its own private gardens.

COMPOSITION

For composers, our Institute offers the opportunity to discover your inner ear by means of a unique contrapuntal approach applied to every parameter of music. An intensive month-long study of counterpoint, musicianship, harmony, and analysis is lead by our faculty of master teachers whose own evolving method informs the way they impart their musical insight.

At the conclusion of your month-long study, you will be equipped with a bedrock of musical method certain to make you grow as a musician and inform your every interaction with music throughout your career.

Web Site:www.europeanamericanmusicalalliance.org/institute/for-composers/

 Masterclasses COMPOSITION
Summary:Masterclass and competition
Deadline: 18 May 2017
Date Posted: 14 February 2017
Details: MUSIC COMPOSITION masterclasses will be taught interchangeably by Prof. Ofer Ben-Amots (Colorado College, USA) and Prof. Jan Jirasek (Prague, Czech Republic)

Students can bring with them any current project they would like to develop or complete. Additionaly, all students will have an opportunity to participate in the chamber composition contest and will be able to work with professional performers during the second week. Participating compositions will be performed in an open concert during the competition on the second Thursday. The composer's matinee with all compositions will be recorded.

THE JOSEPH DORFMAN MEMORIAL COMPOSER'S COMPETITION

All ISAM participating composers are invited to partake in an international competition annually. This competition is intended to increase the excitement, energy, and creativity among our hand-picked young and talented composers, while at the same time generate a harvest of new, beautiful, and highly artistic works. The competition carries the name and blessed memory of ISAM co-founder, composer, pianist, musicologist, teacher, and visionary leader, professor Joseph Dorfman (1940-2006.). Winning compositions will be repeated at the Gala Concert and prize giving ceremony.This years theme-motive is typical of A. Ginastera's musical language.


Prize money 2016

1st winner: 1000.- €
2nd winner: 500.- €
3rd winner: 250.- €
Web Site:www.isam-masterclasses.de/composition-masterclasses.html

 Fresh Voices XVII Festival of New Works
Summary:Theatrical works
Deadline: 01 May 2017
Date Posted: 14 February 2017
Details: Goat Hall Productions is an organization of singers/actors, composers and writers passionate about contemporary opera, new music theater and song. We are dedicated to producing works that reflect and define the world around us in all its diversity while shining a light on the human spirit. We seek to collaborate with composers and librettists in the presentation of new works, provide opportunities for classically-trained singers to perform new roles, program works that are multi-faceted, melodic and accessible, presenting all works in ways that are thought-provoking and life-changing.

WHAT WE ARE LOOKING FOR
The title of the show is “2017”. We are looking for vocal works that resonate with the times. Works may be in any form: opera, musical theater, individual songs or song cycles not to exceed a total performance time of fifteen minutes. Works may be in any artistic style and in any language (subject to the availability of singers). Multi-cultural/multi-gender works are encouraged. Complete works are preferred but excerpts from larger works will be considered.

2017 — FRESH VOICES XVII FESTIVAL OF NEW WORKS
Goat Hall will select 4-6 vocal works for performance at Fresh Voices XVII. There will be four performances in Vallejo, California, at Bay Area Stage on Saturday/Sunday August 5-6 and August 12-13. All performances will be at 8:00PM. There will be eight rehearsals per work and rehearsals will occur on Saturdays and/or Sundays. There will also be two Friday dress rehearsals at the theater on August 4 and 11.

The production costs for the Festival are covered in part by grants, donations, and ticket sales; however, these sources are not always sufficient to fund the entire event. For that reason, composers selected to participate may be asked to share in covering any gap in production costs for rehearsals and performances. Costs will be prorated based on the length and complexity of the works and the number of singers required to perform them. Selected composers will be advised of all costs prior to committing to participate.

ELIGIBILITY
All composers living in Northern California are eligible to participate.

SUBMISSION GUIDELINES
• Submit a printed copy of the final vocal score of a work that has not been professionally performed. Composers may submit one work only. Works may include 1-5 voices a cappella or with piano accompaniment. Materials submitted do not need to be anonymous.

(Works requiring instruments other than or in addition to piano will be considered, but the composer assumes responsibility for
securing and paying the additional musicians. The musicians must be able to meet the Festival’s rehearsal schedule.)

• Submit one CD with a MIDI or live audio/video recording of the work.
• If you are submitting excerpts from a larger work, you need only send the relevant portions of the score and a recording of those sections.
• Submit an info sheet which includes the title of the work, the composer’s name and contact information including address, phone, email address and website, and a 250-word bio. The info sheet should also include program notes up to 250 words for the work or for any extracts being submitted.
• If the libretto or texts used in the work are not in the public domain, then submit a letter from the copyright owner confirming permission for their use.
• Mail the printed score, recording, and info sheet by May 1, 2017 to:

Goat Hall Productions
Attn: Harriet March Page
189 Rainier Circle
Vacaville
CA 95687

• Composers will receive an email confirmation that their submission packages were received.
• Selected composers will be notified no later than May 30, 2017.
• Submitted materials for works that are not selected will be returned.

Questions?
Email Harriet March Page at goathallproductions@gmail.com

Goat Hall Productions Fresh Voices Festivals are funded in part
by a generous grant from the Anne and Gordon Getty Foundation
Web Site:www.goat-hall.org/auditions

 Nebula Ensemble Call for Scores
Summary:Chamber Call for Scores
Deadline: 01 June 2017
Date Posted: 14 February 2017
Details: Nebula Ensemble, Colorado’s adventurous young chamber ensemble, is seeking new works for its inaugural Nebula New Music Festival. With an emphasis on visually striking performances and cross-disciplinary collaborations, Nebula presents innovative programs at a variety of Front Range venues, and builds thriving collaborative relationships with local and international creatives.

Nebula Ensemble is committed to building the chamber repertoire through premiering new works. As such, all submissions must be previously unperformed publicly.

Submissions will be reviewed by Nebula’s music director, Kornel Thomas. At least two works will be selected for performances in Denver during the Nebula New Music Festival in spring 2018 and potentially other Colorado cities during the 2017-18 season. No monetary awards will be offered, but selected composers will receive a professional-quality audio and video recording and promotion on Nebula’s website and social media.

Nebula Ensemble is passionate about interdisciplinary collaboration and is planning collaborative programs with various other art forms. Therefore, works that fit interdisciplinary themes, such as the following, will be given special consideration:

• Works with narrator or works accompanied by a poem.
• Works inspired by a work of visual art to be displayed during the performance. • Works inspired by the landscapes or history of the Rocky Mountain region.
• Works that can be choreographed for dance.

Works should be 5-10 minutes in length, scored for a chamber ensemble of 5-8 performers, with conductor, drawn from the following instrumentation: flute (piccolo), clarinet, trumpet, saxophone, violin, cello, percussion, electronics. (The following percussion instruments are available: xylophone, drum set, tambourine, triangle, sleigh bells, hammered dulcimer, bodhran, likimba.) Works incorporating electronics should be formatted for stereo diffusion only. Works requiring special equipment or software should be approved by nebulaensemble@gmail.com before submitting.

Submissions should include:
• Score, computer engraved, in PDF format.
• Audio recording or MIDI realization is encouraged but not required.
• Brief composer bio (max. 300 words)
• Brief program note or background on the piece (max. 300 words)

Send all materials by email to nebulaensemble@gmail.com with the subject line: ‘Call for Scores (Name of Composer)’. e.g.: Call for Scores (John Smith)

Deadline for submissions is June 1, 2017. Results will be announced by September 1, 2017. nebulaensemble.com
Web Site:nebulaensemble.com/call-for-scores/

 DELIAN ACADEMY FOR NEW MUSIC
Summary:New Music Academy
Deadline: 05 March 2017
Date Posted: 14 February 2017
Details: International Academy for Composers & Sound Artists
June 12 - 19, 2017

WHO WE ARE
The Delian Academy for New Music is an international summer academy for composers and sound artists located on the island of Mykonos, Greece.

Curated under the auspices of Georges Aperghis and Grypario Cultural Center, the Academy derives its name from the nearby island of Delos, the birthplace of god Apollo, and an UNESCO world heritage site.

Unlike top-down organization programs, our Academy is a participant-driven meeting where attendees co-decide and create the agenda for a series of symposia, workshops, and concerts with the guidance of faculty and staff.

The 2017 edition will take place from June 12 to June 19 in Grypario Cultural Center of Mykonos. Participating composers will have the chance to take part in masterclasses, presentations, workshops and have their music performed by our ensemble in residence. The main language of the Academy will be English. Additional languages may be used in private masterclasses.
Web Site:www.delianacademy.com

 KEEP COMPOSER'S WEIRD 2017
Summary:Residency Opportunity
Deadline: 19 June 2017
Date Posted: 14 February 2017
Details: A residency for emerging composers worldwide, to be held in Melbourne on 5th to 11th of November 2017.

Keep Composer's Weird provides an opportunity for selected composers from around the world, ages 21+, to submit a newly composed work that is to be rehearsed, recorded and performed at a concert in Melbourne. Each composer will work with an established Melbourne ensemble to workshop their composition and the performance will take place on Saturday 11th of November.

The performance will be promoted to showcase each composer and conferences, panels, and mixers will be held at various venues across Melbourne to provide networking opportunities. In addition, for 5-6 days, each composer will participate in lectures, networking events and establish professional relationships with colleagues in the Australian music and arts industry. Participants will be provided with housing (house includes full kitchen, living room, Wi-fi, TV, A/C etc), catered breakfasts, lunches.

The residency is held in between Melbourne Festival and Melbourne Music Week, a great time to discover the live music capital of Australia.

Info:
Participants (tuition + housing + two meals per day): $2,000 AUD
Application should be sent by email to contact@kittyxiaomusic.com by 19th of June 2017
Please send the following information:
1)
a. Name
b. Birth date
c. Nationality
d. CV/biography
e. Short paragraph talking about yourself (i.e – interests, goals, etc)
f. Two letters of recommendation
g. website or other online material (soundcloud/youtube/blog)

2) PDF files of two of your works with recordings or midi (if available)

3) $20 (AUD) application fee payable by paypal to contact@kittyxiaomusic.com



Deadlines
19th of June 2017 - Application deadline
3rd of July 2017 - Announcement of results
17th of July 2017 - Notification to reserve spot in program
5th of August 2017 - Selected participants will receive instrumentation for their works
5th of October 2017 - Deadline for sending finished composition
5th of November 2017 - Arrival and accommodation in Melbourne
11th of November 2017 - Performance
12th of November 2017 - End of residency and check out of accommodation in Melbourne

The first Keep Composer's Weird was hosted by U.S composer Nathan Felix in Austin, Texas and was a huge success - below is a recap of the residency.

2016 Recap of Keep Composers Weird

The first official Keep Composers Weird in 2016 was a huge success. KCW was officially sponsored by the Texas Music Office, Backspace Pizza, Heineken, Chameleon Cold Brew, Visit Austin & The Austin Music Video Festival. The official composers were Kitty Xiao (AU), Gabriel Bolanos (NI), and Scott Shell (US). Their recorded works will be posted when the final mix and masters are completed. Here are some photos that include the live performance, recording at Cacophony, interview at KOOP radio, meet and greet with Graham Reynolds and a lunch at Backspace Pizza. Stay tuned for information on how to apply for Keep Composers Weird 2017.
Web Site:www.kittyxiaomusic.com/keep-composers-weird-melbourne/

 2017 Call for Scores
Summary:Competition with 4 categories
Deadline: 25 March 2017
Date Posted: 14 February 2017
Details: The New Music on the Bayou Festival would like to announce its 2017 Call for Scores. Submissions will be accepted from January 25 to March 25. Notification of acceptance into the festival will be announced on April 13.

Instrumentation

Submissions may be made in any of the following categories:

Percussion Ensemble (up to 5)
Horn, Piano, and Soprano
Solo or mixed ensemble
Digital Media (two-channel only, with or without video)
Performers will be provided. The available instruments are as follows: flute (2), all clarinets/saxophones (3), oboe, trumpet (2), horn, trombone (2), tuba, guitar, piano, soprano (2), percussion (5), cello.

Additional Guidelines

Composers must be present at the concert to have their piece performed.
Pieces of any length are eligible, but preference will be given to pieces under 15 minutes.
We encourage electronic media combined with live performance.
Works composed within the last year are encouraged.
Composers must be able to provide computer-generated parts for the performers via PDF files.
Two works will be selected to be choreographed by professional choreographers. If you wish your submission to be considered, indicate this in the appropriate box on the application.

Black Bayou Composition Award

The Black Bayou Composition Award will be presented for the piece “that best reflects the connection between music and nature.” This award is sponsored in part by Friends of Black Bayou, and will be adjudicated by composers and performers outside of the festival staff. The winner will receive $500, and two runners-up will receive $100 each.

Travel and Lodging

The primary goal of the festival is to bring new music from composers around the world to members of our communities and to engage in the dialogue about the future of new music. No financial assistance for travel is available but recommendations for discounted hotels will be posted as the festival nears.

Media

Professional audio recordings will be provided at no charge to composers after the festival. Professional video recordings will be available at a nominal price. New Music on the Bayou reserves the right to use recordings and images from the festival on our website and promotional materials. Click here to view our map of venues.

Web Site:newmusiconthebayou.com/2017-festival/2017-call-for-scores/

 Barlow Prize
Summary:New Work for Quintet
Deadline: 01 June 2017
Date Posted: 08 February 2017
Details: The winning composer will receive a $12,000 commission from the Barlow Endowment to compose a major new work for Reed Quintet. The winning composer’s work will be premiered in 2019 by a consortium of three quintets: Akropolis (Michigan), BYU (Utah) and the Calefax (Netherlands).

The 15-20 minute 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.

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.

2) Members of the Barlow Boards are not eligible.

For more information:
Web Site:barlow.byu.edu/prize-applications-guidelines/

 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.html

 Australian International Chopin Piano Competition Composition Competition
Summary:Piano Composition Competition
Deadline: 12 May 2017
Date Posted: 08 February 2017
Details: The Australian International Chopin Piano Competition Composition Competition seeks to promote the continuing legacy of the music of Fryderyk Chopin, and to promote young Australian composers by providing an opportunity to compose an original work for piano, based on a work of Chopin's.

In each edition of the competition, a specific work of Chopin's is chosen to form the inspiration of the new work, and the winning composition is included in the Piano Competitition as mandatory repertoire.

Please see the Requirements tab for information about the 2017 Competition.

Source Material:
Fugue in A Minor Op. Posth. (Paderewski Edition Vol XVIII)

Duration:
Between 10 and 15 minutes long.

Guidance for Competitors:
• Applicants can use whatever they wish from the Fugue as raw material for a new composition for solo piano.
• The new work is not intended as a copy of the Chopin style, rather, on the contrary, we want something new and musically demanding.

Jury:
Emeritus Professor Larry Sitsky AM

Competitor Requirements:
• Open to all composers who turn 36 no earlier than 1 January 2018, and who are Australian citizens living in Australia or overseas, Australian residents living in Australia , or non-residents domiciled in Australia for at least 5 years.

Prizes:
The prizes for the winning composition are as follows:
• $2,000 (AUD)
• The winning composition becomes mandatory repertoire for the 3rd edition of the Auwstralian International Chopin Piano Competition 2017.
• A residency at one or more institutions in Poland to include at a minimum the Penderecki Centre in Lusławice. The specific details of the residency/ies will be arranged in consultation with the winner.
• A commission from the Friends of Chopin Australia for one of the laureates of the 3rd edition, to be agreed in consultation with the composer, the laureate and the Friends of Chopin Australia.

Rules:
Applications
• No more than one composition per applicant can be submitted.
• Participation in the Competition is conditional on a candidate submitting the required contact information and documentation confirming the validity of the application.
• The final date for receipt of applications is 11:59PM (Australian Eastern Time) on 12 May 2017. Applications received after this time will not be considered.
• Applicants will be notified of the receipt of their applications. If an applicant is unsure if their application has been received, the applicant is responsible for confirming this with the Competition office by emailing inquiries@aicpc.org.au
• The jury reserves the right to request additional information from applicants.
• Submission of a valid application constitutes acceptance by the applicant of all competition rules and regulations.
• Composition must be submitted in performance ready, printable, digital format.
Selection and Prize
• The decisions of the jury are final and are not subject to appeal. No correspondence will be entered into.
• All applicants will be advised of the outcome of the competition by email no later than COB 26 May 2017.
• If awarded the prize, the winning composer’s piece will be placed into the 3rd Australian International Chopin Piano Competition as mandatory repertoire.

Web Site:www.aicpc.org.au/composition.html

 72nd Geneva International Music Competition
Summary:Concerto Composition Competition
Deadline: 04 May 2017
Date Posted: 08 February 2017
Details: The 72nd Geneva International Music Competition will be presenting composition.
This discipline pursues the tradition of the Queen Marie José Prize and aims at encouraging and promoting contemporary creation and supporting a high-quality performance.

The Composition Prize is supported by the Foundation Reine Marie José

PREAMBLE
The 72nd Geneva International Music Competition will be presenting composition. This discipline pursues the tradition of the Queen Marie José Prize and aims at encouraging and promoting contemporary creation and supporting a high-quality performance

CONDITIONS OF PARTICIPATION
The Geneva Competition's Composition Prize will be awarded in November 2017.
Its objective is to distinguish a new work that has been composed at the earliest after May 2014.
The competition is open to composers of all nationalities born after May 1st, 1977 (40 years old). Composers who have already won the Queen Marie Jose International Music Composition Prize or the Geneva International Music Competition's Composition Prize are not eligible to take part in this competition.

WORK
The subject of the Composition Prize 2017 is a Concerto for Clarinet and orchestra, composed after following specifities:

The concerto must last between 15 and 20 minutes.
The work must be written for traditional solo clarinet (in A or B flat), without use of special instruments.
The work must not use any electronic device.
The orchestra set must imperatively be comprised within the following frame:
3*.3*.3*.3* - 4.3.3.1 – harp – keyb. (1) – perc (3) – Strings : 10.8.6.6.3
One musician may play several keyboard instruments.
Concerning percussion, please insert the detailed list of required instruments.
The prize-winning work will then be performed during the final round of the 2018 Clarinet competition.
The musical score may be hand-written or in electronic form, but must be perfectly legible.

REGISTRATION
The registration deadline is May 4, 2017. Candidates may register directly on our website.
Registration will not be considered as final until the following documents have been received (to be uploaded via registration page, or sent by post or by email) :

Three musical scores (or one electronic file), with a title or a motto, all completely readable, without the least mention of the composer, since the candidate must remain anonymous for the Jury.
As well as the following documents:
Official proof of the candidate's age (birth certificate or passport photocopy)
Your resumé (studies taken, institutions, teachers, professional activities)
Two different and recent high-quality photos in color (id-card format not accepted). Please name the files by your name (and not “pict003.jpg or IMG_002.jpg")
Proof of payment of the registration fee. In case of payment through our website, the proof of payment is not required.
A commentary (in French, German or English) on the work presented
Authorization for its performance and broadcast
All documents may be uploaded directly on the registration page of the Geneva international music competition, or sent by email or by post-mail.

REGISTRATION FEE
Amount of the fee: the registration fee is CHF 100 (one hundred Swiss francs) payable in a single instalment. Payment should be made to:
Banque Cantonale de Genève
Quai de l’Ile 17
Case postale 2251
CH - 1211 Geneva 2

Swift N°: BCGECHGG
IBAN N°: CH 33 0078 8000 S 077 6119 5
Account N°: S 776.11.95
Clearing: 788
Account holder: Concours de Genève

Payment terms: Payment can be made by wire bank transfer or by credit card (Visa or Eurocard/Mastercard) directly on our website.
Cheques are not accepted.
The registration fee is not refundable under any circumstances.

PROCEDURE
In early June 2017, the official Jury will examine the compositions received and whose files are compliant with the rules. The Jury will choose at the most 3 finalists' works to be publicly performed in Geneva in November 2017 by international soloists, accompanied by Geneva Chamber Orchestra, together with musicians from Geneva University of Music Orchestra.

The results of the selections will be posted on the website at the end of June 2017. Finalists will receive a personal confirmation.

OFFICIAL AND SPECIAL PRIZES
The Geneva Competition offers the following official prizes:

First Prize: CHF 15,000.-
Second Prize: CHF 10,000.-
Special Prizes are available as well:

Audience Prize: CHF 1,500.-
Young Audience Prize: CHF 1,000.-
Student Prize: CHF 1,000.-
The Audience Prize is awarded by the audience at the Final performance.
The Young Audience Prize is awarded by young students of the Geneva music schools.
The Student Prize is awarded by student in Musicology at Geneva University.

The Jury may also decide not to award all the Prizes. Its decisions are taken by an absolute majority vote of its members, and the President has the casting vote in case of an equality of votes.

PRIZE-GIVING CEREMONY
The prizes, awards and diplomas signed by the President of the Jury as well as the President and the Secretary-General of the Geneva Music Competition, will be presented to Laureates during the prize-giving ceremony, which takes place at the end of the Final concert, on November 26th, 2017.

JURY
The Geneva International Music Competition's Artistic Committee is solely responsible for appointing the 5 members of the international Jury. They are chosen for their international reputation in the world of music, independently of any racial, ideological, political or linguistic considerations.

The Jury’s decisions cannot be appealed. By agreeing to take part in the competition, all competitors undertake to accept and not contest these decisions.

2017 Jury members:

Mathias PINTSCHER, Germany, President
Unsuk CHIN, South Korea
Xavier DAYER, Switzerland
Magnus LINDBERG, Finland
Ichiro NODAÏRA, Japan

RIGHTS
The prize-winning work remains the full and complete property of its author, who takes personal written responsibility for allowing it to be performed and broadcast, free of any rights (with the exception of copyright and editing right), particularly during the 2018 Clarinet competition.

Laureates waive all and any rights to audio/video recordings as well as radio/television/internet broadcasts of public cessions of the Geneva Competition, as well as further use of pictures or videos from themselves, taken during the Geneva Competition.

Documents will not be returned to the sender.

Web Site:www.concoursgeneve.ch/sections/composition_2017?a=collapse195

 he 2nd Peter Rosser Composition Award 2017
Summary:Quintet Competition
Deadline: 28 April 2017
Date Posted: 08 February 2017
Details: We are delighted to announce that the 2nd Peter Rosser Composition award is now open.

We wish all the composers planning to submit the very best of luck and look forward to seeing your scores by the deadline.

Deadline for submission: 4pm Fri 28th April 2017

3 prizewinning composers will be shortlisted by Fri 12th May 2017
and the shortlisted composers will be informed by email.

All shortlisted works will be workshopped, performed and recorded (as well as video streamed) by Hard Rain SoloistEnsemble at a special event in Red Box Recording Studio, Belfast on Fri 26th May 2017.

CRITERIA FOR SUBMISSION
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.

AWARDS
The following awards will be bestowed:
• 1ST PRIZE £1,000
• 2ND PRIZE £500
• 3RD PRIZE £250

1.1 All submitted compositions should not have been performed before, must not be published and should be written speci cally for the 2nd 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 2nd 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 di er 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 Friday 26th May 2017 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.
Web Site:www.hardrainensemble.com/peter-rosser-composition-award

 RPS COMMISSIONS
Summary:Multiple Opportunities
Deadline: None
Date Posted: 08 February 2017
Details: From Beethoven to Carter, forging relationships with composers and commissioning new music has been at the heart of the Royal Philharmonic Society’s work since 1813.

We believe that encouraging creativity is an essential part of live music making. Since 1813 our commissions have included masterworks such as Beethoven’s 9th Symphony, Mendelssohn’s Italian Symphony and Dvorak’s 7th Symphony. Today we continue to thrill and challenge audiences with the new and have commissioned over 60 composers in the last 10 years.

Our current commissioning programme includes:

Chamber Music

An ongoing partnership with BBC Radio 3 has created a series of over 30 new chamber works for the outstanding talents of the BBC New Generation Artists.

RPS Composition Prizes

The RPS offers pportunities for emerging composers and composers age 18 and under to take part in workshops and to write for high profile professional performances, while the Elgar Bursary recognises that older composers may also benefit from support to write an orchestral work with a guaranteed performance and broadcast.

RPS Drummond Fund

Commissioning new music for dance.

RPS Bicentenary Commissions

Over 20 new commissions were at the heart of our Bicentenary celebrations in 2013, from major international figures to those just entering the profession. Read about our Bicentenary Commissions.

For more information:
Web Site:royalphilharmonicsociety.org.uk/composers/commissions

 COMPETITION FOR COMPOSITION PIANO TRIO
Summary:Trio Competition
Deadline: 28 February 2017
Date Posted: 08 February 2017
Details: To be submitted:
A composition for a trio comprising piano, violin and violoncello.

The work must neither already have been accepted for a premiere performance, nor been performed in public, nor been awarded a prize, nor been published.
Maximum length: 15 minutes
Latest date for submission: February 28th, 2017 (date of postmark, email)

Please address your entry to:

Kunstuniversität Graz
Kennwort: Kompositionswettbewerb-Klaviertrio
Leonhardstraße 15, 8010 Graz, Austria
franz.schubert@kug.ac.at

The scores must be submitted as three anonymous copies in a separate envelope or electronically in PDF format (max. format DIN A3), marked with a code name chosen by the applicant.

Age limit for composers:
38 years, born after March 1st, 1978

Jury: Annette Bik, Chia Chou, Clemens Gadenstätter, Adriana Hölszky (invited), Klaus Lang, Alexander Stankovski, Johannes Maria Staud

In a meeting chaired by Elisabeth von Magnus, Vice Rector for Arts at the University of Music and Performing Arts Graz, the jury will select the prizewinning work by July 2017. The participants will be informed of the results thereafter. The official award ceremony will be scheduled as part of the 10th International Competition “Franz Schubert and Modern Music” in February 2018 in Graz.
Web Site:schubert.kug.ac.at/international-competition-composition/?lang=en

 CALL FOR SCORES: "Dramatic Tensions" for the 2017-2018 Season
Summary:Call with Three Categories
Deadline: 15 March 2017
Date Posted: 08 February 2017
Details: The Boston New Music Initiative is announcing a call for scores to be programmed as part of BNMI’s ninth season. Incorporated in 2010, BNMI aims to advance the careers of its members in the field of new music by serving as a resource for networking, professional development, commissioning, collaboration, and programming. The call is open for acoustic, electro-acoustic, and multimedia works. Any composer is eligible to submit regardless of age, nationality, sex, color, creed, sexual orientation, marital status, disability or veteran status. The theme of BNMI's Ninth Season, which runs 2017-2018 will be “Dramatic Tensions” and preference will be given to works which relate to that theme.

Categories
We aim to program one (1) to three (3) works per category.

Category 1: Solos
Works for any solo instrument: from BNMI’s core ensemble (see Instrumentation below).
Category 2: Duets, Trios and Quartets
Works for 2-4 players: for duets, one of the instruments must be from BNMI’s core ensemble, for trios and quartets, two of the instruments must be from BNMI’s core ensemble (see Instrumentation below).
Category 3: Ensemble
Works for 5-10 players, at least three of which must be from BNMI’s core ensemble (see Instrumentation below).

Details
• Instrumentation. BNMI’s core ensemble consists of Flute (doubling Piccolo, Alto Flute or Bass Flute), Clarinet in B-flat (doubling Clarinet in A, or Bass Clarinet in B-flat), Violin, Violoncello, Piano and Percussion. Works with unusual percussion instruments or a large number of percussion instruments may not be able to be programmed. Stereo electronic, electroacoustic, or multimedia works are accepted, but at least one live performer must be used (no fixed-media). Any additional instruments should be standard orchestral instruments or singers. Works including rarer instruments such as Harp or Celesta may not be able to be programmed.
• Duration. Works can be of any duration, although preference may be given to works which are 12 minutes or less. Multimedia. For all multimedia submissions, composers must either indicate that they have the rights to the specific multimedia element to be used (e.g. the film, tape, MAX/MSP patch, choreography, artwork, etc.) and grant BNMI permission to utilize it during performance, or else grant BNMI permission, at its discretion, to create a multimedia element. In the second case, BNMI reserves the right to incorporate or not to incorporate multimedia elements at its sole discretion.
• Electronics. Scores of works involving electronic elements must include information on the specific technical requirements for performance. Likewise, multimedia works must indicate any extramusical forces needed. Works utilizing excessive electronic equipment may not be able to be programmed.
• Number of Entries. There is no limit on the number of works a composer may submit, however each work should be submitted as a separate entry. Multi-movement works should be submitted as single entries, even if movements are in separate files. (The submission process allows for multiple files per entry.)
• Anonymity. All submissions must be anonymous. Scores or other materials with names or other identifying marks will not be considered. Please remove all identifying marks from all materials (except the composer information page, see submission process below) before submitting. Please make sure no meta-data including names or identifying marks remain in submitted files. No pseudonyms or code numbers are necessary.
• Membership. Composers wishing to submit scores must become members of BNMI; Associate Membership is free and Full Membership is $20 a year. Information on membership benefits can be found here.
• Questions? First check the FAQ section below. If you still have questions, please address them to info@bostonnewmusic.org. Note: Please DO NOT send submission materials to this email address as the materials cannot be submitted using this method. When submitting inquiries, please be as generic as possible, and DO NOT include the title of your piece in the query in order to preserve anonymity.
• File Formats. The only acceptable file formats are:
For the score: .pdf
For (optional) audio recordings: .mp3 or .m4a
For (optional) video: .mov or .m4v
All other materials: .doc, .docx, .txt, .rtf, .odt, or .pdf
• Delivery of Music. Selected composers are required to provide electronic copies of the full score and parts within four (4) weeks of their notification of selection. If electronics or multimedia are involved, all files required for performance and rehearsal must be submitted within the same time frame.

Submission Process
Composers are asked to use our submission portal to upload the following materials (each as separate documents).
• An anonymous PDF file of the score.
• A recording of the work (not required but encouraged)
• For works using electronics, a detailed description of technical requirements and processes needed (i.e. a “tech rider”).
• An entry fee for each submission. The entry fee for this competition is $5 for each submission for Full Members and $15 for Associate Members. Membership information can be found here.
• An information sheet containing the following:
Composer’s contact information (name, phone number, physical mailing address, email address, and website URL, if any)
Title, instrumentation, and duration of the work
Work’s date of completion and complete performance history
Performing rights organization (ASCAP, BMI, etc.) associated with the work and/or composer, if any
Composer’s year of birth (for program information only)
Composer biography and program notes for the work (maximum 300 words each), to be used if the work is selected. BNMI reserves the right to truncate the program notes or composer biography if either exceeds the word limit.

FAQs and Helpful Hints:
• Please note that new memberships may take up to 24 hours to be approved (although usually much less). Composers signing up as new members who wish to submit to this competition should be sure to allot enough time for the approval process to complete in order to meet the March 15 deadline.
• The submission portal is not available without login credentials. Composers who are not existing BNMI members must first submit a membership application in order to create login credentials.
• Once all files have been added for each work, be sure to complete your payment in the bottom left-hand corner of the screen. Full members must have dues paid in order to receive discounts. For those composers submitting more than one entry, payment should be made only after ALL entries have been completed.
• You may check to see if your submission is complete by logging out, and then logging back in and returning to the submission portal. If you are able to view your submitted materials under your piece title, then they have been received.

Web Site:www.bostonnewmusic.org/submit

 KLANG! International Acousmatic Composition Competition 2017
Summary:Acousmatic Call
Deadline: 15 March 2017
Date Posted: 08 February 2017
Details: Guidelines:

1. The competition of acousmatic composition is open to composers of any nationality, age and gender. The competition is divided in two categories: A professional and B student.

2. Only acousmatic work in stereo or multichannel (up to 8 channels) are accepted. There is no duration limit.

3. For Category A, Professional: the entry fee is 10€ (donnate with PayPal by clicking on the link on the application form). Indicate the title of your piece in the text zone on PayPal by clicking on « Ajouter des instructions particulières pour le vendeur« . The registration will not be taken into account if the payment is delayed or has not been done.

4. For Category B, Student: the entry fee is 6€ (donnate with PayPal by clicking on the link on the application form). A copy of student id must be sent with their audio file. Indicate the title of your piece in the text zone add comment on PayPal « Ajouter des instructions particulières pour le vendeur« . The registration will not be taken into account if the payment is delayed or has not been done.

5. Submitted works must not have been edited for commercial purpose and must have been composed during the 2 years preceding the call closure date.

6. The participants have to complete the application form on the web page in the provided order (Payment – Application Form – Uploads).

7. Each candidate can submit as many works as desired, but must re-make a full application (Payment – Application Form – Uploads) for each submitted work.

8. Each uploaded file should only be named with the title of the work and then placed in a folder named with the category entered (A or B) then the channel total number followed by title of the piece (eg: A_8_title).

9. Admissible formats: .aiff, .wav., 24bit and 48kHz. Multichannel pieces must be submitted: 1) one interleaved audio file, 2) a stereo version (named as: title_stereo_version), 3) a pdf (or jpeg…) file showing the location of speakers and channel numbering (we will attempt to reproduce it to its best with our acousmonium), all submitted together in a folder named with the category entered (A or B) then the total channel number followed by title of the piece (eg: A_8_title).

10. The name of the composer(s) must not appear on any submitted files (.pdf, audio etc.).

11. The deadline for submission is the 15th of March 2017 before 0.00 (GMT+2). The selected works will be announced in April.

Prizes:

Category A

First prize: French radio broadcast, the selected work will be played during a KLANG acousmonium concert and on an other partner acousmonium.

Second prize: The selected work will be played during a KLANG acousmonium concert.

Category B (one prize)

The selected work will be played during a KLANG acousmonium special student concert.

The jury consists of internationally renowned composers.
Web Site:klangacousmonium.wordpress.com/klang-electroacoustique-festival-2015/klang-international-acousmatic-competition-inscriptionapplication/

 The Choir of Christ's College, Cambridge
Summary:Choir Competition
Deadline: 01 May 2017
Date Posted: 08 February 2017
Details: Exciting news of a new composition competition. Notice of Prize Competition
Christ’s College Grace Composition Prize

To all members of Christ’s College past and present:
The choir alumni of 1982 are sponsoring a competition open to all members to compose a choral setting to the Latin College Grace.
The winning entry will receive a prize of £200, and the setting will be performed by an alumni choir at the College Reunion Dinner on 23 September 2017.

The closing date for entries is May 1st 2017, and the winner will be announced in late May.

Full details of the requirements are attached.

Christ’s College
Grace Composition competition

Entry eligibility:
All members of Christ’s College, Cambridge

Entry deadline:
1 May 2017

Requirements:
Entrants should provide a choral setting of the Latin College Grace, set to the text below.
The four-part arrangement should be for unaccompanied SATB choir.
The intention is for a choir of former Christ’s choristers to perform this piece with minimal rehearsal opportunity. It should therefore be of a standard that enables a competent group of choristers to perform it after two run-throughs.
The length of the piece should be compatible with a pre-dinner grace.

Grace text:
Exhiliarator omnium Christe
Sine quo nihil suave, nihil jucundum est:
Benedic, quaesumus, cibo et potui servorum tuorum,
Quae jam ad alimoniam corporis apparavisti;
et concede ut istis muneribus tuis ad laudem tuam utamur gratisque animis fruamur;
utque quemadmodum corpus nostrum cibis corporalibus fovetur,
ita mens nostra spirituali verbi tui nutrimento pascatur
Per te Dominum nostrum.

Competition logistics:
Entries must be sent by email to Dr David Rowland, College Director of Music, by 5.30pm on 1 May 2017 (der26@cam.ac.uk).
The judging panel will comprise Dr Rowland and alumni representatives. We hope that the college choir will sing shortlisted entries at an adjudication in May 2017 at which the winner will be announced, date yet to be confirmed.
The winning piece will have its first public performance at the alumni reunion dinner on 23 September 2017.

The College will own copyright in the setting.

Prize:
The composer of the winning entry will receive a cash prize of £200 and an appropriate certificate.
Web Site:www.facebook.com/permalink.php?story_fbid=10154401098638175&id=173640423174

 Spheres of a Genius. 100 years of Thelonious Monk.
Summary:Call for Scores / Composition Competition
Deadline: 01 June 2017
Date Posted: 08 February 2017
Details: A jazz composition competition by JAM MUSIC LAB in cooperation with the Vienna Radio Symphony Orchestra.

To celebrate the occasion of the 100th birthday of Thelonious Monk, JAM MUSIC LAB - Conservatory for Jazz and Popular Music Vienna is organizing an international composition competition. In cooperation with the Vienna Radio Symphony Orchestra, which will be extended to include jazz soloists, the prize-winning work will be premiered on July 7th, 2018 in the Golden Hall of the Vienna Musikverein.

Prizes
1st prize: The winning composition will be premiered by the Vienna Radio Symphony Orchestra and Jazz Soloists in the Golden Hall of the Vienna Musikverein on June 7th, 2018 and broadcasted as part of the Ö1 radio programme.

The prize money is 5.000 EUR.

2nd prize: 3.000 EUR

3rd prize: 2.000 EUR

Idea and outline of the competition
Thelonious Monk was one of the most innovative artists in jazz music, whose contribution opened up exciting new avenues for this music. As Monk also utilised a vocabulary that was also being used by contemporary classical composers, the competition is supported by the Vienna Radio Symphony Orchestra.
Monk and the core repertoire of the RSO Wien are close to each other in many respects. JAM MUSIC LAB has developed the idea of "Spheres of a Genius" in honor of the 100th birthday of one of the most important personalities of modern jazz and is responsible for the realization of this competition.

The aim of the contest is to create music that will reflect the spirit of Thelonious Monk from a contemporary perspective; to provoke inspiration for further innovation, originality and musical communication in contemporary jazz. The composition should be intended to offer a demanding and an up-to-date podium for the exploration of exciting interrelationships of jazz in its composed, as well as improvised forms. The "Sounds" and "Spheres" in the unmistakable musical innovations of Monk are very much prevalent in the possibilities that composed music offers us, especially when a large orchestral composition calls for the orchestra to interact with jazz idioms and jazz musicians.
Web Site:www.jammusiclab.at/pages/spheres-of-a-genius/

 Rudsambee — composition competition
Summary:Choir Competition
Deadline: 16 March 2017
Date Posted: 08 February 2017
Details: This is a competition for a modern, unique choral composition for unaccompanied voices, setting a piece of Scottish text to song.

SATB only (divisi up to SSAATTBB are acceptable)

3-8 minutes in length

Original submissions only

Deadline 16 March 2017

Up to three compositions will be selected and performed by Rudsambee Company of Singers.

A first prize of £100 is offered

Contact info@rudsambee.org.uk for information

Web Site:www.rudsambee.org.uk/rudsambee/compocompe.shtml

 2017 Wilmslow Parish Church Organ Composition Contest
Summary:Organ Composition Competition
Deadline: 31 July 2017
Date Posted: 08 February 2017
Details: St Bartholomew’s Church, Wilmslow, Cheshire, UK announces a special Organ Composition Contest for composers of all ages and nationalities to celebrate the renewal and augmentation of the organ (affectionately known as Oscar) by York Pipe Organs. The winner of the contest will win a prize of £150, with prizes of £100 for second place and £50 for third. The 3 winners will have their pieces performed at the Festival Dedication Service on Advent Sunday 2017. In addition the 3 winning pieces will be published in a book called “Oscar’s Organ Book” by the online music publishing firm www.fagus-music.com.

All submissions must be received via email (philip@philipunderwood.co.uk) or postal mail (28 Bracadale Drive, Davenport, Stockport, SK3 8RS, UK) by 11:59 pm on 31st July 2017.

Competition Guidelines
1. The contest is open to composers of any age or nationality in any style of music.
2. The piece, for solo organ of 3 manuals and pedals, must be unpublished, never performed, 5-8 minutes in length and of approximately grade 7 standard.
3. The piece must be appropriate for performance in a celebration concert, however a religious theme is not necessary.
4. Submissions will be accepted in one of the following forms: Sibelius 4, Midi file, PDF file or original manuscript. Manuscripts will not be returned.
5. All submissions will be reviewed without prejudice to style, content or form.
6. Composers must submit a short biography.
7. All submissions must be received via postal mail or email by 11:59pm on 31st July 2017.
8. The winner of the contest will win a prize of £150, with prizes of £100 for second place and £50 for third. The 3 winners will have their pieces featured in the Festival Dedication Service on Advent Sunday 2017 (3rd December). In addition the 3 winning pieces will be published in a book called “Oscar’s Organ Book” by the online music publishing firm www.fagus-music.com.,these prizes are all inclusive and no other expenses shall be paid to the composers.
9.The church reserves the right to host the world premiere of the pieces.
10.The results will be posted on the church website on 1st September 2017.
Web Site:www.wilmslowparish.co.uk

 HighSCORE Composition Programmes
Summary:Composition Programmes
Deadline: 14 April 2017
Date Posted: 08 February 2017
Details: FULL PROGRAMME

As a participant in the Full Composition Program, you will:
• have YOUR music played by our professional musicians in the festival’s evening concerts held at cultural and historical sites throughout Pavia. All concerts are professionally recorded and filmed: the recordings will be shared with all the composers on the last day of the festival. For the 2017 edition you can submit music for:
string quartet with or without electronics;
flute (piccolo, soprano, alto or bass) and guitar (classical, electric or mandolin) duo with or without electronics;
clarinet (Bb, A clarinet or basset horn) and piano, solo or duo, with or without electronics (max duration: 6 minutes);
• be mentored during the rehearsal of YOUR music. You may also be contacted by our professional players before the festival via email or Skype for a first reading of the score together;
• attend a lecture and a masterclass with our Guest of Honor Prof. Fabio Vacchi;
• attend a masterclass with Prof. Christopher Theofanidis;
• present YOUR music at the Composition Colloquium, a daily masterclass led by Prof. Amy Beth Kristen. Prof. David Ludwig, and Prof. Dmitri Tymoczko. You will receive a public composition lesson from one of them and you will receive feedbacks by all the other participant composers;
• have private composition lessons with Prof. Amy Beth Kristen, Prof. David Ludwig, and Prof. Dmitri Tymoczko. You will have a private lesson with each of them, excluding the one who will give you a public lesson during your Composition Colloquium;
• attend daily lectures on composition, contemporary techniques, idiomatic writing, and advanced music theory by our faculty Prof. Amy Beth Kristen, Prof. David Ludwig, Prof. Dmitri Tymoczko, Prof. Giovanni Albini, and by our musicologist in residence Prof. Giovanni Cestino;
• attend workshops by Prof. Amy Beth Kristen ("Building Collaborative Theatre Works"), Prof. David Ludwig ("Next Stop Bergamo: Now Arriving at Pierrot Lunaire"), Prof. Dmitri Tymoczko ("Theory for Composers");
• attend seminars and daily lessons by Prof. Giovanni Cestino ("Italian for Composers and Musicians"), and Prof. Marina Giovannini ("German for Composers and Musicians");
• sing in the highSCORE choir conducted by Prof. Riccardo Lorenzetti;
• be a member of the highSCORE New Music Center, and join one of the largest international networks of contemporary music, accessing new opportunities, commissions, collaboration and performances. An interview with you led by our musicologist in residence, Prof. Giovanni Cestino will be published in the highSCORE Proceedings 2017, and your biographical information will appear in our database;

You will also have access to:
• a welcome buffet;
• an outstanding workshop on Italian cooking;
• a guided tour of the city of Pavia;
• two dinner parties;
• all the festival's concerts.

The tuition for the Full Composition Programme is 1,799 euros.
Tuition includes full accommodation in a shared room on the university campus from August, 7 (check-in) to August, 19 (check-out). Each apartment is equipped with kitchen, bathroom, air conditioning, and free wireless internet connection. The facility also includes a study room, a self-service laundry, a bicycle parking area, a newly built fitness center, a beauty SPA, covered and open air pools, and a cafeteria.
A roommate will be assigned to each participant, unless preference for a specific roommate is otherwise stated. A free transportation pass for city buses as well as a festival personal ID card will be provided to every participant.

Our English speaking staff is available 24 hours a day.
Not covered in tuition is airfare, passport fees, transportation to/from the festival, meals, laundry, phone charges, activities/entertainment during free periods, supplementary maid service, any insurance, etc.

LIGHT PROGRAMME

As a participant in the Light Composition Program, you will:
• attend a lecture and a masterclass with our Guest of Honor Prof. Fabio Vacchi;
• attend a masterclass with Prof. Christopher Theofanidis;
• audit the Composition Colloquium, a daily masterclass led by Prof. Amy Beth Kristen, Prof. David Ludwig, and Prof. Dmitri Tymoczko;
• attend daily lectures on composition, contemporary techniques, idiomatic writing, and advanced music theory by our faculty Prof. Amy Beth Kristen, Prof. David Ludwig, Prof. Dmitri Tymoczko, Prof. Giovanni Albini, and by our musicologist in residence Prof. Giovanni Cestino;
• attend workshops by Prof. Amy Beth Kristen ("Building Collaborative Theatre Works"), Prof. David Ludwig ("Next Stop Bergamo: Now Arriving at Pierrot Lunaire"), and Prof. Dmitri Tymoczko ("Theory for Composers");
• attend seminars and daily lessons by Prof. Giovanni Cestino ("Italian for Composers and Musicians"), and Prof. Marina Giovannini ("German for Composers and Musicians");
• sing in the highSCORE choir conducted by Prof. Riccardo Lorenzetti;
• be a member of the highSCORE New Music Center, and join one of the largest international networks of contemporary music, accessing new opportunities, commissions, collaboration and performances. An interview with you led by our musicologist in residence, Prof. Giovanni Cestino will be published in the highSCORE Proceedings 2017, and your biographical information will appear in our database.

You will also have access to:
• a welcome buffet;
• an outstanding workshop on Italian cooking;
• a guided tour of the city of Pavia
• two dinner parties;
• all the festival's concerts.

The tuition for the Light Composition Programmeis 1,299 euros.
Tuition includes full accommodation in a shared room on the university campus from August, 7 (check-in) to August, 19 (check-out). Each apartment is equipped with kitchen, bathroom, air conditioning, and free wireless internet connection. The facility also includes a study room, a self-service laundry, a bicycle parking area, a newly built fitness center, a beauty SPA, covered and open air pools, and a cafeteria.

A roommate will be assigned to each participant, unless preference for a specific roommate is otherwise stated. A free transportation pass for city buses as well as a festival personal ID card will be provided to every participant.

Our English speaking staff is available 24 hours a day.
Not covered in tuition is airfare, passport fees, transportation to/from the festival, meals, laundry, phone charges, activities/entertainment during free periods, supplementary maid service, any insurance, etc.
Web Site:www.highscorefestival.com/program.asp

 Leith Hill Musical Festival Competition for Composers
Summary:Choral Competition
Deadline: 01 July 2017
Date Posted: 08 February 2017
Details: This renowned Choral Festival now in its one hundred and twelfth year provides a wonderful opportunity for hundreds of amateur singers. Each year twelve local choirs join together over three days to sing in competition and then perform concerts of music by some of the great composers of yesteryear and always some living composers. The Festival is very keen to support new music and to this end is launching this competition.

Entries are invited from UK resident composers of any age. The music must be written for TBB voices and piano and the text must be in English. Three prizes will be awarded and the winner will have his or her work performed in the Leith Hill Musical Festival. The entries will be judged by Jonathan Willcocks, Festival Conductor and another member of the LHMF Music Committee.

Full details of the competition can be found on the LHMF website: www.lhmf.org.uk

Web Site:www.lhmf.org.uk

 The Cypress Symphonic Band 4th Annual Call for Scores
Summary:Band Competition
Deadline: 01 May 2017
Date Posted: 08 February 2017
Details: Entry Fee: None

Open to: Emerging composers, regardless of age or nationality

Prize: Selected compositions will be performed by the Cypress Symphonic Band, a volunteer community wind ensemble based in Houston, Texas.
Theme: The theme for this season is Monsters, Myths, Legends, and Heroes. Preference will be given to those works that can be considered to match the theme.

Deadline: May 1, 2017

The Cypress Symphonic Band, a volunteer community wind ensemble, is dedicated to the performance of new compositions by living composers who have not yet been widely performed. The ensemble is currently seeking new or unperformed works for the 2017-2018 season.

Rules for Entry (entries not adhering to the following conditions will be rejected):

· Instrumentation: Works must be for standard wind ensemble and will adhere as closely as possible to the following instrumentation: 1 Pic.[opt], 2 Flute, 2 Oboe, 2 Bssn, 1 Eb Clar. [opt], 3 Bb Clar., 1 Bass Clar., 1 Contra Alto Clar., 2 Alto Sax., 1 Tenor Sax., 1 Bari. Sax., 4 Horns, 3 Trpts., 2 Trbn., 1 Bass Trbn., 1 Euph., 1 Tuba, 1 String Bass, Perc. [opt]. The work may include piano and/or harp. Scores with minimal percussion parts (up to four players) will be given preference.
· Composer: There is no age restriction. Preference is given to those composers who do not have a track record of performances by university or professional wind ensembles.
· Duration: There is no maximum or minimum duration, but preference is given to works
between 4 and 10 minutes in length.
· Difficulty: All difficulty levels are acceptable, but preference is given to those works that would be considered grade 4 or 5 by the standards of the latest Texas University Interscholastic League Prescribed Music List.
· Prior Performance: Works may not have been publicly performed. Reading and/or recording sessions for the purposes of submission are acceptable. The performance of the winning entries by the Cypress Symphonic Band will be considered world premieres, and will be marketed as such.
· Published (including self-published) works will not be accepted.
· Audio Files: Composers are strongly encouraged to include links to some sort of audio realization (MIDI, live performance, etc.) of their scores.
· Number of Entries: Composers may submit as many entries as they wish, each under separate cover.
· Age of Works: Entries must have been composed after Dec. 31, 2015.
· Copyright: The entrant must be the sole owner of the work being submitted, and is the responsible party in the case of any disputes. All copyrights will be retained by the composer. No arrangements will be accepted—only original works. The owner of the work agrees to limited performance and mechanical rights without payment of royalties to the Cypress Symphonic Band for a single live performance and the sale and distribution of demonstration recordings. The copyright owner also agrees to allow the band to place a copy of the recording on their website for a limited time for public access. Any recordings provided to the copyright owner by the Cypress Symphonic Band may be used by the copyright owner in perpetuity without restriction.
· Prize: The judging panel will select up to eight works to be performed and recorded during the 2017-2018 season, and a recording of the performance, if available, will be provided to the composer. Additionally, outstanding works will be offered the opportunity to publish through Avalon Press. The panel reserves the right to select no entries if none are acceptable. Second Round composers will be informed prior to June 1, and will be invited at their own expense to attend the performance of their work. Upon notification of a winning entry, all performance materials must be submitted in PDF format by June 15, 2017.

· Submission deadline: May 1, 2017

Please submit all materials electronically (pdf/mp3 format only. No Soundcloud links, please.) to: submissions@CypressSymphonicBand.org

Please contact Clancy Weeks with any questions regarding the submission requirements, and place CSB Submission in the Subject line.

Contact Information: Clancy Weeks

Deadline: 1 May 2017
Email:clancy@cypresssymphonicband.org

 Participate in Music Current 2017
Summary:Voice and electronics call
Deadline: 13 March 2017
Date Posted: 08 February 2017
Details: Dublin Sound Lab invites composers of any age or nationality, with experience or interest in electronic composition and performance, to participate in Music Current 2017.

Participation & Commission Opportunity

Composers are invited to submit new or existing works for soprano in combination with tape, computer or live electronics. As many as eight composers will be selected to participate in workshops and masterclasses with the esteemed English composer Christopher Fox. Submitted works will be considered for public performance on the final day of the festival, when one of the participating composers will be awarded a commission of €2,500 for new work to be premiered at Music Current 2018. Participating composers will attend all festival concerts, and will take part in the masterclasses and workshops at the Contemporary Music Centre, Dublin.

Masterclasses and Workshops

Thursday 27 April, 2–4pm: Welcome and Presentation by Christopher Fox (CMC Library)
Presentation by festival composer, Christopher Fox, concerning his own recent work, relevant to festival programme, and with reference to use of electronics in his work.

Thursday 27 April, 5pm: Music Current Festival Launch (CMC Library)
Festival launch with invited guests, festival composer Christopher Fox, participant composers, Elizabeth Hilliard, Klank, and Dublin Sound Lab.

Friday 28 April, 10am–5pm: Masterclass workshop with soprano Elizabeth Hilliard & Christopher Fox (CMC Library)
During this day-long workshop, all selected works will be trialled and workshopped. Elizabeth Hilliard and Christopher Fox will discuss technical and performance-related issues relevant to the selected works in a friendly discursive session involving all participant composers.

Friday 28 April, 6pm: Public Panel Discussion: Where Next for Electronic Music? (CMC Library)
Discussion with festival composers and guest speakers on future directions for electronic concert music. Panel includes Elizabeth Hilliard, Klank, Christopher Fox and will be moderated by Evonne Ferguson, Director of CMC. Audience members and concert-goers welcome to participate.

Saturday 29 April, 10am–1pm: Technical workshop (Smock Alley Theatre)
Alexis Nealon (sound engineer) will discuss technical and performance-related issues relevant to the participant composers' works in preparation for afternoon's open rehearsal and concert. Workshop is open to all participant composers whether or not their piece features electronic forces.

Saturday 29 April, 2pm–4pm: Rehearsal of participant works by Elizabeth Hilliard (soprano) (Smock Alley Theatre)
Works by participants will be rehearsed in advance of the public performance, at New Voices, in this year's Music Current festival.

Participant Composers can also avail of:

Audio recording of the concert performance of their work
Free Entrance to four concerts and all Music Current 2017 events and presentations
Contemporary Music Centre Travel Bursary to cover travel costs within the island of Ireland

Deadline for applications 13 March 2017

Web Site:www.dublinsoundlab.ie/musiccurrent2017/

 The Joliet Symphony Orchestra at USF’s Composition Competition 2017
Summary:Community Orchestra Competition
Deadline: 01 June 2017
Date Posted: 01 February 2017
Details: The JSO seeks to broaden the repertoire for college/community orchestras,
recognize outstanding composers, and bring new music to our audiences.

Awards
​The winning piece will be performed on a JSO concert during the 2017-2018 season.
Honorable Mentions will be awarded as well and considered for performances on future concerts.

Eligibility
The Piece:
- suitable for a college/community orchestra
- length under 10 minutes
- instrumentation not to exceed 3232/4331/Tp+2/Hp/Str
(piccolo, English honr, and bass clarinet doublings are allowed)
- written in 2010 or later

The Composer:
- no age limit
- no geographical limit
- no entry fee
- limit 1 submission per composer

Criteria
Beyond standard criteria (idiomatic writing and orchestration, lack of notational errors, etc.),
the following traits will be valued:
- sensitivity to the variety of skill levels in college/community orchestras’ string sections
- rewarding parts for all players, especially those with traditionally less-involved parts

To Enter
Email the following materials to adee@stfrancis.edu by April 15, 2017 11:59 p.m. CST:
- contact information: name, email address, phone number
- PDF of full score
- PDF of first violin part
- link to recording of live or MIDI performance (if available)

Announcement of Winners
Winners will be announced on June 1. The first-prize winner is expected to submit PDFs of all parts by July 1.
Web Site:www.jolietsymphonyorchestra.org/composition-competition.html

 MATA JR. CALL FOR SCORES
Summary:Mentorship programme
Deadline: 03 March 2017
Date Posted: 01 February 2017
Details: Application Deadline: Wednesday, March 3, 2017

MATA seeks submissions from composers who have not yet graduated high school at the time of submission. Please submit your name and scores and recordings of your two best works (MIDI is acceptable) to MATAJrFestival2017@gmail.com and fill out the form below by 11:59 Eastern Time on Wednesday, March 3, 2017. There is no entrance fee.

We accept all music: sound art, video, electronic, found instruments, toys, installations, fully notated, improvised, and everything in between. A distinguished panel of MATA’s directors, composers, and performers will select six composers to participate in MATA Jr. 2017.

Each selected composer will be paired with an emerging-composer mentor and asked to write a new work — which must be completed during the summer of 2017 — for Face the Music, the renowned teen new-music ensemble based at the Kaufman Music Center. Works will be rehearsed and performed in concert in New York City in November 2017. Composers must plan to attend the performance; MATA cannot provide for transportation costs.

Composers who have applied previously but were not accepted are welcome to apply again. Composers whose works have been performed previously must wait one year before applying again.

Please Note: The application is in two parts: (a) the online application form, which can be found below or accessed here and (b) an email containing your scores and audio, sent to MATAJrFestival2017@gmail.com.

Scores: All scores must be in PDF format. We cannot open Finale, Sibelius or other notation files. Please name your file with your last name and the title of the work. (Example: Mozart_EineKleineNachtmusik.pdf). If scores are not pertinent to your work, please provide a pdf explaining how the sound is created / produced.

Audio: mp3 format. We strongly encourage you to submit an audio realization of your work. Please name your file with your last name and the title of the work. (Example: Mozart_EineKleineNachtmusik.mp3)

If you have any questions about the submission process, please do not hesitate to email us at info@matafestival.org. While we strongly encourage digital submission, we can accept postal submission: please email us.

Results will be announced by May 2017, with scores and parts due in early summer 2017.

This is not the call for submissions for the 2018 MATA Festival, which can be found here.
Web Site:matafestival.org/mata-jr-call-for-scores/

 The Uncommon Music Festival
Summary:Vocal Call with Accompaniment
Deadline: 01 March 2017
Date Posted: 01 February 2017
Details: 2017 Composer Competition
Accepting Applications January 4, 2017 - March 1, 2017

The Uncommon Music Festival is seeking submissions of new compositions for its 2017 Festival in Sitka Alaska. Compositions must fit the following criteria:

Scored for vocal quartet with piano and/or guitar
4-6 minutes in length
The composition must not have received a public performance prior to the Festival
The composition can set any text, as long as that text is used with permission. It may deal with any subject matter.

The winner will receive a live performance of the composition, a high-quality audio/visual recording, and a $300 cash prize.

Note that the Festival reserves the right to freely distribute any recordings of the composition through physical or online media. Royalties from paid distribution will be negotiated on a case by case basis.

Applicants must submit the following:

A PDF of the score
An MP3 rendering of the score (audio created by notation software is fine)
Applicants will be notified of the decision by March 31, 2017.
Web Site:www.uncommonmusicfest.org/composercompetition

 Women in the Creative Arts
Summary:Piano Trio Call
Deadline: 20 March 2017
Date Posted: 01 February 2017
Details: CALL FOR PAPERS 
“Women in the Creative Arts”
10-12 August 2017
Australian National University

The School of Music at the Australian National University, is pleased to announce a call for papers and submissions for an innovative research conference on “Women in the Creative Arts” to be held at the school from 10-12 August, 2017. Papers and proposals are invited from scholars and industry practitioners from the creative arts. The topical focus for this conference is the creative work of artists who identify as women. Delegates of all gender identities are invited to submit proposals for papers.

Research papers will receive 30 minutes of presentation time – papers should be presented within 20 minutes, allowing 10 minutes for questions.

Submissions are also invited for poster presentations, seminar panels, roundtable presentations, networking events, or creative workshops that might be of interest to delegates in this field. Submissions should focus on the work of women in the creative arts: music, performing arts, creative writing, visual arts, from academia and industry. We seek a wide field of entries and topics, to focus on the diverse activity of women in the creative arts.

Women composers are also invited to submit scores for Piano Trio (minimum 5 minutes, maximum 8 minutes) for performance consideration. Only works without electronics, instrumental preparation or installations will be considered. Works will be performed by The Muses Trio (violin, violoncello, piano) at a recital during the conference.

The deadline is MONDAY 20 March, 2017 for submission of;
- abstracts (500 words)
- proposals (750 words)
- works for piano trio (5-8 minutes)

The conference is supported by the Gender Institute, and the College of Arts and Social Sciences at the Australian National University.
Enquiries to Dr. Natalie Williams, natalie.williams@anu.edu.au
Please submit your proposal and/or score here. Delegates are welcome to submit to either, or both categories. Recordings are not required with score submissions. *
Web Site:music.anu.edu.au/content/women-creative-arts

 Call for Young Composer Works
Summary:Young composers' call
Deadline: 15 March 2017
Date Posted: 01 February 2017
Details: Deadline: March 15, 2017

What: Composers under 18 years of age as of January 1, 2017, of all nationalities and genres, are encouraged to submit music to Composer’s Toolbox, for analysis and publicity.
Composer’s Toolbox is a website that focuses on the technical aspect of composing, at every stage and level of the compositional process. Selected works will be used to demonstrate effective uses of compositional techniques in contemporary music.

Why: All works will receive constructive comments and feedback from working composers and musicians. Selected works will be featured on Composer’s Toolbox—a website that has thousands of page views a month—as an educational resource and to promote the music of young composers.

How: One submission per applicant, please. (Send us your best work!) The current deadline is listed above. Send an email to daniel.lis_music@yahoo.com with the following:

• Score and/or program notes: can be attached or linked to, in PDF, Word, Google Drive, DropBox, Finale, Sibelius, Noteflight, etc.
• Audio: can be attached or linked to, in any audio format (please do not attach very large files). MIDI realizations are completely acceptable, as long as they are audio files (not .mid files).
• Parent/guardian permission to publish your name online, or, if no permission, a pseudonym they would like us to use.

There is no submission fee.

We look forward to examining the compositional tools used in your featured work.
Regards,
Dan at Composer’s Toolbox and Composer Aaron Mencher
Web Site:composerstoolbox.com/submit-news-and-music/call-for-young-composer-works/

 Second Annual New Gallery Concert Series Composition Competition
Summary:Call For Scores
Deadline: 07 April 2017
Date Posted: 01 February 2017
Details: Deadline: April 7, 2017 Entry fee: $25

New Gallery Concert Series is now accepting score submissions for its second annual Composition Competition. The winning piece will be performed during the 2017-2018 season and the winning composer will receive a recording of the performance. Composers will be notified on May 30, 2017. Composers will be responsible for supplying parts and score for performance. While we encourage the winning composer to attend the performance, we cannot provide for travel expenses.

Founded by Artistic Director Sarah Bob in the fall of 2000, New Gallery Concert Series presents new pieces of music and visual art, along with the composers and artists who create them. In its seventeen seasons, the series has hosted over 54 concerts with over 287 musical compositions, 68 world premieres and hundreds of works by over 45 visual artists from around the world. With works that span the spectrum from classical-contemporary, improvisation, electronic music and the avant-garde to sculpture, painting, indoor installations, photography and film, NGCS’s programs are cohesive, diverse, exciting and intimate.

Eligibility:
Composers of any age or nationality who consider themselves to be “emerging” or in the early stages of their career. Limit of one piece per composer.

Medium:
• Scores for 2-4 instrumentalists. The instrumentation is open, but must notinclude more than one percussion player or one piano part.
• Pieces should have a duration of 6-12 minutes.
• Works that include electronics are NOT eligible.

Submission:
Send the following to: newgalleryconcertseries@gmail.com with the subject line CALL FOR SCORES 2017: Last name
• PDF of the score with the composer’s name removed.
• Optional mp3 live recording or MIDI rendering of the work. The file must not contain the composer’s name.
• A 1 page bio including the name of the piece and contact info (phone, email, address) for the composer.
• $25 paid through our paypal account here: http://www.newgalleryconcertseries.org/contribute/
Please indicate that your payment is for the 2017 Composition Competition.
For more information, please visit
http://www.newgalleryconcertseries.org/call-for-scores/
If you have any questions, please email us at newgalleryconcertseries@gmail.com
Web Site:www.newgalleryconcertseries.org/call-for-scores/

 BREAKING THE FOURTH WALL
Summary:Chamber Call for Scores
Deadline: 06 March 2017
Date Posted: 01 February 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 are expanding worldwide. This year, we are pairing with members of the Jacobs School of Music in Bloomington, Indiana, to exhibit brand new works during our 9-hour-long Spring Marathon Concert. Composers from any nation, age, and background are welcome and encouraged to submit newly written works to the 'Breaking the Fourth Wall 1st International Composition Competition.' The winners will have their works performed and professionally recorded during this 9-hour marathon concert, by the Jacobs School of Music performers - ranked #1 music school in the United States in 2016.

BREAKING THE FOURTH WALL 1ST INTERNATIONAL COMPOSITION COMPETITION COMPOSER AWARDS GUIDELINES

The specific details and requirements of 'Breaking the Fourth Wall 1st 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 1st International Composition Competition' was founded with the intent to exhibit compositions from composers in the early to mid-career range, however, we encourage composers at any level to apply. All composers MUST write specifically for the instrumentation of CMD-E, String Quartet, or Duo Piano, or submit a piece for Fixed Media or Electro-Acoustic media. The competition is open to all composers of original, classical concert music.

INSTRUMENTATION

The instrumentation of CMD-E is as follows:

Flute, Clarinet/Bass Clarinet, Electric Guitar, Piano, Percussion (Vibraphone, Kick Drum, and small hand percussion), Cello, and Double Bass.

Compositions may be written for any combination of these instruments, or for the full ensemble. In addition to this instrumentation, works written for:

String Quartet, Duo Piano, and Electronic Compositions, will be considered for performance during the Spring Marathon Concert this year.

ELIGIBILITY REQUIREMENTS

The Award is open to composers of any age: (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 January 1, 2017, and ends at 11:59 PM EST on February 20, 2017. Hard copy 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 February 20, 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); (b) an mp3 containing a high quality recording of the piece submitted (midi realizations are accepted, however, live or studio recordings take precedence); and (c) program notes for 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

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, based on the significance and 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 $250. The number of secondary Award Recipients and the monetary distribution of the Prize resides within the discretion of the Panel.

The winner of the competition and a selected number of qualified compositions may be presented at the Spring Marathon Concert on April 22nd, 2017, from 12 p.m. - 9 p.m, at the College Mall in Bloomington, Indiana.

NOTIFICATION DATE OF AWARD RECIPIENTS

March 6th, 2017

Submit Questions and Concerns to: JackHarrisonArtistRep@gmail.com
Web Site:www.cmd-e.com/btfw-composition-competition/

 Fifteen-Minutes-of-Fame: Admiral Launch Duo
Summary:Duo competition
Deadline: 01 May 2017
Date Posted: 01 February 2017
Details: Fifteen-Minutes-of-Fame: Admiral Launch Duo, saxophone & harp

Vox Novus is calling for one-minute pieces composed for saxophone and harp duo. 15 one-minute works will be selected for Fifteen-Minutes-of-Fame: Admiral Launch Duo, saxophone & harp to be premiered December 1, 2017 at Bezanson Recital Hall of the University of Massachusetts, Amherst.

Submission Guidelines:

-Works should be composed specifically for this project and performers.

-Works should be for saxophone (tenor, alto, soprano) and concert grand harp duo only. No solos.

-Electronics/tape accompaniment will be considered. Please submit your playback only in AIFF format (no other formats will be accepted for playback). Clearly state in your performance notes and on the score that the work is with electronic playback.

-All pieces must be premieres and not previously performed.

-No works over a minute will be reviewed.

-Multiple submissions are not accepted. Send your best work!

-Works need to be submitted online at

http://www.musicavatar.org/categories/30102

-You will need to register with Music Avatar for free to submit your work online.

-After logging in to Music Avatar, select the opportunity named " Fifteen-Minutes-of-Fame: Admiral Launch Duo, saxophones & harp " to submit work.

-You will need to provide a maximum 50-word biography and 50-word program notes.

-You need to upload a score as a PDF file (Audio files are encouraged but not required.) -Include individual parts as part of the score.

-Please include the dedication to Admiral Launch Duo on the score. (Performance notes should be included in the score.)

Composers will be contacted via email of the results and will be announced via the Fifteen-Minutes-of-Fame website.

The Admiral Launch Duo explores new sounds for harp and saxophone.

Equally at home in acoustic and electroacoustic settings, saxophonist Jonathan Hulting-Cohen and harpist Jennifer R. Ellis have developed their repertoire through ground-breaking commissions, unexpected transcriptions, and improvisation. They have collaborated with composers including Dylan Arthur Baker, Matthew Browne, Christine Hedden, Jasper Alice Kaye, Natalie Moller, Patrick O'Malley, and Stephen J. Rush. Fresh Inc. Festival alumni and three time residents at Avaloch Music Institute, the Admiral Launch Duo has toured through Michigan, California, and the Northeastern U.S. Committed to creative scholarship, they have presented at the inaugural Northwestern University New Music Conference (NUNC!), North American Saxophone Alliance Biennial Conference, and the Humanities Education and Research Association Conference. They are upcoming fellows of the UMass Interdisciplinary Studies Institute, exploring musical themes of trespass. The Admiral Launch Duo enjoys working with students of all ages and has worked with high schoolers on both coasts of the United States as well as given masterclasses at Michigan State University and Schenectady County Community College. They take a comprehensive and versatile approach to community engagement, playing for the University of Michigan Social Justice Art Festival, UM-CAPS Suicide Prevention event, and The Friendly Kitchen, a soup kitchen in Concord, New Hampshire. Their 2015-2016 season included appearances at Center for New Music (San Francisco), Michigan State University, The Hartt School, Kerrytown Concert House (Ann Arbor, MI), Schenectady County Community College Chamber Music Series, UMass Amherst, Listening to Ladies Concert Series at Kalamazoo Piano Company, North American Saxophone Alliance at Texas Tech University, Harps Etc. (Walnut Creek, CA). As recent awardees of the FRG/Healy Grant, they will be recording their debut album for release in 2017.

Committed to pushing the boundaries of harp performance, Jennifer R. Ellis (D.M.A. University of Michigan, M.M. Cleveland Institute of Music, B.M. Oberlin) has performed over fifty premieres. She was the first ever harpist to be named a One Beat Fellow, a program through the U.S. State Department with Found Sound Nation, and the first ever harpist to attend Bang on a Can, Fresh Inc., and Splice summer festivals. She has received the Alice Chalifoux Prize, Rackham Centennial and Graduate fellowships, AT&T Foundation and Conservatory Deans' scholarships, and holds prizes in the Ann Arbor Society for Musical Arts, Coeur d'Alene Young Artists, LMC of Seattle, and Inez Stafford competitions. She has played with Britten Pears, Spark Festival, American Wind Symphony Orchestra, National Orchestra Institute, and Texas Music Festival. She performs with Jonathan Hulting-Cohen in contemporary harp and saxophone ensemble, the Admiral Launch Duo, three-time Avaloch residents with a debut recording funded by a UMass FRG/Healy grant set to release in 2017. She has published in The American Harp Journal and Harp Column Magazine and teaches harp and eurhythmics. An inaugural UM Engaged Pedagogy Initiative Fellow, Ms. Ellis trained in community-based learning and collaborates on a variety of community engagement projects. She is an in-demand clinician and has given over a dozen university masterclasses/guest workshops in 2015-2016. www.harpellis.com

"Impressive" with "exceptional facility (Schenectady Daily Gazette), Jonathan Hulting-Cohen's refined and compelling saxophone playing has been heard worldwide. As a soloist, he has performed with the Philadelphia Classical Symphony and Tulare County Symphony Orchestra, and in recitals across the US and France. His nouveau-vaudeville saxophone sextet, _The Moanin' Frogs_, has appeared nationwide in concert and on television, including at The Kennedy Center, Texas Bandmaster's Association Conference, and in Strasbourg, France. His harp-saxophone duo, _Admiral Launch,_ has toured coast-to-coast and recorded for NAXOS. He studied Carnatic music in India, and premiered his film, _Silence,_ at the World Saxophone Congress in 2015. Jonathan is Assistant Professor of Saxophone [2] at University of Massachusetts Amherst. He earned his BM and MM under Donald Sinta at the University of Michigan. Jonathan is a Conn-Selmer and D'Addario Woodwinds Artist, performing on Selmer (Paris) saxophones and D'Addario Reserve reeds.

http://www.jonathanhultingcohen.com/
Web Site:www.musicavatar.org/categories/30102/

 Cabrillo Festival of Contemporary Music
Summary:Composers' Workshop
Deadline: 01 March 2017
Date Posted: 01 February 2017
Details: The Cabrillo Conductors/Composers Workshop brings together leading faculty, the award-winning Cabrillo Festival Orchestra, and early career conductors and composers for a professional training program which focuses on the creation and performance of new music. The five-day program is held in downtown Santa Cruz, California, and involves 3 selected composers, 6 fellows, 6 entrants, and 8 auditing conductors.

Now in its seventeenth season, the Festival’s Music Director Cristian Măcelaru and Maestro Thomas Sleeper serve as faculty for the Conductors Workshop sessions, and composer Michael Gandolfi joins them as faculty for the Composers Workshop. All student conductors and composers participate for the full five days of the program, which takes place in the context of the Cabrillo Orchestra’s rehearsal and performance schedule.

Selected composers will have their work performed by members of the Cabrillo Festival Orchestra directed by participating conductors. Three dedicated rehearsals will take place, culminating with an “In the Works” concert where each piece will receive two performances. Composers will receive recordings from the final concert. Composition faculty will offer guidance and seminars throughout, other Festival composers-in-residence will participate, and direct feedback will be offered from the players and conductors.

2017 CABRILLO COMPOSERS WORKSHOP – NOW ACCEPTING SCORE SUBMISSIONS – DEADLINE MARCH 1!

If you are a COMPOSER 30-years-old or younger, you are invited to submit an orchestral score for consideration for the 2017 Cabrillo Composers Workshop, July 29 thru August 2.

Composers are invited to submit ONE score only, recording (MIDI versions are acceptable), and a resume to be submitted no later than March 1, 2017. Materials must be submitted via Slideroom, as specified below. After reviewing the details outlined below, if you have any questions or wish to discuss the program in greater detail, please feel free to contact Lyndsey Loosley, Director of Artistic Operations of the Cabrillo Festival at 831.426.6966 or via the contact form below.

2017 CABRILLO CONDUCTORS/COMPOSERS TRAINING WORKSHOPS
July 29 through August 2, 2017 in Santa Cruz, California
Presented by Cabrillo Festival of Contemporary Music

FACULTY:
Composer Michael Gandolfi, and Conductors Cristian Măcelaru and Thomas Sleeper;
with additional participation by Festival composers-in-residence (to be announced).

PARTICIPANTS:
The workshop is divided into three tiers:

Fellows (6): Podium time: 90+ minutes and participation in the In the Works performance. Tuition is covered by the Bruno Walter Memorial Foundation Conducting Scholarships.

Entrants (6): Podium time: 10 minutes with string quintet/piano and 10 minutes with chamber orchestra.

Auditors (8): A brief podium session will be granted with chamber orchestra.

COMPOSERS WORKSHOP REHEARSALS/PERFORMANCES:
2 rehearsals
1 concert: features 2 performances of each work of 5-7 minutes by three participating composers, August 1. Performed by members of the Cabrillo Festival Orchestra and conducted by participating conductors. Each composer will receive recordings of their work from the final performance.

2017 INSTRUMENTATION FOR COMPOSERS WORKSHOP:
5 violin I – 4 violin II – 3 violas – 3 cellos – 2 basses (strings are listed as players not stands)
2 flutes (2nd dbl pic) – 2 oboes (2nd dbl eng horn)
2 clarinet (1 dbl e-flat & 2nd dbl bass) – 2 bassoons (2nd dbl contra)
2 horns – 2 trumpets – 2 trombones ( 1 tenor, 1 bass) – 1 tuba
1 timpani – up to 4 percussion – harp – piano

HOUSING: Information on suggested hotel accommodations will be relayed to selected composers.

FELLOWSHIPS: a $1,250 fellowship is available to each composer to help offset out-of-pocket expenses, including housing.

COMPOSERS are requested to submit the following to be submitted no later than MARCH 1, 2017:

• Include a short curriculum vitae
• Include ONE score for consideration along with a recording, OR a score representative of your work (w/ recording) if you intend to compose a new piece for the program. (Selected composers will be required to submit final scores and parts to arrive no later than June 15, 2017.) You will be asked to indicate if you intend to write a new work, plan to revise the submitted work or are submitting the work as is. Any work submitted for consideration that is longer than 7 minutes will need to be revised. Selected works for the “In the Works” program must be between 5-7 minutes long.

Digital submissions to: www.cabrillofestival.slideroom.com. A $6 Slideroom fee will be charged to all applicants applying for the 2017 Composer Workshop. Please click the Slideroom link above to submit all materials. Notification will take place by March 31, 2017.
Web Site:cabrillomusic.org/about-us/educational-programs/conductors-composers-workshop/

 Roche Young Commissions
Summary:Commission opportunity
Deadline: 13 March 2017
Date Posted: 01 February 2017
Details: August 2017 – September 2019

Wolfgang Rihm, Artistic Director

Matthias Pintscher, Principal Conductor

Pierre Boulez †, Honorary President

One guiding principle of the LUCERNE FESTIVAL ACADEMY is to foster the relationship among performers, conductors, and composers in order to enhance the performance of 20th- and 21st-century music.

The Roche Young Commissions programme is a unique collaboration between Roche, LUCERNE FESTIVAL and the LUCERNE FESTIVAL ACADEMY. Since 2003, Roche has worked with its partners to award regular commissions for new musical works by some of the world’s most important contemporary composers. A further expression of the partnership between Roche and LUCERNE FESTIVAL is the Roche Young Commissions. Every two years, alternating with the ongoing Roche Commissions programme, two young composers will be selected and commissioned to write orchestral works. Working closely with two young conductors, the Roche Young Commissions awardees will have two years to complete their compositions, which will premiere at the Lucerne Festival.

Artistic Director Wolfgang Rihm will consult with the young composers in an advisory capacity at various stages of their work. At the end of the project’s first year and as part of the LUCERNE FESTIVAL ACADEMY 2018, fragments or sections of each new work will be studied and rehearsed with the Orchestra of the LUCERNE FESTIVAL ACADEMY. These rehearsals will give the composers a unique opportunity to try out different orchestrations and compositional variants with the Academy’s orchestra. The two new works will then be premiered during the LUCERNE FESTIVAL ACADEMY 2019.

Beyond the actual awarding of a commission, Roche embraces the interaction by scientists with the composers and their music.

Scoring

Maximum size of orchestra:
3.3.3.3 – 6.4.3.1 – 6.1.1 – 16.14.12.10.8 (total of 94 musicians). The composers are under no obligation to use the maximum orchestral forces. However, the work should call for a minimum of 30 musicians and involve all sections of the orchestra (woodwinds, brass, percussion, and strings).
Electronics may not be used.

Duration
Minimum: 10 minutes
Maximum: 15 minutes

Timeline
Monday, 13 March 2017: Application Deadline (must be postmarked by this date)

21 April 2017: Announcement of application assessments. Four candidates will be short-listed and invited to Lucerne for the final round in September 2017.

2 September 2017, LUCERNE FESTIVAL ACADEMY: Final round: Wolfgang Rihm will interview all four candidates in Lucerne in order to choose the two young composers for the new commissions. Acknowledgement of the commissioning and introductory interaction between Roche and the two selected composers in Basel.

August/September 2018, LUCERNE FESTIVAL ACADEMY:

First readings of each work-in-progress by the orchestra

August/September 2019, LUCERNE FESTIVAL ACADEMY:

Premiere of the two new works in Lucerne

Qualification of Applicants
The newly commissioned works for the LUCERNE FESTIVAL ACADEMY will be awarded to highly talented young composers who
• will not have reached the age of 30 by the time of the application deadline
• already have experience in composing for large ensemble or orchestra
• can point to an uninterrupted background in composition
• can present references from leading musicians regarding their compositional abilities
• are interested in taking part in the above-mentioned compositional process and in working together with the teachers and performers of the LUCERNE FESTIVAL ACADEMY and who have the necessary communicative and partnership skills to suit the Academy’s activities.

Application Materials
(all documents should be submitted in English)

• Curriculum vitae (max. two pages) in tabular format with applicant’s photograph

• Brief statement covering the following:
- Motivation for and importance of the new commission
- Preliminary ideas regarding the new commission

• One or two works for large ensemble or orchestra (scored for a minimum of twelve parts; work duration: 3 – 15 minutes), along with a recording of the work(s) (MIDI recordings are acceptable). Please upload the scores and the recordings as pdf / audio-files online and send one printed copy to the following address (no CDs):

LUCERNE FESTIVAL

Academy

Hirschmattstrasse 13

6003 Luzern

Switzerland


• Two letters of recommendation from leading musicians

Artistic Committee
The Artistic Committee consists of Wolfgang Rihm and members of LUCERNE FESTIVAL. The decisions of the Artistic Committee cannot be contested.

Legal Considerations
In submitting an application, each applicant acknowledges his or her agreement to accept the decisions of the Artistic Committee as binding. There is no right of legal appeal. Applications which fail to meet the requirements set down in this announcement will be returned. Once submitted, documents and application materials cannot be reclaimed.

Apply now here!
Application Deadline: Monday, 13 March 2017: Application Deadline (must be postmarked by this date)

Contact
LUCERNE FESTIVAL ACADEMY
Hirschmattstrasse 13 | Postfach | CH-6002 Luzern
t +41 (0)41 226 44 25 | f +41 (0)41 226 44 60
academy@lucernefestival.ch
Web Site:academy.lucernefestival.ch/apply/application-ryc/

 KHORIKOS new music competition
Summary:Choir competition
Deadline: 01 April 2017
Date Posted: 01 February 2017
Details: KHORIKOS, one of NYC's top a cappella choirs, is accepting a cappella score submissions for our 3rd ORTUS International New Music Competition.

For more information on how to submit your scores, read on...

DETAILS:

Send us your best work for mixed a cappella choir! A premiere is welcome, but not necessary.
One submission per composer. Must be a living composer, otherwise no age limits.
The winning compositions will be announced in June 2017.
KHORIKOS is a balanced choir of 32 SATB voices.
15 minutes maximum duration. Shorter works are, of course, welcome.
Submission deadline is April 1st, 2017.
Your submission must include an audio representation of your score in some form (please see below for details).
Any level of technical difficulty welcome. From the simple and beautiful to the complex and dazzling, your imagination is the limit.
If selected, your music will be performed with meaningful aesthetic attention – not just a simple reading by a group of professionals.
The winning compositions will be performed in our beautiful home space, The Shrine Church of St. Anthony of Padua, in New York City’s historic SOHO.

SELECTION PROCESS:

We will select 20-30 works from the pool of submissions (depending on the duration of the pieces), and the members of KHORIKOS will select the winning compositions from there. Sending an audio file with the score is necessary in order to streamline the selection process for the singers – this can include a MIDI realization, rehearsal/performance recording, or a recording of a piano/instrumental reduction. The quality of this recording doesn’t matter as long as it sufficiently represents your score.

The 10 winning compositions will be announced in June 2017 and performed at The Shrine Church of St. Anthony of Padua in NYC on September 23rd, 2017.

We will live stream our performance of the winning compositions, in order to make your music accessible to an international audience. Previous ORTUS competitions have drawn thousands of online viewers!

Please submit your scores via email to scores@dorianartists.com and include "new music for Khorikos" in the subject.

Lastly, please like us on Facebook and share this post with your own musical communities so we can reach composers across the world.

Thank you for your music!
Web Site:www.khorikos.com/ortus-int-l-new-music-competition

 44th Annual Percussion Composition Contest
Summary:Percussion Competition
Deadline: 15 April 2017
Date Posted: 01 February 2017
Details: April 15, 2017 deadline

To encourage and reward composers who write music for percussion instruments and to increase the number of quality compositions written for percussion.

2017 Competition Categories
Category I. Multi-Keyboard Solo
Category II. Brass Quintet with 2–4 percussionists

Awards
• Up to $3500 in cash prizes available.
• Published reviews in Percussive Notes for all first place and honorable mention selections.
• Solicitation of university level performances for first place winners in each category.
PAS reserves the right to not designate a winner if the judges determine that no composition is worthy of the award(s).

Eligibility
• Compositions must be created within a 2-year period prior to submission. Previously commissioned works and/or any composition which is or has been available for sale as a published or self-published work may not be entered.
• The composition may not exceed 25 minutes in length, but duration is otherwise left to the discretion of the composer and should be consistent with the artistic intent of the work.
• Compositions must be original (no transcriptions or arrangements).
• The difficulty of the composition is left to the discretion of the composer; however, high artistic goals should be coupled with realistic demands to allow for performance at the university level.
• Instrument demands should also be limited to those commonly found at the university level.
Procedures
1. Submit the following items through the online submission link.
– A pdf file of the submitted composition absent of any composer information. Label file with title of work.
– An audio file of a computer realization or performance of the submitted composition absent of any composer or performer information. Label file with title of work.
2. All complete applications will be evaluated by a panel of judges.
3. Contest results will be announced in July 2017.
4. All entry materials become property of PAS.
Web Site:www.pas.org/resources/pas-opportunities/contests-competitions/compositioncontest.aspx

 FNMC COMPOSITION COMPETITION
Summary:Flute competition with 4 categories
Deadline: 01 June 2017
Date Posted: 01 February 2017
Details: The Flute New Music Consortium promotes new works by talented composers through an annual composition competition. This year's competition will feature four categories for submission.

Competition Categories:
Solo Flute: Submission deadline: June 1, 2017. 11:59 CST
• Works in this category must feature solo flute.
• Instruments in the flute family (piccolo, alto flute, bass flute, etc.) will be accepted.
• Works for flute and electronics are not appropriate for this category.
Flute and Accompaniment. Submission deadline: July 1, 2017. 11:59 CST
• Works in this category must feature the flute and either piano or electronics.
Flute Duo. Submission deadline: August 1, 2017. 11:59 CST
• Works in this category must include flute and one other instrument.
• Works for flute and piano or flute and electronics are not appropriate for this category.
Chamber Works. Submission deadline: September 1, 2017. 11:59 CST
• Works in this category include flute in some capacity.
• Chamber works should utilize between three and six performers.
• All instrumentations will be considered, but works for flute ensemble (flute quartet, flute trio) are strongly encouraged.

Eligibility:
• Entries must use the flute in some capacity. There is no age limit, and composers are permitted to submit up to three works per category
• Suggested Length: 5-12 minutes
• Submission of Materials:
• Online application and entry fee ($13 per score). A $1 convenience fee per score will be assessed for payments submitted through the website. Scores should not contain identifying markings. This includes pseudonyms, dedications, and commissioner names.
• Multiple Entries: Composers may submit no more than three entries per competition category.
• The winning composer from each competition category will receive a $250 (USD) prize, one or more performances, and a live recording from one or more of the performances.

Entry Information:
All entries must include:
• Scores with no identifying markings in either the file or the file name. This includes pseudonyms, dedications, and commissioner names.
• Scores must be created in Finale, Sibelius, or some other type of music entry software program
• All score submissions must be in PDF file format
• Live or MIDI recordings of each entry, with no identifying markings. This includes names of performers and composers in the file name as well as the metadata.
• All recordings should be submitted as mp3 files.
• Application information: name of composer, contact information, title of piece, instrumentation of piece, composer website (if available)
• Payment confirmation number
• Multiple movement scores should be submitted as a single PDF file
• Multiple movement works should be submitted as a single mp3 file

An entry confirmation will appear at the time of submission. An email confirmation will not be sent.

Selected winners give FNMC members rights to perform and record their works for up to six years without further compensation. Selected winners consent to one video interview, to be shared with FNMC members and in FNMC marketing materials.

Incomplete applications or applications with identifying markings will be disqualified. Entries submitted without the payment confirmation number will be disqualified. Entries received after the deadline will not be considered. Entries which do not include an audio file in mp3 format will be disqualified. Previously winning pieces are not eligible for re-entry.
Web Site:www.flutenewmusicconsortium.com/2017-composition-competition.html

 Festival de Música del Masnou
Summary:Choir Competition
Deadline: 31 March 2017
Date Posted: 01 February 2017
Details: SUMMARY OF GUIDELINES – ENGLISH VERSION

Composers are invited to submit music for unaccompanied mixed choir, written for SATB voices (certain divisi is allowed), 3 to 6 minutes long, average level for amateur choir. It may be set in any language that might reasonably be expected to sing without extensive language coaching (English, Latin, French, German, Italian, Spanish or other languages if phonetic guidance provided).

Submission must be an original work. Arrangements of an existing work are not allowed. The work must have had no prior public performance, awarding or published recording.

SUBMISSION OF WORKS

Submissions should be made by e-mail to info@corscandicus.org in pdf or any other standard format, together with the corresponding midi or mp3. Scores should be identified with composer name.

The fulfilled registration form should be sent in separate document, as well as curriculum vitae or any other relevant information.

Composers can send up to two works.
Entries must be received by 31st of March 2017 by sending e-mail to

info@corscandicus.org WINNERS SELECTION

The Jury will select one work as contest winner, which will be awarded with 700€ prize. The result will be announced to public during “III Festival de Música del Masnou” to be held during May/June 2017. The winning work will be performed during 2018 Festival edition.

ACCEPTANCE OF GUIDELINES

All participants should accept the rules as they are detailed in Spanish / Catalan complete guidelines. Present English version is just a summary of main technical aspects.

More information about the contest and “Festival de Música del Masnou”:

www.corscandicus.org info@corscandicus.org
Web Site:corscandicus.org/festival/

 1st INTERNATIONAL COMPOSITION COMPETITION 2017
Summary:International Composition Contest
Deadline: 10 April 2017
Date Posted: 01 February 2017
Details: Art.1

The Cultural Association Polifonie announces 1st International Composition Competition “Appassionato Ensemble” for the year 2017.

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, Piccolo)
Clarinet (Bb Clarinet, A Clarinet, Eb Clarinet)
Violin
Cello
Piano (prepared piano is not allowed)
The composition must have a minimum duration of 7’ and max 12’.
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.

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 a closing envelope containing the following documents to the Contest Organizers:

the application form download
3 (three) copies of the score, perfectly readable and completely anonymous;
the first page of each 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 envelope must be sent to the following address:

Segreteria Concorso A.E.
via Monsignor Ciceri, 38
22031 Albavilla (Co)
Italia

The envelope, in order not to be excluded, must be delivered to the Contest secretary’s office no later than 10th April 2017.

Art.6

A Jury will meet to select the 3 (three) finalist scores, that will be performed on 4th June 2017 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 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/appassionato-ensemble/international-composition-contest/

 Composition competition “The Contemporary Guitar 2017”
Summary:Guitar competition
Deadline: 31 March 2017
Date Posted: 01 February 2017
Details: 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.

POSTER:
http://www.an-art.com/images/DOCUMENTS/2016/CCTCG/guitarcomp2017_poster_...

BROCHURE:
http://www.an-art.com/images/DOCUMENTS/2016/CCTCG/guitarcomp2017_flyersi...

FACEBOOK:
https://www.facebook.com/events/343937749303663/

---------------------------------------------------------------------------------------------------------------------

Regulation

Subject: 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 €40,00 per work / submission, paid to the following account:
EUROBANK GREECE (SWIFT/BIC: ERBKGRAA)
ΙΒΑΝ: GR3402603280000950101210083
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 March 31, 2017 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 (bank 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 2017 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.

Prize - recording: The winning works will receive:
- Audio & video recording by the distinguished guitarist and composer Smaro Gregoriadou, in a high quality AN ART ARTISTRY's production.
- 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.

Organization:
AN ART ARTISTRY (Monis Asteriou Tsagari 4, Athens - Greece)
(+30) 210 3220082 (Mon-Fri, 14:00-17:00) / www.an-art.com / info@an-art.com

Deadline: 31 Mar 2017
Entry Fee: 40.00
Currency: Euro (EUR)
Web site: http://www.an-art.com/en/activities/499.html
Web Site:www.an-art.com/images/DOCUMENTS/2016/CCTCG/guitarcomp2017_flyersite_en.pdf

 Ensemble de la Belle Musique Call for Scores 2017
Summary:Themed Call for Scores
Deadline: 30 June 2017
Date Posted: 25 January 2017
Details: The Ensemble de la Belle Musique (EBM) is pleased to announce its inaugural “Call for Scores”. The theme is “Christmas”.

Composers are encouraged to submit works for any combination of the following instrumentation, ranging from solo to a maximum of 15 instruments:

4 violins, 2 violas, 2 cellos, 2 double basses, 1 flute, 1 oboe, 1 clarinet, 1 bassoon, 1 saxophone, 1 trumpet, 1 horn, 1 trombone, 1 tuba, 1 percussion (marimba OR vibraphone OR glockenspiel), 1 piano

For example: 1 viola + 1 flute + 1 marimba, or a string quartet formation.

The selected works will be performed by EBM on Monday, 18th December 2017, 7.30pm at the Esplanade Recital Studio in Singapore. Any composer is eligible, regardless of age and nationality. Each work must not be more than 10 minutes. There is no minimum duration. ONLY melodious and tonal works will be accepted. Atonal and electronics works will NOT be considered. Every work must be a world premiere, and specially written for and dedicated to “Ensemble de la Belle Musique”. Works which have already been uploaded onto social media platforms such as YouTube, Facebook, Instagram or iTunes will not be considered. Submitted scores will not be returned and may be kept for future use.

There is no fixed style. Please use your imagination and creativity to write music so beautiful and pleasant to the ears that the musicians would love to play them over and over again and the audience would love to hear them over and over again.

There will be audio and video recordings of the concert, and the recordings will be put up on our website. We strongly encourage composers of the selected works to travel to Singapore for the performance. Hotel lodging for 3 days 2 nights will be provided.

Submission Guidelines:

There is an entry fee of USD20 for the first work. Additional entries may be submitted for USD10 each. Each composer can submit up to 3 works but each work must be submitted as a separate entry. Each entry must be emailed in pdf format to ebmusiquecallforscores@gmail.com with the subject heading: “EBMCFS2017 - Title of work” along with:

a. An info sheet in pdf format with the composer’s name, title of the submission, duration of the work, short bio, short write-up of the submitted work and contact information. NO handwritten scores will be accepted. Please use either Sibelius or Finale software.

b. Receipt or screenshot of completed PayPal payment. For submissions of up to 3 works, just one receipt or one screenshot of completed Paypal payment will do.

c. Mp3 or midi recording of every work submitted.

All submissions must be sent and fees paid by 11:59pm, Singapore time, on 30th June 2017. Entries and payments received after this date will not be considered. The winning works will be announced latest by 30th July 2017. The decision of EBM is final. The results will be announced on our website and across our social media platforms. Enquiries can be sent to ebmusiqueinfo@gmail.com.

Rights:

The submitted compositions must be free of any rights. Non-selected candidates will have full ownership of their works and will be allowed to perform their compositions once the results have been released. In contrast, selected candidates are NOT allowed to interpret their selected compositions in any way before and on the day of EBM’s Christmas concert on 18th December 2017.

The selected composers retain their ownership of the copyright for their selected works but they have to grant EBM irrevocable right to use and perform the works at any time without further compensation to them.

Deadline: 30th June 2017, 11.59pm Singapore time

Entry fee: USD20 per submission

USD10 for additional submission of up to 3 submissions per composer

Currency: US Dollars
Web Site:www.ebmusique.net/index.php/call-for-score

 CoMA Voices
Summary:Workshop Call for scores
Deadline: None
Date Posted: 25 January 2017
Details: CoMA Voices is looking for short pieces to be workshopped at its Singing Adventures weekend in March 2017.

Pieces should be in up to six parts and do not need to follow standard SATB format. If you choose SATB format, you may split the upper parts, but not the lower parts due to the balance of the group. We like both conventional singing and unusual & interesting sounds and welcome non-conventional notation.

Pieces must be for unaccompanied voices. They should be no longer than 5 minutes, but can be as short as you like.

Composers should be available to attend the workshop in the afteroon of either Saturday 4 or Sunday 6 March 2017 in South Kensington, London.

For full details and a submission form, please contact voices@coma.org.
Web Site:www.coma.org/our-music/composers/

 CLASSIC FM’S 25TH BIRTHDAY COMMISSIONS
Summary:Competition pre-announcement
Deadline: None
Date Posted: 25 January 2017
Details: Working together to find outstanding musical talent in 2017

As one of the most important commissioners of composers since Beethoven, RPS is teaming up with Classic FM in celebration of the classical music broadcaster's 25th Birthday.

To mark this milestone, RPS and Classic FM are co-commissioning six brand-new pieces of classical music, written by composers who are no older than Classic FM itself, to be presented in a series of special concerts and events throughout 2017.

Each successful composer will be allocated an event at which their piece will be premiered. These events include International Make Music Day, The Welsh Proms and Classic FM’s 25th Birthday Celebration with the Royal Liverpool Philharmonic Orchestra. With varying ensemble sizes, each composer will be paid for their work, which will be recorded live and broadcast to Classic FM’s 5.3 million listeners throughout the UK.

Entrants’ work will be considered by an eminent panel of judges, including Classic FM’s Composer in Residence, Debbie Wiseman, with six individuals then appointed as Classic FM’s 25th Birthday Composers.

Who can apply?

The competition is open to those who were born on, or after 7th September 1992.

N.B. The successful composers will have borne in mind the fact that one in ten adults in the UK listens to Classic FM every week, and will demonstrate an ability to write accessible classical music, for varying sizes of ensemble.
Web Site:royalphilharmonicsociety.org.uk/composers/emerging_composers/classic_fm_25_birthday_commissions

 Musical Chairs Composer Search
Summary:Chamber ensemble commission
Deadline: 04 March 2017
Date Posted: 25 January 2017
Details: Musical Chairs Chamber Ensemble, Inc. is searching for composers, age 35 and below, to enter the 2017 Composer Search. The program’s focus is to highlight new compositions by an emerging, classically trained, post-collegiate professional composer. Applicants will receive a stipend towards the commissioning of a new work to be premiered by MCCE on Friday, June 9, 2017 at the Jacques Marchais Museum of Tibetan Art, Staten Island, NY.

The selected composer must attend the dress rehearsal and performance in New York City and will need to submit a photocopy of a Passport or Driver's License indicating proof of age and American citizenship or Permanent Resident status. Non-permanent residents may not apply.

COMPETITION SCHEDULE:
• Entries must be received by March 4, 2017.
• Selected Composer will be announced in March 2017.
• Commissioned work must be completed by May 8, 2017.
• Commissioned piece will premiere on June 9, 2017 at the Jacques Marchais Museum of Tibetan Art, Staten Island.

REQUIREMENTS:
• Applicant must be classically trained as well as versed in at least one additional genre of music (ie: jazz, rock/pop, world, folk, etc.)
• Applicant must hold a college degree in music and be a post-collegiate professional musician or graduate student.
• Applicant must be 35 or younger on March 4, 2017.
• Applicant must be available for rehearsals in NYC and be present at the premiere on June 9, 2017. Travel and lodging expenses are solely the responsibility of the composer.
• Commissioned score and parts must be prepared via a professional music notation program (i.e. Finale or Sibelius). Applicant is responsible for any and all copyist fees.
• If selected, the commissioned composition must be written for a chamber ensemble of 3 -5 MCCE musicians and may not include piano. Eligible instruments include: flute, clarinet, violin or viola, cello, bass, guitar and/or percussion. (Final instrumentation to be decided by MCCE’s Artistic Director.)
• Applicant must be either a US citizen or non-citizen lawfully and permanently residing, or studying full-time, in the United States

AWARDS:
The selected composer will receive:
• $750 stipend towards the commissioned premiere and copyist expenses.
• Live performance of his/her piece by MCCE on June 9, 2017.
• A copy of the audio recording of the premiere.

ENTRY MATERIALS:
Each applicant must submit:
• Copy of the Application entry form.
• Links to 1-3 examples of work(s) you have composed in the last 5 years that you feel best demonstrates your abilities. If possible, it is strongly suggested to submit chamber music compositions - up to 15 minutes in length. (Links to Soundcloud, YouTube, personal website, etc. preferred. Do not email mp3s.)
• 1 PDF of Corresponding score(s) to submitted composition(s).
o Cover of the score(s) should contain: Composer name, title of the work, full list of instruments used, duration of the piece.
• A one-page work-sample description:
o Title of each piece, length, date of composition, date of performance, performers. If the piece is improvised, a description of the nature of your involvement as the composer.
• Professional resume or bio.
• Support materials (press clippings, website, publicity, etc.) – optional

All attached documents should be in PDF format
EMAIL COMPLETED APPLICATION PACKET TO: mccecomposersearch@gmail.com
Contact: www.mcensemble.org, 718-907-3488
DEADLINE: Applications must be received no later than March 4, 2017
Only complete applications received by the deadline will be considered.
NOTIFICATION: March 2017
Web Site:www.mcensemble.org

 CFS 2017
Summary:Commission Opportunity
Deadline: 03 March 2017
Date Posted: 25 January 2017
Details: We are thrilled to announce our 2017 Call for Scores!

On October 28th, we will give the UK Premiere of Chaya Czernowin’s Ayre: Towed through plumes, thicket, asphalt, sawdust and hazardous air I shall not forget the sound of. Two chosen composers will write new works for bass flute, bass clarinet, percussion, piano, violin, viola and cello. The composers will receive:

Rehearsals and public premiere of their new work in Brighton on 28 October 2017
A professional AV recording of their piece. (Though this is not a guarantee, both of our 2016 commissions will appear on our second commercial CD, to be released with Coviello Classics later this year).
A broadcast on ResonanceFM.
Fee
Each composer will also receive a £550 commission fee for the work.

Eligibility
Any composer not currently represented on our 2017 Season is eligible to apply.

What to Submit
Using the form below, please submit:

Your name (we receive your e-mail address with your payment from PayPal).
Your current Resume/CV
PDF files of two recent scores (within the last 5 years). These pieces may be for any instrumentation – we simply want your best work!
Links to Soundcloud or YouTube recordings of these pieces.
Entry Fee
We are charging a small entry fee of £10. All funds raised from this call for scores will go directly to musicians involved in the concert in which these works will be premiered. We will receive your e-mail along with your payment so please let us know if your paypal account is not registered to your preferred e-mail address. Any composer who has attended two or more of our 2016 concerts will have this fee waived. Simply let us know if this applies to you by sending us an e-mail listing the concerts you attended in 2016.

Deadline
All entries – including entrance fee – must be received by 11:59pm GMT on Friday 3rd March.

Process
Entries will firstly be judged against eligibility and the winning composers will then be chosen by members of our Artistic Board. The winning composers will be announced no later than 1st April with the final pieces due on 1st September.

Questions
If you have any questions, or have trouble using the uploader below, e-mail us with your details and we will get back to you as soon as possible! Thank you!
Web Site:riotensemble.com/cfs-2017/

 National Puppetry Conference at the Eugene O'Neill Theater Center
Summary:Collaboration Opportunity
Deadline: 03 March 2017
Date Posted: 25 January 2017
Details: Artistic Director, Pam Arciero
Music Director, Melissa Dunphy
Online Application Deadline: March 3, 2017
Tuition: None
Room/Board: $500
Conference Dates: June 10-18, 2017
Waterford, CT

Composer/performers are invited to apply as Music Participants for the Natonal Puppetry Conference in Waterford, CT, June 10-18, 2017. Music Participants are given the unique opportunity to collaborate with puppetry artists as they create new works for the stage. As a music participant you will work with the artists and directors to help tell their story with music. You will be challenged with evoking the mood of scenes and characters from multiple pieces, ranging from playful to dark and haunted themes. Ideal candidates are composers with a strong performance and improvisation background and familiarity with or willingness to experiment with different styles and genres of music.

What can you expect? Your schedule will change as you and the puppeteers prepare for two public performances at the end of the week, fully comprised of original work created at the conference. Roughly, each day you can expect about three to five hours directly collaborating with ensembles, three to five hours of private composition, and an hour or two in workshops and masterclasses. You may optionally end each day mingling and networking at the campus bar where participants entertain each other in boisterous nightly puppet slams.

Compositionally, you may optionally write for or collaborate with the other music participants to create rich scores for live performance. Although the emphasis will be on live music, you will also find opportunities to pre-record work, especially when using electronic music elements.

Music participants will be mentored by composer/performer Melissa Dunphy. You will also receive mentoring from the puppetry directors, including individuals who’ve performed with the Jim Henson Company, and been featured on stages across the world.

This role is part of the main conference, but you also may apply for the pre-conference. Please note that involvement in the pre-conference intensives may be subject to qualifications of the applicant.

Music participants are not charged tuition for the main conference, simply housing and meals at $500 USD. If you wish to also attend the pre-conference intensive, your cost for those three days is an additional $500 USD, which includes tuition, room, and board. There is a $75.00 discount if you attend both programs for a total of $925 USD. There is also a Music Participant Scholarship for which you may apply.

More information and online application ($35 application fee) at http://www.theoneill.org/summer-conferences/puppetry/

Contact information

Melissa Dunphy, Music Director
email: contact@melissadunphy.com
website: http://www.theoneill.org/summer-conferences/puppetry/
Web Site:www.theoneill.org/summer-conferences/puppetry/
Email:contact@melissadunphy.com

 loadbang is pleased to announce the 7th Annual Commission Competition!
Summary:Chamber Competition
Deadline: 15 April 2017
Date Posted: 25 January 2017
Details: Composers must submit:

• A work of chamber music written in 2012 or later, for 2-7 players and/or singers, with or without electronics. It is recommended that the submitted work feature bass clarinet, trombone, trumpet, and/or male voice (though not required). Inclusion of a score (PDF) and recording is required (MIDI realizations are NOT accepted).
• CV (PDF required)


Rules and Regulations:

• Eligible composers include any citizen OR current resident of the United States.
• There is NO FEE for participating in this competition
• The deadline for this submission is April 15th, 2017.
• The winning composer will receive a prize of $433 as a commission to write a new piece to be premiered in New York City by loadbang in Spring 2018.

Web Site:www.loadbang.com/commission-competition.html

 Coma Summer School
Summary:Summer School Opportunity
Deadline: None
Date Posted: 25 January 2017
Details: Through music...

With wind, string, orchestral, vocal ensembles and workshops in composition, contemporary piano, music theatre and on-location sound recording projects. Plus a programme of concerts and première performances in Stromness, Kirkwall, St Magnus Cathedral and the Orkney landscape.

... and exploration

In Scotland’s Year of History, Heritage and Archaeology and the 900th Anniversary of the Death of St Magnus. With guided tours and time to travel by land and sea through Orkney’s archipelago of wild landscapes, nature reserves and world heritage archaeological and historical sites.

Music making
The Summer School offers instrumental and vocal ensembles together with a range of workshops, talks and walks, concerts and opportunities to experience, respond to and interact with the landscapes of Orkney, including:
• Interpreting and performing four Summer School commissions, Open Score works by composers Samantha Fernando, Drew Hammond, Vasiliki Legako and Bill Sweeney for contemporary music ensembles
• Joining with local musicians – in a Choral Ensemble directed by James Weeks and a Symphony Orchestra conducted by William Conway – to rehearse and perform works inspired by Orkney and the Scottish islands
• For the string orchestra, focussing on game-changers – composers who have contributed to the transformation of western music and the string repertoire , from CPE Bach and Beethoven to Webern and Arvo Pärt
• Also the chance to premiere Bee Haven, a new work written by James Weeks specially for the Summer School strings
• Chris Watson (www.chriswatson.net) introducing his work and location-based artistic practice in Acoustic Landscapes, with recorded examples, including works related to Orkney
• Exploring the sounds of the unique no man’s land between the tides of Orkney’s island shores in Turn of the Tide
• Using hydrophones Below Sea Level, revealing something of the songs and signals which occur under the surface of the largest and most sound rich environment on the planet
• Developing ideas artistically and technically through critical analysis of field recordings in post-production sessions
• Imagining the world of Stone Age Sounds and interpreting these within the Orkney landscape itself with James Weeks and Chris Watson
• Using the practice of Deep Listening in midweek walks with ornithologist Laurence Rose to respond creatively to the Orkney landscape in words, images and music
• Joining Lore Lixenberg’s Refugee Chorus in a choral and film driven project based on Brecht poems set by the Danish composers Niels Ronsholdt, works interspersed with Arabic, Sephardic and Croation songs – and plans for public performance on an island ferry crossing
• Making and interpreting graphic scores from maps and charts of Orkney and its surrounding seas in Mapping Voices
• Spells and Charms offering vocal works derived from Orcadian and other languages and with works by Peter Maxwell Davies
• One to one tutorials and composition options with Alasdair Nicolson, inviting string trios based on Orkney’s Ancient sites, flexibly (Open) scored works on the theme of Pilgrimage and its relationship to the martyrdom of St Magnus, and a composer’s ensemble creating a new work based on the Hymn to St Magnus
• Mindfulness and music-making as a means of addressing issues relating to creativity, nervousness, physical embodiment, music – function and place
• Piano Masterclasses with Rolf Hind and the opportunity to compose piano works that reflect Orkney’s natural world
• Attending concerts in Stromness, Orkney Theatre and St Magnus Cathedral, including programmes by Summer School resident string trio Sara Woltstenholme, Ruth Gibson and Robin Michael and pianist Rolf Hind
• Taking part of the final concert in St Magnus Cathedral with contributions by all Summer School participants

Accomodation

There are a range of options available.
• Papdale Halls of Residence is only a short walk past the playing fields to where we hold most of our music activities. This lovely modern building which has lifts to all floors, communal spaces and a library. Towels and bedding are provided in single and twin en suite rooms, all with walk-in showers. Several booking options are on offer, ranging from room only to half board. However, this option is now fully booked. A few places may become available and we will keep a reserve list. If you are interested in this option, please email info@coma.org before sending your booking form.
• We have reserved 3 twin rooms in Peedie Hostel from Friday night, which are £17.50 per person per night.
• Otherwise there are plenty of local hotels, hostels and bed & breakfasts at a range of prices, which you can organise yourselves. There is a campsite in Kirkwall and another cost effective option would be for a group of people to hire a holiday cottage outside Kirkwall and also hire a car, which gives you additional opportunities to explore the islands. See the Visit Orkney web site for details.
We recommend getting to Orkney on the Friday if at all possible, or as early as possible on the Saturday.

Cost
Course fee – £560 Accommodation in Papdale Halls – Single occupancy £328, sharing in twin room £288. Meals are extra with details provided on the application form. A Friday arrival option is available.

Booking
Bookings are now open using the ‘advance’ application form below. Completing this will give you priority when it comes to choosing your options, a distinct advantage given the unprecedented interest shown in this course. The deposit is returnable at this stage and will only become binding once details of all the options have been published in full and you have had a chance to make your choices. If you have any questions, please contact info@coma.org.
Web Site:www.coma.org/whats-on/events/summer-school-2017/

 International Antonín Dvořák Composition Competition
Summary:Competition with Several Categories
Deadline: 07 April 2017
Date Posted: 18 January 2017
Details: 1st Round Application

1. Application Deadline: postmarked by Friday 7 April, 2017

2. Submission
a. Application form : 1 copy ( Download)
b. Composition : 6 copies (1 Work, Free composition)
Approximately 5-20 min., In accord with the styles and genres recommended Competition categories.

* Composition categories include genres of music spanning from classical to modern traditional music (sixteenth century style – twentieth century style) and includes no restrictions in regards to instrumental or vocal works. However, electric and microtonal music will be excluded as a rule. All compositions must be done on the staff(five-line) sheet music.


[Guideline]
(1) Vocal Works
All vocals both religious and secular are acceptable.
Performance type (solo, duet, choral) is not restricted.
Solo works or duets must be accompanied by a multi-voiced(polyphonic) instrument. In the case of trios or multiple voices, however, the accompaniment of a instrument is not necessarily required.
Accompaniments may include piano or other traditional orchestral instruments. Traditional folk instruments from the participant’s country are permitted as well.

(2) Instrumental Works
No restrictions of performance type (solo, duet, trio, etc…)
Solo instrumentals must be accompanied by a multi-voiced (polyphonic) instrument. In the case of duets or multiple instruments, an accompanying multi-voiced (polyphonic) instrument may not benecessary. Native folk instruments are also acceptable.

c. Compositional Outline : 6 copies (A4 size, optional)
d. Curriculum Vitae (Self-Introduction or Biography) : 1 copy (A4 size, within 250 words)
e. ID Picture (3×4cm, Color) : 2 pieces
f. CD recording or cassette : 1 copy (optional; does not affect results)
g. Application fee receipt
* (Notice) All documents must be sent to the address of the steering committee in Korea.

3. Other points to notes
a. The following works are not permitted.
Already published works or works recorded for commercial purposes.
Officially performed pieces, even if only in partial arrangement.
Imitations or arrangements of existing works.
Works which have received prizes at other competitions.
Compositions by more than one composer.
b. To insure fair judging the composer’s name should not be included on the sheet music.
c. All signatures and musical notation should be in accordance with internationally agreed rules of musical notation, and if any marks are used which are not in accordance then they should be mentioned in the compositional outline.
d. Indicate any transposing instruments according to their characteristics.
e. Submitted material (Application, Self-Introduction, Compositional Outline) should be written in standard English with either a computer word processor or type-writer. Only compositions may be submitted by hand.
f. If submitting a CD or cassette tape, record so that each movement may be clearly distinguished.
g. Applications and Self-Introductions may be sent either by mail or e-mail. Other materials should be submitted by mail as specified . (If registering by e-mail, Microsoft Word is recommended for all documents.)
h. As soon as the submitted materials are received the steering committee will send confirmation.
i. The steering committee does not take any responsibility for lost mail.
k. The application fee should be deposited in our committee’s exclusive account and registration is only completed once it is confirmed that the fee has been paid.
l. There will be no refunds of the application fee or return of submitted materials.
m. within the same group(Junior/Senior), a participant may apply for the competition three times at maximum.

4. 1st Round Application Fee : 30 EUR (excluding transfer fee)
Bank name : WOORI BANK SOCHONAM BR.
Bank address : Seoul, Korea
Account no : 1081-300-492512 / SWIFT CODE : HVBKKRSEXXX
Beneficiary Customer : SEOULORATORIO IADCC
Customer Address : Unamneopolis, Gwanakro 144, Gwanak-gu, Seoul, Korea
Tel : (+82) 2 587 9272 / Fax : (+82) 2 587 9276

5. Steering Committee of 1st Round
Address : International Antonín Dvořák Composition Competition Committee
Unamneopolis, Gwanakro 144, Gwanak-gu, Seoul, Korea (Postal Code 08791)
Tel: (+82) 2 587 9272
Fax : (+82) 2 587 9276
E-mail : dvorak@iadcc.eu
http://www.facebook.com/IADCC

6. 1st Round Results
1st Round results will be announced on Saturday 20 May on the homepage and mail or e-mail confirmation will be sent to the individual participants.
Web Site:www.iadcc.kr/first

 Stay Dharma Composition Competition
Summary:Choral Competition
Deadline: None
Date Posted: 18 January 2017
Details: Category Musica Sacra (MS)
In this category, the participants create works with the theme song ecclesiastical compositions (sourced from the liturgy) intended to glorify the Creator.

Category Musica Profana (MPR)
In this category the participants create works with the theme of the composition is not a worldly or religious music, may be the work of the theme of love, environment, beauty, justice, love of the homeland, and so forth

Participants fill out the registration form choral composition competition (form. B1) and pay a participation fee.

Send the registration form, payment slip (complete with news of payment), the work of the composition in the form of pdf, midi of composition and a statement composer (form. B2 can be downloaded from the website of the committee) via e-mail with the subject "REGISTRATION CCC-SDGNCF2017-NAME PARTICIPANTS '; eg: REGISTRATION CCC-SDGNCF2017-Daniswara, via post or may be submitted directly to the secretariat of the committee SDGNCF 6th 2017.

-Choral composition competition open common to all composers of Indonesian nationality with a maximum age limit of 35 years (not yet 35th birthday on May 16, 2017).
-Artistic team, jury and expert 6th 2017 SDGNCF not allowed to take part in this competition.
-The composition is made in the block notation, a capella with a sound composition of the mixture (S A T B / Bar) and a maximum duration of four (4) minutes.
-The composition of musica sacra had to use Latin.
-Composition musica profana must use Indonesian.
-Especially for the category musica profana, the use of lyrics or poetry belongs to someone else (not in the minds of the participants), a permit is the responsibility of the participant.
-The composition must be made after January 1, 2017, and the work has never been published, has not been included in similar competitions, and has never been performed or displayed by a particular choir. Violation of this provision, will lead to disqualification can be a participant in this competition.
Each participant may submit a maximum of two works of composition in each category.
-The composition can be made by hand or using a program (software), such as: Sibelius, finalle, encore, and so forth; but the composition submitted must be in pdf format (portrait and A4 paper size) that are attached between the pages (not each page separately used as a pdf). In addition to handing composition in the form of pdf, participants are also required to submit a midi of the composition.
The work that has been submitted to the committee will not be refunded, but the copyright remains in the hands of the composer.
Web Site:sdgncf2017.satyadharmagitachoir.com/activities/choral-composition-competition/

 Elektro Arts Acousmatic, Visual Music and Dance Festival
Summary:Electroacoustic Call
Deadline: 31 March 2017
Date Posted: 18 January 2017
Details: The Babeș-Bolyai University, the Art and Design University, and the Gheorghe Dima Music Academy are pleased to announce the 2nd edition of Elektro Arts.

The Festival will be hosting a Call for Electro-acoustic Works, which has always been committed to showcasing Digital Art. The Festival will take place on May 12th and May 13th, 2017 on the beautiful venues of Cluj-Napoca. Festival venues include Casa Matei Gallery and Music Academy Studio Hall.

Open Call for Works

Established or emerging sound artists are invited to submit their original works from the wide spectrum of electro-acoustic music. The theme for the Festival in 2017 is Diversity.

Works

Despite of the style variety, preference will be given to music for fixed media assembled around 1-6 channels, with a duration of maximum 15 minutes. Only one work per composer is allowed. However, there is no age limit or nationality restriction.

Categories

We will consider works for the following discrete audio channels setups:

• • 1-channel = C
• • 2-channels = C and LFE
• • 2-channels = L and R
• • 3-channels = L, R, and LFE
• • 4-channels = L, R, SL, and SR
• • 5-channels = L, R, SL, SR, and LFE
• • 6-channels = L, R, C, SL, SR, and LFE

Submission

Send your work by a web transfer service. There are a number of options for sending audio files over the Internet such as WeTransfer, pCloud and PlusTransfer. All submission files need to be sent electronically. Please do not send any attachments.

The following electronic materials and information are required as well:

• Submission Form (download the form from our website www.elektroarts.com)
• Biography of the artist (in English, maximum 200 words, RTF / DOC format)
• Program Notes of the submitted work (in English, maximum 200 words, RTF / DOC format)
• MP3 stereo-mix of the work (16-bit, 44.1-kHz, 192-kbps)
• CD-quality audio files of the work. Read more about this at Technical specifications.

Complete details of the submission process are also found online at www.elektroarts.com.

Submission fee
There is no submission fee.

Technical specifications

• Format: AIF / WAV audio files @ 16-bit & 44.1-kHz (non-interleaved and stem- mix)

• Normalization: -1dB

• Filename: we encourage you to use the standard convention for filenames as follows

L = Front Left
R = Front Right
C = Center
SL = Surround Left
SR = Surround Right
LFE = Low Frequency Effect / Subwoofer

Example of naming the files of a 2-track composition:

“your_name_L” and “your_name_R”

Deadline

The works must be received by Friday, March 31st, 2017. For submission information, please see above.

Acceptance

A notification of acceptance will be sent to successful composers via email by Monday, May 1st, 2017. Selection criterion is based on the quality of the work. All selection decisions are at the discretion of the Elektro Arts international team.

Elektro Arts Events

Our aim for this open Call is to select electro-acoustic works of high-quality and unique, and to sustain multidisciplinary innovation among artists and scholars involved in digital arts. The two-day Festival will focus on live diffusion of electro- acoustic music, visual music, alongside installation and dance performance. Our vision is to uphold Digital Arts and make them accessible to the public.

Contact

PhD Adrian Borza
Email: adrian.borza@amgd.ro

Address:
Academia de Muzică “Gheorghe Dima”
Elektro Arts
I.C. Brătianu 25, Cluj-Napoca, 400079 România
Web Site:www.elektroarts.com/?i=1

 Applications to the 2017 SaM Summer School are now open!
Summary:Summer School
Deadline: 30 March 2017
Date Posted: 18 January 2017
Details: Deadline for applications Thursday 30th March at 12 noon.

There are 2 ways of applying to the Sound and Music Summer School:

1. Online
This application form will take you through the requirements and ask you to give information about yourself and attach examples of your music. There is also an equal opportunties form to fill out too.
You will receive a standard e-mail acknowledging your application.
You can find them here: Application Form (the Equal Opportunities is linked to the main application form)

2. By Post
Please contact Judith Robinson if you wish to apply by post
Email: Judith.Robinson@soundandmusic.org // call: 020 7759 1800

What will I need to make an application?

Here are a few things to help you with your application:
-You must be aged 14-18 on 31st August 2017.
-You must be based in the UK, or a UK citizen living overseas.

The application form asks you for your contact details and some information about you including:
-Describing your style of music in the form of a tweet (140 characters)!
-Naming 3 pieces of music you have been listening to recently and why you like them.
-Writing up to 250 words telling us why you want to take part in the Summer School. Remember to tell us about what experience you have of composing music (whether at school, independently, or with a composition teacher) and any musical activities you're involved in.
-Giving an example of your music, which you can upload to the application form. We need a score (a written down version of your music).There are some examples of different score formats below.
-You can also send us a recording of your piece if you have one, but this is not essential.
-Writing up to 250 words telling us about your piece, along the lines of a coursework log. There are some examples of coursework logs below.

We would also like you to complete an Equal Opportunities form. This information is kept separate from your application and is not used during the selection process. The information helps us understand who applies to the Summer School and who gets selected.

Web Site:www.soundandmusic.org/projects/applications-2017-sam-summer-school-will-open-january/apply

 Royaumont | Académie Voix nouvelles 2017 – Composers
Summary:Composition Academy
Deadline: 01 March 2017
Date Posted: 12 January 2017
Details: PRESENTATION

The Académie Voix Nouvelles is open to composers and performers wishing to hone their skills in the interpretation of the contemporary repertory.

For composers, it recreates the complete process of creation of a new work, in professional conditions: commission, composition, rehearsals, concert, under the supervision of internationally renowned tutors belonging to different aesthetics. It calls on the leading ensembles to rehearse and perform the works and to advise and interact with the composers.

The performers will benefit from the advice of the expert musicians of the guest ensembles in individual classes rehearsing chamber or solo repertory. They will make up an ensemble that will rehearse and perform in concert emblematic works from the contemporary literature as well as some of the work produced by the composers of the workshop.

In its duration and its exceptional working conditions, the academy constitutes a unique forum for exchanges between composers, performers and thinkers. Several specialists in the domains of management, musical production economics, author rights, the record industry, radio and journalism will also be invited.

FACULTY

Mark ANDRE

Mark Andre, born in Paris in 1964, creates in his music existential experiences for the listener, spaces characterised by subtle, minutely worked-out processes of transformation. His chamber works, delicate and concentrated, have been described by the Hamburger Abendblatt as “acoustic houses of cards that no wind can blow down”. In his orchestral works the practicing Protestant also shows himself to be a sensitive explorer of sound, guided by the spiritual dimension of the creative process.

Philippe LEROUX

Born in Boulogne Billancourt (France) in 1959, Philippe Leroux entered the Paris Conservatory, in 1978, studied with Ivo Malec, Claude Ballif, Pierre Schäeffer and Guy Reibel and obtained three first prizes. Meanwhile, he followed classes with Olivier Messiaen, Franco Donatoni, Betsy Jolas, Jean-Claude Eloy and Iannis Xenakis. In 1993 he was selected to enter the Villa Medicis in Rome for two years, where he remained until 1995.

His compositional output (about seventy works to date) includes symphonic, vocal, electronic, acousmatic and chamber music. "

Alex MINCEK

Alex Mincek is a composer, performer, and co-director of the New York-based Wet Ink Ensemble. He is a recipient of a Guggenheim Fellowship, Alpert Award, and multiple awards from the American Academy of Arts and Letters. His music has also been recognized through commissions and awards from arts institutions such as the French Ministry of Culture, the National Foundation for Advancement in the Arts, the National Endowment for the Arts, MATA, and the Barlow Endowment.

Jean-Philippe WURTZ

Jean-Philippe Wurtz is a performer actively committed to creation. He has given more than three hundred world premieres, including works by Peter Eötvös, Klaus Huber, Philippe Manoury, Brian Ferneyhough and Raphaël Cendo; he founded the Ensemble Linea in 1998. He also has a busy schedule as an educator, notably in collaboration with Peter Eötvös, at the Académie de l'Ensemble Linea and at the Haute Ecole des Arts du Rhin.

Juliet FRASER

Soprano Juliet Fraser has a repertoire dominated by the very old and the very new. In new music, she has performed as a guest soloist with Klangforum Wien, Remix Ensemble, ICTUS, Plus-Minus, We Spoke: New Music Company, London Sinfonietta and BBC Scottish Symphony Orchestra. She is also principal soprano of EXAUDI vocal ensemble, which she co-founded with composer/conductor James Weeks in 2002.

TANA STRING QUARTET

The Tana String Quartet was formed in 2010 to promote contemporary repertoire and enhance the relationship between composer and performer; they place no boundaries when selecting style or genre and often present classical repertoire alongside contemporary works. Recognised by The Guardian as “impeccable players”, the quartet is recipient of an array of international awards: in 2013, they were honoured at the HSBC EMA Awards at the Aix-en-Provence festival and received the Octave for best exponents of contemporary music. This followed distinctions a year earlier from both the Pro Quartet organisation and the Verbier Festival Academy, and the Fuga Prize from the Union of Belgian Composers.

ENSEMBLE MULTILATERALE

PLACES AVAILABLE

for 14 composers, born after 1 January 1985

METHOD

- Individual classes (two per tutor, i.e. six in all)

- Collective classes (two per tutor, i.e. six in all)

- Presentation by each participant of his/her own work

- Presentation of specific instrumental techniques by the instrumentalists and singers of the ensembles

- Rehearsals in the form of workshops

- Concerts presenting the final state of the works (concerts will be recorded)

This workshop relates solely to the creation of new works written for the occasion. At least half the work must be sent by 1 July. The scores will then be completed during the session under the supervision of the tutors.

VOCAL AND INSTRUMENTATION FORCES
The following vocal and instrumental forces are offered for the pieces to be composed:

1/ String quartet
2/ String quartet with voice
3/ Instrumental sextet (flute, clarinet, piano, percussion, double-bass, harp)
4/ Instrumental sextet with voice (flute, clarinet, piano, percussion, double-bass, harp)
5/ Instrumental Ensemble (flute, clarinet, 2 violins, viola, cello, double-bass piano, percussion, harp)
6/ Instrumental Ensemble with voice (flute, clarinet, 2 violins, viola, cello, double-bass piano, percussion, harp)
7/ Trio with voice (violin, percussion)
8/ Instrumental duet ( violin harp)
9/ Trio with voice (clarinet, double bass)
10/ Instrumental duet (flute, cello)
11/ Duet (voice, viola)
12/ Piano solo

APPLICATION

Biography*, CV (résumé)*, letter of application*, photo*

Three scores*

One recent recording with the corresponding score*

Please indicate on your letter of application your three preferred instrumentation choices*

*Mandatory

SCHEDULE

No audition – selection upon application material

Application until 1 March, 2017

SESSION

from 21 August to 10 September 2017 – 21 days

PUBLIC PRESENTATION

9 September – 17.45 – Composers I

10 September – 15:00 – Composers II

Tuitions charges

The financial participation charged to students consists of:
- registration (150 €)
- membership of the Association des amis de Royaumont (15 €)
- access to the François Lang Music Library (12 €)
- a contribution to accommodation expenses
Tuition possibilities according to your situation are detailed below (Tuition possibilities).

The Fondation Royaumont covers:
- all subsistence expenses (accommodation, meals) and pedagogical costs (teaching, instruments…) for the entire duration of the course (except specific case)
- transfer costs from Viarmes train station to the abbey (round trip).

The participant takes on his own:
- travel expenses (round trip) from his place of residence to Viarmes train station
- musical scores

Tuition possibilities

Intermittent du spectacle:
for intermittents du spectacle (short-term contract workers in the music industry): by AFDAS if you fulfil the following conditions: two years of activity, 48 fee units (jours) in France, justified by Congés Spectacles certificates and payslips;

Procedure :
1. As soon as you are selected by the Fondation Royaumont, you check that you are a AFDAS beneficiary and inform the Fondation
2. The Fondation Royaumont sends you a quotation, the presentation of the training and the AFDAS tuition form completed by Royaumont
3. You fill the AFDAS tuition form and gather the files requested by AFDAS
4. You send your tuition form to AFDAS no later than 4 weeks before the first day of training
5. You and the Fondation Royaumont receive the AFDAS answer
If you are eligible for any of the above aids, you will pay only the registration fee, a total amount of 177 €.

Salaried employee:
for salaried employees (full- or part-time): check with your employer its training programme;
If you are eligible for any of the above aids, you will pay only the registration fee, a total amount of 177 €.

Jobseekers:
for jobseekers: consult the local branch of Pôle Emploi;
If you are eligible for the above aid, you will pay only the registration fee, a total amount of 177 €.

Scholarships

The Association des amis de Royaumont scholarships 2017
- to instrumentalists born after 1 January 1992
- to singers born after 1st January 1989
- to choregrapher or composer born after 1st January 1985
The Association des amis de Royaumont awards scholarships who do not yet have a regular professional activity and whose situation meets the age limits detailed above, on artistic potential and financial situation.
These awards are decided by board meetings of the Association on the basis of written dossiers (CV [résumé] and letter of application).
If you are eligible for the above aid, you will pay only the registration fee, a total amount of 177 €.

Participants ineligible for any other form of financial aid will pay registration fees, membership to the Amis de Royaumont, access to the library and part of the accommodation fees,
ie a total of 1177 € for composers and 677 € for performers, whereas the Fondation covers complementary cost of training.
Web Site:ulysses-network.eu/web/competitions/voixnouvelles2017-composers/

 CALL FOR SCORES! TACTUS YOUNG COMPOSERS' FORUM 2017
Summary:Young composers' competition
Deadline: 01 June 2017
Date Posted: 12 January 2017
Details: TACTUS YOUNG COMPOSERS' FORUM 2017

writing for orchestra

The seventh edition of the Young Composers' Forum - September 2017

Launched in 2003, this biannual event offers the opportunity for young composers to increase their understanding of what is involved in writing for a symphony orchestra and chamber ensemble. A maximum of six composers, to be selected on the basis of an online submission, will be given the privilege of workshopping a work or part of a work (a movement) of about 10 minutes in length with the Brussels Philharmonic and the ensemble Musiques Nouvelles.

The working sessions will be followed by discussions in the presence of internationally renowned composers. Lectures will also be given on various aspects of composing as well as other topics related to composers’ careers, etc.

At the end of the sessions an international reading panel will select one or more works that may be programmed by a professional orchestras. In the past these have included the Orchestre National de Lille, the National Orchestra of Belgium, the Flemish Radio Orchestra, the BBC Symphony Orchestra and the Brussels Philharmonic.

The seventh edition of ['tactus], Young Composers' Forum, will take place in Brussels and Mons, Belgium, from September 25th to 29th, 2017 under the presence of maestri Ann McKay, Jean-Paul Dessy, Kimmo Hakola, Claude Ledoux, and others to be confirmed.

The event will take place in Brussels, Belgium from September 25th to 27th (orchestral session with the Brussels Philharmonic) and in Mons, Belgium from September 27th to 29th (chamber music session with Musiques Nouvelles).

Applications can be submitted exclusively online via the Ulysses platform from December 12th, 2016.

Deadline for submission: June 1st 2017

Applications accepted exclusively online via the Ulysses platform: ulysses-network.eu/web/competitions/
Web Site:ulysses-network.eu/web/competitions/tactus2017/

 Join the next round of Composer-Curator
Summary:Concert management opportunity
Deadline: 28 February 2017
Date Posted: 12 January 2017
Details: Composer-Curator 2017

Are you a composer who also puts on new music events - from devising a programme and bringing the artists together, to drafting a budget and coordinating the logistics? If so, this call is for you.

We are looking for the next round of entrepreneurial artists to join our Composer-Curator programme - our refreshed new music touring programme that supports grassroots new much activity across the UK

What is Composer-Curator?

Composer-Curator supports entrepreneurial artists from a range of disciplines looking to create their own opportunities by curating their own events – tours, festivals and concert series – celbrating a change in step in the world of live music touring.

The programme not only creates a space for artists to produce new work; it enables them to hone their curational skills, generating a more sustainable form of practice that can positively impact the new music sector as a whole.

What do we offer?

We are looking to support exciting new music events across the country - from the traditional to the avant garde.

You can find out more about who we have supported before by visiting out Past Projects page or reading interviews with last year's cohort in The Skinny: A Quiet Night In // White Cane // Nobilis Humilis and In Their Own Words // Drivetime Underground

Artists involved in the programme receive a bespoke package of financial, marketing and audience development support tailored to their individual requirements, enabling them to better understand and grow audiences outside established cultural institutions, alongside other professional development.

They are encouraged to curate gender-balanced, accessible programmes that are inclusive to all audiences and best represent the breadth of talent and artistry present in the UK today.
Web Site:www.soundandmusic.org/projects/opportunity-join-next-round-composer-curator?utm_source=New+Music+Opportunities&utm_campaign=954d7ce99b-Winter_Calls_Announcement_Opportunities_1_3_2017&utm_medium=email&utm_term=0_30421dbfe9-954d7ce99b

 Work with the London Graduate Orchestra!
Summary:Orchestra Collaboration Opportunity
Deadline: 28 February 2017
Date Posted: 12 January 2017
Details: Date: Deadline: 28th February 2017
Produced by: Sound and Music in partnership with the London Graduate Orchestra
Compose with the London Graduate Orchestra

PLEASE LET US KNOW IF YOU WOULD LIKE THIS DOCUMENT IN A DIFFERENT FORMAT

The London Graduate Orchestra was founded by conductor Claire Lampon and composer Kemal Yusuf in 2013, with the aim of offering emerging graduates the opportunity to perform in a high standard orchestra before entering the professional field.

As part of the Portfolio programme, Sound and Music and the London Graduate Orchestra offer an opportunity for two composers to develop new works for the orchestra.

The opportunity is ideal for composers who are fascinated by the sound of the orchestra, and who will stretch themselves in exploring new timbres, textures and sounds with the group.

The London Graduate Orchestra explained:

"We're thrilled to be working with Sound and Music on the Portfolio scheme and are excited to work closely with two composers in creating new, boundary-pushing works for the orchestra."

Sound and Music's Creative Project Leader, Chloë Richardson explained:

"The London Graduate Orchestra is a dynamic group of musicians entering the professional arena. This is an exciting opportunity for a composer to work closely with them in exploring the huge potential offered by the orchestral soundworld."
Web Site:www.soundandmusic.org/projects/opportunity-work-london-graduate-orchestra?utm_source=New+Music+Opportunities&utm_campaign=954d7ce99b-Winter_Calls_Announcement_Opportunities_1_3_2017&utm_medium=email&utm_term=0_30421dbfe9-954d7ce99b-9

 ST MAGNUS COMPOSERS’ COURSE
Summary:Composition Course
Deadline: 06 March 2017
Date Posted: 12 January 2017
Details: SMCC is an intense experience for composers in the magical and inspiring surroundings of the Orkney Islands and is directed by composers Alasdair Nicolson and Sally Beamish. The course includes opportunities to hear, meet and work with professional musicians performing at St Magnus International Festival and, in addition to writing a substantial work for The Assembly Project, students will also benefit from sessions with visiting performers including Rafal Luc accordion, and the BBC SINGERS. This year will also see workshops with Hear My Music looking at mixed media and ability performance. The SMCC also offers students the opportunity to participate in a seminar with the Festival Artistic Director, visiting artists and orchestral managers. Individual tuition gives each composer the chance to present scores to both Course Directors, allowing for critical comment and feedback on a one-to-one basis as well as regular play-through sessions with the ensemble.

Running concurrently with Orkney Conductors’ Course, the course provides a unique opportunity for the student composers to collaborate with eight emerging professional conductors. Students are also offered complimentary tickets to many Festival performances.

New works will be developed and rehearsed with the Assembly Project and performed at the St Magnus International Festival Composers’ Concert. Each composer’s work will be conducted in performance by an Orkney Conductors’ Course participant and a recording of the resulting Festival Concert will be available to students on completion of the course.

HOW TO APPLY
There are no age restrictions for either course. Eight students will be accepted on to each course, for which applications mustbesubmittedbyMonday6thMarch.Successful applicants will be notified of the result in the week beginning 3rd April, and those unsuccessful in the following week.

APPLICATION FORMS MAY BE OBTAINED FROM
Composers:
www.stmagnusfestival.com/composers/apply.htm

OR ON REQUEST
St Magnus International Festival,
60 Victoria Street, Kirkwall, Orkney KW15 1DN

Telephone: +44 (0)1856 871445
Email: info@stmagnusfestival.com

ALONG WITH THE COMPLETED FORM, APPLICATIONS MUST ALSO INCLUDE:

Composers - Two contrasting scores
An audio recording of one
of the scores submitted

COURSE FEES £690
Web Site:www.stmagnusfestival.com/composers/apply.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

 Lake George Music Festival
Summary:Festival Performance Opportunity
Deadline: 28 February 2017
Date Posted: 10 January 2017
Details: The Lake George Music Festival is a strong supporter of contemporary classical music, and annually hosts an international competition to promote its continued development and dissemination. Our mission is to find and recruit the next generation of leading composers and promote their work to the world at large. We will pair the most promising works with our roster of exceptional performers, fostering long-lasting relationships between artists of the highest caliber. By promoting the movement that contemporary music is alive, inspirational, and relevant to every community, we are doing our part to connect Lake George with the evolution of this tradition.

HOW TO APPLY

The 2017 submission period will be from January 1st to February 28th. 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 curriculum vitae with full name, date of birth, and complete contact information (this will not be viewed by the jury).
-A PayPal receipt proving the application fee has been paid. Please pay application fee at the same time when submitting materials.

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 February 28th, 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.
Web Site:www.lakegeorgemusicfestival.com/composition-competition/

 International Sacred Music Competition
Summary:Sacred Choral Competition
Deadline: 11 March 2017
Date Posted: 10 January 2017
Details: ART. 1 - CONDITIONS FOR PARTICIPATION
Composers may be of any nationality, without an age limit.

The composition that will be presented at the competition has to be original, and cannot have already been performed in public, published, recorded or awarded in other competitions. The participants have to attach along with the application form, which has to be completed in all of the sections, a declaration stating that the work has all the above-mentioned conditions. The full score may be hand-written or in electronic form, but must be perfectly legible. Whoever fails the compilation, without respecting the rules, will be disqualified. The jury will respect the anonymity of the participants until they have taken their decision.

ART. 2 – WORK REQUIRED
The fifth edition celebrates the 150th anniversary of the birth of Umberto Giordano (1967 – 2017). The task of the competition is to compose a Kyrie for choir in four part SATB and organ ad libitum (length between 8 up to 12 minutes) the same formation used by Umberto Giordano for his Kyrie composed in 1946.

The composers have to submit:

- Complete score

The participant will mark the score with a freely chosen title or motto which does not give any indication to his/her identity or to his/her work. The composer’s name or signature doesn’t have to appear on the score. A sealed envelope marked with the same title or motto will contain the documents requested in point 3.

ART.3 - REGISTRATION
The musical score has to be sent in five copies to the competition secretary.

The entry should contain the copies of the full score and the sealed envelope marked with the same title or motto containing:

‐ completed competition registration form

‐ curriculum vitae

‐ proof of payment of the registration fee of 75,00 euros.

Bank details as follows:

IBAN: IT55J0312403210000000237107

BIC/SWIFT CODE: BAFUITRRXXX

registered in the name of “Accademia Romana dell’Opera Ass. Cult.”, via Gabrio Serbelloni, 78 – 00176 Roma

All entries should be sent by registered mail or courier service to the competition secretary:

5th International competition of sacred music composition Papa Benedetto XVI

Via Gabrio Serbelloni, 78

00176 Roma

The registration deadline is set for March 11, 2017, with the postmark as proof of the dispatch.

The musical scores and the documents will not be returned to the sender, except in case mentioned in art. 6.

ART.4 - JURY, DECISIONS
An international Jury of outstanding composers and musicians will evaluate the works.

After the decision about the awards and special mentions, the winners will be personally notified and the results will be published on the website www.concorsopapabenedettoxvi.com. The proclamation of winners and the awards ceremony will be the April 16, 2017. The concert will be proposed and replicated during the celebrations to Umberto Giordano of the Conservatory of Foggia.

ART. 5 – PRIZES
The following prizes will be provided:

1st prize 2000,00 euros - Score published by Sillabe Editore

2nd prize 1000,00 euros

3rd prize 750,00 euros

The Jury may also decide not to award the Prizes, if no one of the compositions will reach the tasks request in point 2. The ex-aequo prizes will be divided into equal parts.The Jury’s decisions cannot be appealed. The compositions, not complying with the rules, will not be taken in consideration. The compositions awarded or with special mention can not be performed, published, recorded nor broadcasted before the gala concert. The penalty will be the loss of the award and the title as winner. The organization will decide how to perform and/or publish the works that have not won.

The organization can use all the works sent in, without charge, for public performances, for concerts and for religious events, including in the presence of radio-television broadcasts.

ART. 6 – CANCELLATION
Should causes beyond control prevent the competition from taking place, applications shall be annulled and entry fees refunded.

ART. 7 – PROTECTION OF THE WORKS
The composer will take charge to register his/her work with the S.I.A.E., Society of Authors and Publishers, and/or with a similar foreigner society.

ART. 8 – COMPETENT COURT
In case of controversy, the sole competent court is the Court of Rome.

ART. 9 - ORIGINAL LANGUAGE
Those rules are translated in many languages but anyway only the original Italian language text is legally valid.
Web Site:www.concorsopapabenedettoxvi.com/en/rules/

 BBC Proms Inspire
Summary:Young Composers' Competition
Deadline: 25 May 2017
Date Posted: 10 January 2017
Details: Now in its nineteenth year, the BBC Proms Inspire scheme provides 12-18 year olds with a friendly environment to share ideas, meet like-minded composers and develop their musical creativity, while working alongside some of the UK’s top composers and musicians. If you are 12-18 years old and want to make your own music, read on to find out how to join the BBC Proms Inspire scheme and enter the BBC Proms Inspire Competition.

"BBC Proms Inspire shines a light on new and emerging talent among our youngest composers. Last year, I and my fellow-judges were amazed and inspired by the quality of work by young teenagers, and I can’t wait to hear what the next competition reveals!" Jonathan Dove, Inspire Competition judge 2016

What is the BBC Proms Inspire Competition 2017?

"The BBC's long-established and justly celebrated Inspire Competition is the UK's leading event for young composers – and a wonderful opportunity for musically curious people aged 12 to 18.” Judith Weir, Inspire Competition judge 2016

The BBC Proms Inspire Competition continues to provide what most composers only dream of; the chance to have your music performed by professional musicians at the BBC Proms and broadcast on BBC Radio 3. Not only this, winners also receive a BBC commission for a high-profile performance and are mentored throughout the process by a professional composer.

We are looking for music that is original, unique and inspiring. It can be completely innovative or can use the music and ideas of the past to inspire new and exciting pieces of music. There are no restrictions on the type of music you can enter – whatever your style and inspiration, we want to hear it!

What is the prize?

Winners will be given the opportunity to have their work performed at the BBC Proms by professional musicians and broadcast on Radio 3.
Winners will also receive a BBC commission.
Please read the terms and conditions for full details.

Who are the judges?

Entries will be judged by a panel of leading composers and music industry professionals who are passionate about finding and developing young talent. This year’s judges include composers Mark-Anthony Turnage, Charlotte Bray, Fraser Trainer, Kerry Andrew, Hannah Kendall and Director of the BBC Proms, David Pickard.

What are the rules?

It's very important that you read the full terms and conditions for the competition, for full rules and details on how to submit your entry. You are advised to read these carefully as invalid entries will be disqualified. If you’re aged 12 to 16, ask a parent or guardian to read these too as they will need to give their consent for you to enter. The closing date for entries is Thursday 25 May 2017.

How to enter

Please refer to the terms and conditions for full details on how to submit a valid entry. If you need any further information or require clarification of the meaning of any of the terms and conditions, please contact a member of the Proms Learning team by emailing getinvolved@bbc.co.uk.

Download, print and complete an Entry Form. If you’re aged 12 to 16 make sure a parent or guardian reads and completes the bottom section of the form to give their consent for you to enter.

Send your complete entry by post only to: BBC Proms Inspire Young Composers’ Competition, PO Box 7905, London, W1A 1UL. (Please note that this facility cannot accept any mail from carriers other than Royal Mail. The PO Box facility will terminate at close of business on 25 May 2017 and any late entries will not be accepted. In the event of a prolonged postal strike, the period for submission will be extended as appropriate. Entries delivered in person will not be accepted.)
The closing date for entries is Thursday 25 May 2017. Any entries received after this date will not be entered in the competition.
Web Site:www.bbc.co.uk/programmes/articles/4mY3MbSJ5G2LvSbzZPbc85G/bbc-proms-inspire

 Bowling Green State University’s College of Musical Arts
Summary:Perfomance Opportunity
Deadline: 01 May 2017
Date Posted: 10 January 2017
Details: The MidAmerican Center for Contemporary Music at Bowling Green State University’s College of Musical Arts announces a call for works to be considered for performance on the 38th Annual Bowling Green New Music Festival, to be held October 18-21, 2017. The festival will feature the music of guest composers Steven Mackey and Sarah Kirkland Snider and others, performed by BGSU faculty, students and featured guest ensemble Latitude 49.

This year, we are seeking works for the following instrumentation:

Works for solo flute, unaccompanied or with piano
Works for solo trumpet unaccompanied or with piano
Works for solo piano
Works for flute and percussion duo
Works for brass quintet (2 trumpets, trombone, horn, tuba)

ELIGIBILITY:
1.) Composers of any age, nationality or institutional affiliation, except those currently enrolled at or employed by Bowling Green State University, are eligible to submit scores.

APPLICATION PROCEDURES:
1.) All submissions should be made electronically, and should include the following:
a.) Full score in PDF format
b.) If available, a recording (MP3 or WAV format) or link to a recording (via your own personal web site, SoundCloud, YouTube, etc) that can be streamed or downloaded online.
c.) Contact information including name, address, email, and a short bio or resume.

Submissions via email (callforscores@bgsu.edu) are preferred. Submissions via DropBox, WeTransfer, or other file-sharing service will also be accepted.

Only one submission per composer will be considered for inclusion on the festival.

Exceptions to the electronic submission rule will be considered on a case-by-case basis. Please forward any questions or concerns to MACCM Director Kurt Doles (kdoles@bgsu.edu).

2.) Entries must be received by Wednesday, March 15th 2017 to be considered for performance.

3.) Composers selected to participate must provide scores, parts and other performance materials at their own expense. Attendance at the festival is required; a small honorarium of $200 is offered to help offset travel costs.

4.) Composers whose pieces have been selected for performance will be notified via email before May 1, 2017.
Email:callforscores@bgsu.edu

 Kimmel Harding Nelson Center for the Arts
Summary:Residency Opportunity
Deadline: 01 September 2017
Date Posted: 10 January 2017
Details: Next Residency Deadline March 1, 2017
The Kimmel Harding Nelson Center for the Arts, located in Nebraska City, NE offers from fifty to sixty juried residencies per year to visual artists, writers, composers, and interdisciplinary artists from across the country and around the world.

The Center accommodates up to five artists at a time for stays that vary from two to eight weeks. Each resident is provided with private bedroom, private bathroom, their own studio space, fully equipped kitchen and a weekly $100 stipend for the duration of their stay.

All residents are selected by a discipline-specific panel of professionals with decisions based on the quality of the proposal and the support materials submitted. Nebraska artists and those transitioning from graduate school receive special consideration.

Two application deadlines per year. September 1 and March 1.
Applicants are required to apply online through our Slideroom portal: https://khncenterforthearts.slideroom.com/#/Login

A non-refundable application fee of $35 applies.

For more info visit http://www.khncenterforthearts.org or call 402-874-9600, email info{at}khncenterforthearts{dot}org

The Center offers a letterpress studio with a Vandercook Sp15 press and a standard proof press. The Harry Duncan Letterpress Studio also features a variety of furniture and fonts, an inventory of tools and inks, as well as a boxcar base for resident use.
Web Site:www.khncenterforthearts.org/

 Liberal Judaism Music Composition Competition
Summary:Competition with sacred theme
Deadline: 11 May 2017
Date Posted: 04 January 2017
Details: Are you a musician in a Liberal Jewish community? Have you ever composed music for use in your place of worship? If you have, then keep reading – if you haven’t, then this is your chance!

We are extremely lucky to have a growing number of keen and dedicated musicians in our communities, and over the next six months we will be running the Liberal Judaism Music Composition Competition to showcase the best new, home-grown, music.

All entries will be judged by a cross-communal panel, with a select few awarded a prize and performed at next year’s Day of Celebration. Where possible, all other entries will be recorded and made available to Liberal Jewish congregations. The entry requirements are:

• Must have Jewish content, for example an adaptation of a current prayer or text, or be inspired by Jewish tradition.

• Must be between one and five minutes.

• Must be submitted in full musical notation, with a recording if possible (we can help with this).

• Must be accompanied by no more than 300 words describing the inspiration behind the composition.

• Does not necessarily have to use a voice, but please consider the practical ‘performability’ of the piece.

• The composer must be a member of a Liberal Jewish community.

Please send competition entries, along with any questions you may have, to g.carpenter@liberaljudaism.org before 11 May 2017.
Web Site:www.liberaljudaism.org/enter-our-music-composition-competition/

 Northampton Festival Compose a “Fanfare”
Deadline: 20 May 2017
Date Posted: 04 January 2017
Details: “Fanfare” to be no longer than 3 minutes and involve no more than 3 musicians.
Send your composition AND a recording to the Music Co-ordinator by FRIDAY 31ST MARCH 2017
The winning “Fanfare” will be played at opening of our Festival Saturday 20th May 2017
Web Site:www.northamptonfestival.org.uk

 THE OPEN FUND FOR MUSIC CREATORS
Summary:Funding Opportunity
Deadline: 02 October 2017
Date Posted: 04 January 2017
Details: The Open Fund for Music Creators supports the development of outstanding songwriters and composers of all genres and backgrounds at different stages of their career.

The fund can support projects by songwriters, composers, or artists, bands, producers and performers who are writing their own music or commissioning others.

Music Creators’ projects must fulfill all three of our funding priorities:

1. To support the creation, performance and promotion of outstanding new music in any genre
We are particularly interested in the quality of the music

2. To enable the UK’s most talented music creators to realise their potential
We are interested in how your project will develop the songwriters and composers involved.

If you are a songwriter/composer you will need to tell us why this particular activity is so crucial to your creative or professional development.

If you are a solo performer or small performance group commissioning others, you will need to explain why your project is so important to the songwriter or performer you are working with.

We are committed to supporting UK based songwriters and composers of all backgrounds.

3. To inspire audiences
You will be asked to outline who you are reaching and how. This includes audiences at a local, regional, national or international level

What is a music creator?

The following are considered by PRS for Music Foundation to be Music Creators:

songwriters,
composers, or
artists, bands, producers and performers who are writing their own music or commissioning other songwriters or composers
Please see our Frequently Asked Questions page for information on Music Creators we consider eligible and ineligible, including advice on restrictions around financial set-up.

The Open Fund supports Music Creators of all genres and backgrounds and at different stages of their career.

Through The Open Fund, we support high quality new music projects and therefore cannot support core organisational costs, salary costs or living costs.

Click here to see the full list of other PRS for Music Foundation opportunities for organisations and music creators.

How much can Music Creators apply for?

The Open Fund for Music Creators offers grants of up to £5,000.

Our funding includes support of:

• touring
• music creator residencies
• promotion and marketing
• commissions of new music by UK-based creators*
• exciting community projects involving high-quality music creators
• recording
• live performances featuring new UK music

*We define ‘commission’ as a music creator or group engaged by a third party to create a new piece of music.

What can’t be covered by an Open Fund grant for Music Creators?

Through The Open Fund, we support high quality new music projects which have tangible musical outcomes and a clearly defined start and end date.

We cannot support core organisational costs, salary costs or living costs. We can fund administration costs relating to the project at a maximum of 10% of total budget.

See PRS for Music Foundation’s Open Fund Criteria for full details.

When are The Open Fund deadlines?

Deadlines occur three times per calendar year. (See link at bottom for more info).

When applying, keep in mind that we can only support activity happening after the decision date for your deadline – this will mean your activity must be at least 12 weeks after the deadline.

We will close the application forms for up to 12 weeks after each deadline for system upkeep.

We expect your project to take place within 1 year of receiving our grant.

Web Site:www.prsformusicfoundation.com/funding/the-open-fund/the-open-fund-for-music-creators/

 Audio Mostly 2017 “Augmented and Participatory Sound/Music Experiences”
Summary:Call for contributions
Deadline: 31 March 2017
Date Posted: 04 January 2017
Details: The Audio Mostly organising committee would like to welcome researchers, interaction designers, engineers, artists, practitioners, audio professionals, and anyone interested in sound as a medium of interaction, to Audio Mostly 2017. The conference will be held on 23-25 August 2017 at Queen Mary University of London (QMUL), UK.

Audio Mostly is an interdisciplinary conference on design and experience of interaction with sound that prides itself on embracing applied theory and reflective practice. Its annual gatherings bring together thinkers and doers from academia and industry that share an interest in sonic interaction and the use of audio for interface design. This remit covers product design, auditory display, computer games and virtual environments, new musical instruments, and education and workplace tools. It further includes fields such as the psychology of sound and music, cultural studies, system engineering, and everything in between in which sonic interaction plays a role. The 2017 edition will be a lively and sociable mix of technical presentations, posters, demos, concerts, and workshops.

Audio Mostly 2017 is organised by the Centre for Digital Music (C4DM) at Queen Mary University of London (UK), which is a world-leading multidisciplinary research group in the field of music/audio science and technology.
As in previous years, the Audio Mostly 2017 proceedings will be published by the Association for Computing Machinery (ACM) and made available through their digital library (TBC). Papers, demos and workshop proposals will be double-blind peer reviewed.

Conference Theme “Augmented and Participatory Sound/Music Experiences”
At the intersection between augmentation (“the action or process of making or becoming greater in size or amount”) and participation (“the action of taking part in something”) lies the idea of expanding how we interact with our environment and becoming actively involved in situations. Applied to science, the arts, health and the environment, these themes invite to push back the frontiers of design and interactions, to propose new artistic formats adapted to audience creative interventions, or to improve accessibility and empower people. Both augmentation and participation are linked to the sense of agency; augmentation generally implies increased degrees of freedom or access to new information, and participation in design or the arts involves a redistribution of the roles between designers/artists and users/audiences. The concept of augmentation can be applied to a wide range of objects (e.g. musical instruments, concert stage, garments, everyday objects), situations/actions (e.g. live performance, mixing, cooking), and reality itself with “augmented reality” systems and displays providing new sensory information. Participation can be applied at different stages of the production-consumption chain. For instance, participatory design gathers designers and users to conjunctly create artefacts, and participatory art leads to shared contributions from artists and audience participants.

What is the potential of sound/music in facilitating augmentation and/or participation?
Augmentation and participation both have the potential to transform our emotional or personal association with situations, people and objects.

How does augmentation and/or participation applied to sound/music affect our life and experiences? What are their advantages and what are their drawbacks?
Audio Mostly 2017 encourages papers, music, demos, and workshops addressing such questions and others related to the conference theme and topics. We welcome multidisciplinary approaches involving fields such as human computer interaction, music informatics, information and communication technologies, sound design, visualisation, composition, perception/cognition and aesthetics. Please visit our calls for papers, music, demos, and workshops for more detailed information.

Colocation with 3rd Web Audio Conference (WAC)
The conference will be collocated with the 3rd Web Audio Conference (WAC) “Collaborative Audio” (21-23 August 2017), with one day, Wednesday the 23rd, a common day between the two events. Participants will have the opportunity to attend both events at a discounted rate.

Web Site:audiomostly.com/contributions/

 International Call for Fixed Media Works - Prague
Summary:Acousmatic Call
Deadline: 19 March 2017
Date Posted: 04 January 2017
Details: Echofluxx 17, an annual festival of new media, visual art, and experimental music in Prague, 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 19, 2017 with resubmission files due in early April. Works must be uploaded to YouTube or Vimeo for adjudication.

Please include the following information in an 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 works.
Web Site:echofluxx.org/submission.html
Email:submission@echofluxx.org

 SAMOBOR MUSIC FESTIVAL
Summary:String Call
Deadline: 04 June 2017
Date Posted: 04 January 2017
Details: 6th INTERNATIONAL COMPOSERS COMPETITION "New Note" CROATIA 2017.

Total value of prizes: 4000 €
Deadline for entries: June 4th 2017.

COMPETITION REGULATIONS
1. The competition is open to composers of all ages and nationalities
2. More than one score per composer is permitted
3. All submitted works must have been composed after December 31st 2010 and not awarded a prize in any other competition
4. It is possible to submit works previously performed, but not already published or professionally recorded for commercial use.

GENRE
1. Composition for ZAGREB SOLOISTS (www.zagrebacki-solisti.com/en)
2. Use of tape or live electronics is not permitted
3. Orchestration: 6 violins, 2 violas, 2 cellos, 1 contrabass
4. Duration: Up to 15 minutes

PRIZES
The First Prize – 2500€ (bruto-includingtaxes) and the concert performance by ZAGREB SOLOISTS on Samobor Music Festival – October7th 2017.
The Second Prize – 1000 € (bruto-including taxes)
The Third Prize – 500 € (bruto-including taxes)

JURY
The decisions of the Jury are final. If the quality of admitted works does not meet the necessary level, the Jury reserves the right not to award one or more of the prizes.

THE PRIZE WINNERS' CONCERT
1. The winning composition will be performed on October 7th 2017 by Zagreb Soloists organized during Samobor Music Festival.
2. The composer of the winning work must provide all the performance materials (parts) at his/her own expense and send them to the Samobor Music Festival by of June 30th 2017.
3. The winner of the Award will be announced after June 20th 2017.
4. Entrants agree that, if the submitted work wins the award, all future performances of the work will be accompanied by the following statement in the printed program: "Winner of the New Note International Composers Competition Croatia 2017". The same applies for all future published editions and/or recordings of the work.
5. A copy of the finalist scores will be filed in the Samobor Music Festival records.

ENTRIES
Entries by email only!!!
The following items are required:
· The subject line should be “Submission – NEW NOTE – your name
Attach all files below to your email:
· Score (PDF format) – with title “duration” and “nom de plume”, but your name must NOT appear on the score!
· Audio realization (only MP3-higly recomended)
· CV: “nom de plume”, full name, address, date and place of birth, e-mail address, phone number
· biography suitable for a concert program, photo, a brief text about composition
· If text is in a foreign language, an English translation is required
· information about a lyricist you have collaborated with (if).
If you receive email bounce backs due to large file sizes, you may break items into separate emails. Suggested size is up to 10 MB.

Send your email submission to the following mail: sgj@pousamobor.hr

Deadline for the Application Form & all materials is 12:00 PM on June 4th 2017.

ENTRY FEE
1. The Entry fee for participants is 50 € for each score (bank charges covered by the sender).
Web Site:www.new-note.com/11/EN

 Counterpoint-Italy
Summary:Solo Competition
Deadline: 15 March 2017
Date Posted: 28 December 2016
Details: www.Counterpoint-Italy.com announces the 8th competition for solo and small chamber works, due March 15 in NY. (pdf to Muzarte@msn.com
This year's preferred scores wil feature solo clarinet (also with piano, electronics, or small ensemble);
and small ensemble flute works, any or all sizes of flutes, 2 or more players

Pieces will receive premieres in NYC, metro NY, Paris, and Lucca International Festival (see Facebook page Lucca International Festival composers& chamber music.

Works from any ethnic origin are acceptable, but we are particularly interested in moving traditions and the language of music, generally, forward.

Web Site:www.counterpoint-italy.com

 Bassoon Chamber Music Composition Competition
Summary:Reed Competition
Deadline: 05 April 2017
Date Posted: 28 December 2016
Details: 2017 COMPOSITION DESCRIPTION

The 2017 Bassoon Chamber Music Composition Competition (BCMCC) is open to composers of any age, gender, or country of origin. Submitted works must be for either Reed trio (ob,cl,bsn) OR Trio (ob,bsn,pno). The compositions may be single movement or multi-movement, and must be between 6 and 15 minutes in total duration.

2017 COMPETITION TIMELINE
January 5, 2017: Submissions open online through the BCMCC website

April 15, 2017: Submissions close (midnight Eastern Standard Time)

May 15, 2017: Winner announced

Summer/Fall 2017: BCMCC premiere performance by professional musicians (PEN Trio and Syrinx Trio)

2017 BCMCC PRIZES
The composer of each submitted work will receive comments from the adjudicating panel of professional musicians.

Up to five works may be chosen as Winner(s)

Up to two works may receive an Honorable Mention prize.

The 2017 Winning Composition(s) will receive the following prizes:

1. Workshopping of the piece via email, Skype, Google Hangout, and/or some other means of communication.

2. The name of the work and bio of the composer will be listed on the BCMCC website.

3. Publication of the work through Imagine Music Publishing: The publishing agreement for the winning piece will be worked out between Imagine and the winning composer, including royalties earned from each score sold to be paid semi-annually.

4. BCMCC premiere of the work and at least one additional performance by the PEN Trio and Syrinx Trio.

5. Recording of the BCMCC premiere.

2017 Honorable Mention winners will be listed on the BCMCC website and social media. They will also be given the opportunity to include a recording of their work on the BCMCC website pending Board approval.

2017 ENTRY REQUIREMENTS
1. Open to all composers regardless of age, gender, or country of origin.

2. A composer may submit only one entry per competition year.

3. Previous winners may not compete.

4. Completed applications must be received on or before April 15th, 2017 at midnight Eastern Standard Time.

5. Late submissions will not be accepted.

6. The submission must be a new work written within the last 5 years (2013-2017) that has not been previously published or widely performed professionally.

7. Works submitted must for either Reed trio (ob,cl,bsn) OR Trio (ob,bsn,pno).

8. The compositions may be single movement or multi-movement, and must be between 6 and 15 minutes in total duration.

9. A performance history must be provided for works that have been previously performed.

10. A $25 application fee is required

11. An anonymous PDF score and MIDI sound recording are part of the application process.

LIVE RECORDINGS ARE NOT ACCEPTED

12. Incomplete applications will not be processed. All fees submitted are non-refundable.

13. All decisions are final. If the judges feel it necessary, no prizes will be awarded.

14. Additional terms and conditions apply, as outlined below.

TERMS AND CONDITIONS
The composition I am submitting for the BCMCC was written by me and is a new work written within the last 5 years that has not been previously published or widely performed professionally. The submitted composition cannot be published until after I have been notified by the BCMCC of the competition results (by May, 2017). If I am not a finalist in the BCMCC I retain all rights to publish and perform my composition.

If I am selected as a winner in the BCMCC, I grant the right to the BCMCC premiere performance of my composition to the BCMCC. If the BCMCC does not perform my work before December 31, 2017, I retain the right to the premiere performance thereafter. I also grant the BCMCC the right to perform my composition in future BCMCC performances. I will work with Imagine Music Publishing to have my composition published.

If I am selected as a winner of the BCMCC, I agree that the BCMCC may use my name and the title of my composition in materials pertaining to the BCMCC.

APPLICATION PROCESS
Applications for the 2017 BCMCC will be open from January 5, 2017 through April 15, 2017.

The BCMCC utilizes an online application process. The online application process has three parts and must be completed in one sitting. You will need the following information:

Part 1:

1. Your basic information including an email address – this will be the main method of contact by the BCMCC

2. Upload the score of your composition

Scores must be submitted in a Finale or Sibelius style notation, as PDFs in 8.5 x 11 format. All scores must be anonymous, meaning you must remove your name from all locations on the score.
Your score must be labeled lastname-bcmcc-score (example: smith-bcmcc-score.pdf)
The limit per uploaded file is 10MB.
The total of all files submitted may not exceed 20MB.

3. Upload the MIDI sound recording of your composition- LIVE RECORDINGS ARE NOT ACCEPTED

mp3 format
Your recording must be labeled lastname-bcmcc-audio (example: smith-bcmcc-audio.mp3)
The limit per uploaded file is 10MB. Multiple files are accepted.
The total of all files submitted may not exceed 20MB.

NOTE: All file size limits are 10MB per file uploaded. An ENTIRE application (combination of all files uploaded) must not exceed 20MB. If your files total more than this, please contact us for an alternative submission process.

Part 2

1. Tell us how you heard about the BCMCC

2. Agree to the terms and conditions (above)

3. Sign your name electronically

4. Submit your application

Part 3:

1. After submitting your application you will be directed to pay a $25 application fee through Stripe (web and mobile payments). If you are unable to use Stripe (some international cards are not accepted), contact the BCMCC (bassooncomp@gmail.com) for an alternate method of payment.

2. Complete your BCMCC application.

After you have completed all three parts of the application process you will receive a confirmation email within 7 days. If you do not receive a confirmation email after a week of completing your application, please contact us (bassooncomp@gmail.com)

Web Site:www.bassooncomp.org/current-competition/

 2017-18 International Call for Scores: Commissioning Emerging Composers
Summary:Commission Opportunity
Deadline: 28 April 2017
Date Posted: 28 December 2016
Details: The Nouveau Classical Project is thrilled to announce its 2017-18 Commissioning Prize! This year we have a lower submission fee and a higher commissioning fee. The selected composer will be commissioned to write a work for The Nouveau Classical Project's 2017-18 season.

Requirements for Submission
- Composers must submit a work written after 2013 and scored for 4-8 instruments
- Inclusion of a recording is required (MIDI realizations are NOT accepted)
- Composers must submit a proposal outlining idea/s for the commissioned work (300 words max)
- Composers may only submit one (1) score
- Non-refundable submission fee of $7, paid via the online form

Eligibility
- Open to both US and international composers
- Post-secondary and graduate students are eligible to apply
- Undergraduate students are NOT eligible to apply
- Re-worked pieces or arrangements of previous works are NOT eligible

Call for Scores Winner
- $1,000 Commissioning fee, inclusive of commission and copying costs (NCP will print its own parts)
- Selected composer will be commissioned to write an 8-15 minute piece for flute (dbl. picc/alto/b. fl), clarinet (dbl. bass), violin, cello, and piano) and have the opportunity to work closely with NCP in creating the work (NO subsets; must use complete ensemble)
- This work will be programmed on a concert during the 2017-18 season
- Composer will be required to provide a PDF of a score and parts for the ensemble
- An agreement will be sent to composer that will include deadlines, payment schedule, and the granting of two-year exclusivity to NCP to perform the commissioned work

The winner will be announced by June 1, 2017. Hear the new works by last year's Call for Scores winners David Bird and Isaac Schankler at "Currents" on May 25, 2017 at National Sawdust!

Questions? Contact us at info [at] nouveauclassical dot org

Non-discrimination policy
This probably goes without saying, but here it is just in case: The Nouveau Classical Project does not and shall not discriminate on the basis of race, color, religion (creed), gender, gender expression, age, national origin (ancestry), disability, marital status, sexual orientation, or military status, in any of its activities or operations. That being said, we hope anyone and everyone submits for our call for scores!
Web Site:www.nouveauclassical.org/2017-call-for-scores/

 ​CHORAL CHAMELEON SUMMER INSTITUTE
Summary:Composition Course
Deadline: None
Date Posted: 28 December 2016
Details: ​For Composers and Conductors of Choral Music

2017 Dates
JUNE 23 - 30

​Tuition: $950 +$70 non-refundable application fee

Applications Will be Processed From December 1st 2016 and places will be offered on a rolling basis

Summary
1 8-Day intensive workshop for emerging composers and conductors
2 Faculty of world-class composers and conductors with high teacher/pupil ratio
3 Work with highly-skilled and academically-fluent professional singers on repertoire & compositions
4 Masterclasses from experts in both practical and inspirational topics
5 Generous lab choir and podium time
6 Individualized attention from clinicians, singers & peers
7 Public concert of premieres and podium time for composers and conductors
8 Open to applicants from a diverse range of music backgrounds and study/career stages

Video & audio recordings from workshop sessions & performance

Web Site:www.choralchameleon.com/institute.html

 DSQ 2016 National Composition Competition
Summary:Saxophone Quartet Competition
Deadline: 01 March 2017
Date Posted: 28 December 2016
Details: 1st Prize - Two first prize winners will receive $500 each, have their piece premiered by DSQ, and receive audio and video recordings of the work.

Runner-Ups - Up to 7 runners-up will have their pieces premiered by DSQ and receive audio and video recordings of their piece.

Eligibility:
- All composers must be currently registered students, of any degree level, in a music program in the United States as of January 2017.
- Previous first-prize winners are not eligible, all other composers are welcome.
- There is no application fee.
- All submitted pieces must not have been premiered in a public recital.
- New arrangements/transcriptions of your own works are acceptable provided they have not been performed in that version before.
- Pieces must be at least 3 minutes in length
- All composers are encouraged to view our recordings to become acquainted with various technical possibilities for the ensemble. Any composer with specific questions regarding technique or composing for saxophone quartet is encouraged to contact Dan Graser - dangraser@gmail.com
- Pieces must be submitted, score and parts, in PDF format to info@donaldsintaquartet by March 1st, 2017. Included with your piece please include a brief bio and resume detailing your current enrollment in a collegiate music program in the United States.
- MIDI audio files of submissions are encouraged but not required.
Web Site:www.donaldsintaquartet.com/commissioning

 2017 Summer Composition Intensive at Saint Mary's College
Summary:Composition Course
Deadline: 15 March 2017
Date Posted: 28 December 2016
Details: Monday July 10-Saturday July 22, 2017

Twelve days of shared experiences with other advanced undergraduates, graduate students,
early career instructors, and mature composers, all interested in enhancing their
compositional palettes in a focused, productive environment.

• A faculty of 2 resident composers, 2 guest composers, and a guest instrumentalist
• 5 presentations, each linked to a related workshop and master class
• 4 additional mini-presentations by the two resident composers
• 4 private composition lessons, one with each of the composition faculty
• Option of additional lessons with resident composers
• Evening presentations in which participants share their compositions with the gorup
• An intense and supportive work environment (music lab, seminar room, individual practice rooms)
• Daily group lunches with participants and guests; 3 low key evening social events off campus
• Enrollment limited to 18 participants

The application period begins Feb. 1, 2017 and ends Mar. 15, 2017. The application consists of:
• Online application form
• 2 recent scores and audio files
• Email contact info for two recommenders
Web Site:www.zaemunn.com/2017-summer-compostion-intensive-16.html

 CC "The contemporary piano 2017"
Summary:Piano Solo/Duets
Deadline: 31 March 2017
Date Posted: 28 December 2016
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 €40,00 per work / submission, paid to the following account:
EUROBANK GREECE (SWIFT/BIC: ERBKGRAA)
ΙΒΑΝ: GR3402603280000950101210083
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 March 31, 2017 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 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 2017 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.

Prize - recording: The winning works will receive:
- Audio & video recording by distinguished pianists - members of the committee.
- 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.

Web Site:www.an-art.com/en/activities/491.html

 Zodiac Music Academy & Festival
Summary:Composers' Academy
Deadline: 15 April 2017
Date Posted: 28 December 2016
Details: Working with living composers, commissioning new works and performing contemporary music is an integral part of a successful musical career. The Zodiac Music Academy & Festival selects five young composers each year to participate in its composition program. This composition course will not only provide private instruction, composition seminars and performance opportunities, but more importantly allow both composers and instrumentalists to collaborate on their own terms, explore, and influence the direction of music together.

The Zodiac Music Academy & Festival composition course is lead by award-winning composer Andrew List – a long-time collaborator of the Zodiac Trio.

Each composer will be paired with an assigned chamber ensemble from the festival roster and commissioned to write an eight-minute work, which will be premiered at one of the festival’s public concerts. Ample rehearsal time will be given for each composer’s work. It is our goal that these composer/performer collaborations will create lasting friendships that will continue beyond the festival.

All participants will meet for a daily composition seminar, where a variety of pertinent topics important to composers and seminal musical works will be discussed. In addition, each composer will receive three one-hour private lessons with Mr. List and have daily access to a working studio and piano.

Additionally, all composition students are welcome to participate in all the seminars and clinics offered by the Festival during the session, and are invited to join chamber ensembles (instrumental proficiency permitting), to allow for a larger scope of musical experience.

Chamber Music Ensemble Collaboration


Each composer will collaborate with a chamber music ensemble (or students musician), as they work together to prepare the commissioned work for a performance.

Daily Composition Seminars

Composition students will meet with Mr. List every morning as a group to discuss a myriad of topics and review works in progress as a group

Three One-Hour Lessons

Each student will receive private instruction in the form of three one-hour lessons

Performance of Commissioned Work

Participating composers will be commissioned to write an 8-minute work, which will be performed at the end of the Festival.

Composer/Performance Seminars with the Zodiac Trio and Attending Faculty

Throughout its career, the Zodiac Trio has commissioned over a dozen works, working with composers such as Andrew List and Richard Danielpour, have instigated numerous call for score projects, and have had over 100 works written for them in all. As part of the educational aspect of the Zodiac Trio’s career, the ensemble often works with student composers at various Universities across the United States, presenting clinics and seminars on the Performer-Composer relationship. In this seminar, the Zodiac Trio will discuss these collaborations in detail with the participating composers, in an informal and personal setting.

Additionally, the composer seminar will be visited regularly by attending faculty to discuss their instruments and their experiences working with composers.

Web Site:www.zodiacfestival.com/program

 Fifteen-Minutes-of-Fame: Party of Four, flute quartet
Summary:Quartet Competition
Deadline: 20 May 2017
Date Posted: 28 December 2016
Details: Fifteen-Minutes-of-Fame: Party of Four: flute quartet

Vox Novus is calling for one-minute pieces composed for flute quartet. 15 one-minute works will be selected for Fifteen-Minutes-of-Fame: Party of Four: flute quartet to be premiered October 20, 2017 at Maybrook Senior Center in Maybrook NY

Submission Guidelines:

-Works should be composed specifically for this project and performer.

-Works should be for flute in C, with the option of one piccolo and one alto flute.

-All pieces must be quartets

-All pieces must be premieres and not previously performed.

-No works over a minute will be reviewed.

-Multiple submissions are not accepted. Send your best work!

-Works need to be submitted online at

http://www.musicavatar.org/categories/30097

-You will need to register with Music Avatar for free to submit your work online.

-After logging in to Music Avatar, select the opportunity named “Fifteen-Minutes-of-Fame: Party of Four: flute quartet” to submit work.

-You will need to provide a maximum 50-word biography and 50-word program notes.

-You need to upload a score as a PDF file (Audio files are encouraged but not required.)

-Please include the dedication to Party of Four on the score. (Performance notes should be included in the score.)

Composers will be contacted via email of the results and will be announced via the Fifteen-Minutes-of-Fame website.

About the Ensemble:

The Party of Four flute quartet was initially developed in 2014 out of the fledgling Maybrook Wind Ensemble as a need for a fuller concert, but has since evolved into it’s own group frequently performing around the Hudson Valley area of New York. Amateur musicians who have never given up their love for music, Party of Four have forged a bond and commitment to each other and to music and have grown both individually and as a quartet. Coached by Lish Lindsey and Kevin Scott, the quartet has performed for the Warwick Valley Farmers Market, the Warwick Humane Society, Monroe Woodbury Rotary club, and Elant of Newburgh, as well as at all Maybrook Wind Ensemble performances. Party of Four hopes to continue to serve the Hudson Valley area bringing music to our local communities and promoting a love of the arts through music.

Kathryn Jones-Pisano is the principal flutist for the Maybrook Wind Ensemble and president of the MWE. Kathryn is a retired literacy teacher who now works part-time as an adjunct instructor at Dutchess Community cCollege and as an educational consultant for The Thriving Classroom. While continuing to “dabble” with the piano after high school, Kathryn did not play her flute for nearly three decades; at the urging of her church’s organist, she returned to playing in church on Sundays, but six years ago, she began looking for greater challenges and began ensemble playing. She now revels in playing with the Maybrook Wind Ensemble and The Party of Four flute quartet. She wants everyone to know that you never lose your musical talents, and she encourages everyone to dust off those instruments and join us at the Maybrook Wind Ensemble in making joyful music.

Amy Klein – saxophonist and flutist. Amy’s first instrument was an alto saxophone, which she played during grades 5 -12. In high school, she also played a soprano saxophone. When she was 18 years old, she added a flute to the mix. In 2006, shortly after Amy moved to New York from Wisconsin, she joined the SUNY Orange Symphonic Band. Director, Kevin Scott, encouraged her to fine-tune her skills on all three instruments. In addition to joining the Maybrook Wind Ensemble (2014-present), Amy is a participating member of the challenging, but rewarding, Party of Four flute quartet. It gives her great pleasure to play music for concerts, fund-raisers, and benefits. She owns an Altus-Azumi flute and a Phil Barone alto saxophone

Kenneth Korn has been a music teacher in Paramus, NJ for over 30 years. He teaches vocal music and directs elementary and middle school orchestras, bands and choruses. The varied nature of his work requires he be a ‘Jack of all trades and master of none.’ Playing flute in the Maybrook Wind Ensemble and Party of Four quartet with his supportive and wonderful partners has given him the opportunity to finally develop some competence on an instrument he has always enjoyed.

Ken is a native of Buffalo NY, a graduate of Washington University in St. Louis, with a degree in Education, the Crane School of Music, where his performance concentration was in voice, and Montclair State University in New Jersey where he has a Masters in Music. For the past 30 years he has resided with his wife Kristin in Warwick. They have 2 grown children, Anders and Ingrid.

Deborah Proulx began playing flute at the age of 10, and by high school was studying with Victor Just, principal flute of the NY Metropolitan Opera (1965-1976). Throughout high school she participated in chamber groups, musical theater pits, All County, Area All State and All State conferences in New York before putting music on the back burner to pursue college, career and family. After a 20+ year hiatus (and urging from her musical children) she joined the SUNY Orange Symphonic Band, and then went on to become a founding member of the Maybrook Wind Ensemble, under the direction of Kevin Scott. As part of this new ensemble, Deborah also co-founded the Party of Four flute quartet, where she often doubles on Alto Flute. An ABA certified Paralegal and NYS Certified Code Enforcement Officer, Deborah works in the office of Building and Planning for the Village of Monroe.
Web Site:www.musicavatar.org/categories/30097/

 SYDNEY INTERNATIONAL COMPOSERS CONCERT 2017
Summary:Orchestral Video Recording
Deadline: 28 February 2017
Date Posted: 28 December 2016
Details: 6 October 2017, 8:00PM
Verbrugghen Hall, Sydney Conservatorium of Music
Sydney Australia

It is for composers of all nationalities and all ages who wishing their orchestral works to be video recorded. Six distinguished works will be selected and to be video recorded in the concert*.

You are invited to the Sydney International Composers Concert 2017. This is an unparalleled opportunity to hear amazing new contemporary orchestral music performed by the talented and highly skilled SCO musicians.

A unique opportunity to be part of making "musical history of our times".

You are invited to submit works for the Sydney International Composers Concert 2017:

Score Submission Form
Score submission closing date: 28 February 2017

More information for composers: Composers Opportunities

Tickets and booking

Contact us for more information:
office@sydneycontemporaryorchestra.org.au
OR
Julia Farquharson - General Manager | SCO
0409 409 814 | Email: julia.f@sydneycontemporaryorchestra.org.au
Web Site:www.sydneycontemporaryorchestra.org.au/index.php/concerts/event/49-music-contemporary-2017

 Beta Omicron’s Fourth Annual Call for Scores
Summary:Write for beginners
Deadline: 16 April 2017
Date Posted: 28 December 2016
Details: This spring, the Beta Omicron chapter of Kappa Kappa Psi will be holding their Fourth Annual Call for Scores to give composers a chance to see their works put into action!

Composers may submit pieces for wind chamber ensembles written at a beginning/intermediate level (grade 2-3). Pieces submitted will be performed by a ensembles comprising of Brothers of the Beta Omicron chapter of Kappa Kappa Psi. Participants will receive a recording of their piece, as well as a feedback sheet from members of the ensemble.

For more information:
Web Site:theregoesbo.org/events/call-for-scores/

 International Competition for Band Composition “Saints” 2016/2017 Edition “St. John XXIII”
Summary:Wind Competition
Deadline: 30 April 2017
Date Posted: 28 December 2016
Details: Composition to promote and increase the music composition and the current repertoire.

In particular, the aim of the Competition is to create an original literature due to the figure of St. John XXIII, by selecting a series of useful pieces to complete the production of a CD devoted enti- rely to his figure. It will be part of a series of CDs, for different instrumental ensembles, dedicated to various figures of Saints, published by BAM International sàrl (Geneva-Switzerland) under the patronage of the Pontifical Institute of Culture in Vatican (Italy).

Requirements

1) The Competition is open to composers of all nationalities, without age limits. Competitors can take part with only one composition.

2) The compositions must be stylistically appropriate to the theme of the Competition, unpublished, never performed, nor broadcasted by radio, television and / or streaming, nor presented, awarded and / or reported in other competitions, and must follow a gui- deline of the type of the tracks of the second category, in the level of execution difficul- ties.

3. 3) The piece must be composed on a meditation of St. John XXIII to free choice of the composer.
4. 4) The composition must have a minimum duration of 6 minutes and no longer than 10 minutes.
5. 5) The compositions must be compatible with the following maximum organic:
o - C Piccolo (optional)
o - C Flute 1-2 (2nd part optional)
o - Oboe 1-2 (2nd part optional)
o - Bassoon 1-2 (2nd part optional)
o - Eb Clarinet (optional)
o - Bb Clarinet 1-2-3
o - Alto Clarinet (optional)
o - Bb Bass Clarinet
o - Bb Soprano Sax (optional)
o - Eb Alto Sax 1-2

Modality
• - Bb Tenor Sax
• - Eb Baritone Sax
• - Bb Trumpet 1-2-3 (3rd part optional)
• - Bb Cornet/Flugelhorn 1-2-3 (3rd part optional)
• - F Horn 1-2-3 (3rd part optional)
• - C Trombone 1-2-3 (3rd part or Bass Trombone optional)
• - C Euphonium 1-2 (2nd part optional)
• - C Bass 1-2 (2nd part optional)
• - String bass (optional)
• - Timpani (2 boilers)
• - Percussion (including keyboards, tubular bells and other accessories for up to 4 players)
• - Harp (original)

The numbers for each entry indicate the maximum subdivision of the parts. The absence of the instruments in italics (optional) should never affect the performance and in any case it must be planned to be replaced in the steps "required" and/or "only" with the word (cue). Given the specific destination of the compositions, it is permissible to use: Soloists (also not typically bands’ instruments), Voice, Voice Over (on public domain text).
Web Site:www.bam-music.org/contests/composition-competitions/

 The Pittsburgh Philharmonic is pleased to announce…
Summary:Orchestra Competition
Deadline: 01 March 2017
Date Posted: 28 December 2016
Details: Composition Contest 2017!

The Pittsburgh Philharmonic invites applications from residents of the greater Pittsburgh area. The Contest Winner will have their piece performed at The Pittsburgh Philharmonic’s May 19th and 20th, 2017 concerts and will receive a $250.00 prize.

Please read below for details and further requirements.

Eligibility
1 Applicants will be no older than 35 at time of submission.
2 Applicants will be residents of the Greater Pittsburgh area.
3 The Pittsburgh Philharmonic reserves the right to determine eligibility.

Application Rules and Requirements
1 Applicants must submit a PDF score and a PDF of a first violin part of their work to plus a recording or audio rendering in MP3 format to the addresses found below by March 1st, 2017. MIDI realizations must also be in MP3 format. There is no application fee.
2 2. Applicants will send a completed, signed application with their submitted work (score, parts, and audio) postmarked no later than March 1st, 2017 to: The Pittsburgh Philharmonic, 7501 Church St., Pittsburgh, PA 15202.
3 The Pittsburgh Philharmonic Audition Panel will consist of highly qualified music educators and professional musicians.
4 Three finalists will be notified by March 15th, 2017.
5 The three finalists must provide a full set of parts with sufficient string count (8-8-6-6-2) by April 1, 2017. Parts are acceptable on letter-sized paper. Staff size for parts is between 7 and 8.5mm.
6 The Finalist pieces will be given a reading by the Pittsburgh Philharmonic on April 10, 2017 at their rehearsal at 7:15 at Scotus Hall Mt. Alvernia in Millvale. Reading will be the determinant of the winner.
7 All three Finalists will have a recording given to them of their individual reading.
8 All decisions of the Audition Panel will be final.
9 9. Winner will be notified by April 15th, 2017.

Piece Rules and Requirements
1 Duration of work should be no more than 12 minutes.
2 Entire piece must be completed at time of submission.
3 Piece may not be extreme or virtuosic in demands.
4 No concerto will be considered.
5 Score is to be on legal or tabloid paper in portrait orientation only.
6 Parts are acceptable on letter-sized paper. Staff size for parts is between 7 and 8.5mm.
7 Previously performed works are acceptable.
8 Orchestration will not exceed the following:
2 flutes, one may double piccolo
2 oboes, one may double English horn
2 B♭/A clarinets; one may double bass clarinet
2 bassoons
4 F horns
2 B♭ trumpets
2 trombones
1 bass trombone
1 tuba
1 set of four timpani
1 percussion (snare drum, triangle, bass drum, glockenspiel, and cymbals); if composer writes for any percussion not on this list and is selected, they must provide that instrument at performance and rehearsal.
strings 8-8-6-6-2 with only up to 2-part divisi in string parts

Competition Winner Information
1 The Winner will receive a $250.00 prize.
2 Winner will be provided with a professionally performed recording of their piece from the May concerts.
3 The competition winner will provide a short biography and publicity photo for use in the program and media outlets.
4 The competition winner will be available for two rehearsals with the orchestra.
5 Performances will be held at Butler County Community College on May 19th and Mt. Alvernia on May 20th.

Now in its 41th season, The Pittsburgh Philharmonic is Southwestern Pennsylvania’s premier volunteer orchestra. Approximately 70 musicians from throughout the tri-state area, ranging in age from 15 to 80, perform great works of classical music at various venues in the region. Members of the orchestra include business executives, retirees, students, teachers, and other professionals, some who have been performing with the Philharmonic for over 20 years, several who teach or play music professionally, and some who have advanced music degrees.
Music director for the Philharmonic is Edward Leonard.

For more information about the Pittsburgh Philharmonic, please feel free to contact the Philharmonic by email or phone at 412-223-7501.
Web Site:pghphil.org/young-composer-contest/

 2017 Composition Competition of the Freiburg International Festival of Sacred Music
Summary:Competition inspired by art
Deadline: 15 October 2017
Date Posted: 21 December 2016
Details: The organizing committee of the "Festival International de Musiques Sacrées, Friborg" has organized a composition contest for spiritual music regularly since 1985. The aim of this competition is to promote new independent works inspired by sacred texts or themes.

The 13th edition of the competition is organized in collaboration with the Haute Ecole de Musique Vaud Valais Friborg (HEMU) and with Espace 2 - RTS (Radio Télévision Suisse) and is dedicated to an instrumental ensemble.

The competition participants and - participants have to be submitted by October 15, 2017 composed for an instrumental ensemble work. The submitted work is to be composed exclusively for the following instrumentation:

• 1 viola, 1 bassoon, 2 trombones (T + B), 2 timpani, 1 harp;
For an instrumental ensemble with 6 instrumentalists

The on composing instrumental piece is the painting - inspired by Sebastian Stoskopff (1597-1658), which (Switzerland) is exhibited at the Kunstmuseum Basel "Vanitas Still Life with Skull".
Web Site:www.fims-fribourg.ch/de/content/concours-de-composition-deutch

 2017 NAfME Electronic Music Composition Competition
Summary:Schools' Competition
Deadline: 01 April 2017
Date Posted: 14 December 2016
Details: About the Competition
The NAfME Electronic Music Composition Competition recognizes outstanding compositions and highlights the effectiveness of music technology in the school curriculum. Entries will be judged based on their aesthetic quality, use of electronic media, and the power of the composition.

Association member adjudicators will select a winner in each of the following categories:
• Grades K-8
• Grades 9-12
• Collegiate
• Each entrant must be sponsored by an NAfME member teacher, or be a NAfME Collegiate member in good standing.
• Compositions should be 5 minutes or less and should either be composed electronically or include electronic instruments (vocal and/or acoustic instruments may be combined with electronic instruments)
• View Competition Winners from Previous Years

How To Apply
• 2017 Electronic Music Composition Competition Rules and Entry Directions
• Deadline for submissions is April 1, 2017
• All applications are submitted on online through GetAcceptd.com
Log on to getacceptd.com, or create a new account.
Search for NAfME programs.
Select “NAfME Original Composition Competitions”
On the next drop-down menu, select “2017 NAfME Electronic Music Composition Competition.”
Upload a Mp3/audio file of the composition. Midi files are acceptable (from composition software applications).
Submit payment for the application ($40).
• Questions? Contact: Jill Staton

The schools of the winners in each category will receive a one-year subscription to Soundation4Education, courtesy of MusicFirst.

Soundation4Education is an online sequencing program that runs inside windows or mac browsers, with password protected access for teachers and students. It functions much like any popular sequencing program, allowing manipulation of over 1800 loops, audio editing, recording, mixing, effects and extensive MIDI features. It can be accessed from any computer 24/7, since it is cloud based and browser based.
Web Site:www.nafme.org/programs/contests-calls-competitions/nafme-electronic-music-composition-contest/

 MUME 2017
Summary:Call for Participation
Deadline: 10 March 2017
Date Posted: 14 December 2016
Details: We are excited to announce the 5th International Workshop on Musical Metacreation (MUME 2017) to be held June 19-20, 2017, in conjunction with the Eighth International Conference on Computational Creativity, ICCC 2017.
Metacreation involves using tools and techniques from artificial intelligence, artificial life, and machine learning, themselves often inspired by cognitive and life sciences, for creative tasks. Musical Metacreation explores the design and use of these tools for music making: discovery and exploration of novel musical styles and content, collaboration between human performers and creative software “partners”, and design of systems in gaming and entertainment that dynamically generate or modify music.

MUME aims to bring together artists, practitioners, and researchers interested in developing systems that autonomously (or interactively) recognize, learn, represent, compose, generate, complete, accompany, or interpret music. As such, we welcome contributions to the theory or practice of generative music systems and their applications in new media, digital art, and entertainment at large.

Important Dates
Workshop submission deadline: March 10, 2017
Notification date: April 20th, 2017
Camera-ready version: April 28th, 2017
Workshop dates: June 19-20, 2017

Topics
We encourage paper and demo submissions on MUME-related topics, including the following:
• Models, Representation and Algorithms for MUME
• Novel representations of musical information
• Advances or applications of AI, machine learning, and statistical techniques for generative music
• Advances of A-Life, evolutionary computing or agent and multi-agent based systems for generative music
• Computational models of human musical creativity
• Systems and Applications of MUME
• Systems for autonomous or interactive music composition
• Systems for automatic generation of expressive musical interpretation
• Systems for learning or modeling music style and structure
• Systems for intelligently remixing or recombining musical material
• Online musical systems (i.e. systems with a real-time element)
• Adaptive and generative music in video games
• Generative systems in sound synthesis, or automatic synthesizer design
• Techniques and systems for supporting human musical creativity
• Emerging musical styles and approaches to music production and performance involving the use of AI systems
• Applications of musical metacreation for digital entertainment: sound design, soundtracks, interactive art, etc.
• Evaluation of MUME
• Methodologies for qualitative or quantitative evaluation of MUME systems
• Studies reporting on the evaluation of MUME
• Socio-economical Impact of MUME
• Philosophical implication of MUME
• Authorship and legal implications of MUME

Submission Format and Requirements
Please make submissions via the EasyChair system at: https://easychair.org/conferences/?conf=mume2017
The workshop is a day and a half event that includes:
-Presentations of FULL TECHNICAL PAPERS (8 pages maximum)
-Presentations of POSITION PAPERS and WORK-IN-PROGRESS PAPERS (5 pages maximum)
-Presentations of DEMONSTRATIONS (3 pages maximum) which present outputs of systems (working live or offline).

All papers should be submitted as complete works. Demo systems should be tested and working by the time of submission, rather than be speculative. We encourage audio and video material to accompany and illustrate the papers (especially for demos). We ask that authors arrange for their web hosting of audio and video files, and give URL links to all such files within the text of the submitted paper.

Submissions do not have to be anonymized, as we use single-blind reviewing. Each submission will be reviewed by at least three program committee members.

Workshop papers will be published as MUME 2017 Proceedings and will be archived with an ISBN number. Please use the updated MuMe paper template to format your paper.

Also please feel free to edit the licence entry (at the bottom left of the first page of the new template). We created a new MUME 2017 template based on AAAI template. The MUME 2017 latex and Word template is available at:

http://musicalmetacreation.org/buddydrive/file/mume2017_templates/
Submission should be uploaded using MUME 2017 EasyChair portal: https://easychair.org/conferences/?conf=mume2017
For complete details on attendance, submissions and formatting, please visit the workshop website: http://musicalmetacreation.org

Presentation and Multimedia Equipment
We will provide a video projection system as well as a stereo audio system for use by presenters at the venue. Additional equipment required for presentations and demonstrations should be supplied by the presenters. Contact the Workshop Chair to discuss any special equipment and setup needs/concerns.

Attendance
It is expected that at least one author of each accepted submission will attend the workshop to present their contribution. We also welcome those who would like to attend the workshop without presenting. Workshop registration will be available through the ICCC 2017 conference system.

History
MUME 2017 builds on the enthusiastic response and participation we received for the past occurrences of MUME series:

• MUME 2012 (held in conjunction with AIIDE 2012 at Stanford): http://musicalmetacreation.org/mume-2012/
• MUME 2013 (held in conjunction with AIIDE 2013 at NorthEastern): http://musicalmetacreation.org/mume-2013/
• MUME 2014 (held in conjunction with AIIDE 2014 at North Carolina): http://musicalmetacreation.org/mume-2014/
• MUME 2016 (held in conjunction with ICCC 2016 at Université Pierre et Marie Curie: http://musicalmetacreation.org/mume-2016/

Questions & Requests
Please direct any inquiries/suggestions/special requests to the Workshop Chair, Philippe Pasquier (pasquier@sfu.ca).

Web Site:musicalmetacreation.org

 Futura Festival
Summary:Electronic Call
Deadline: 16 March 2017
Date Posted: 14 December 2016
Details: For is 25th edition, the Futura Festival is looking for music around the idea of “narration”.

Even though “music is powerless to express anything” (Igor Stravinsky’s somewhat provocative but no less profound sentence), we assume that it can emerge a kind of narrative that underlies it.

Indeed the sound does not say anything by itself, tells nothing, represents only itself, we often need to see its origin so that it takes meaning. But on the other hand it makes feel, makes imagine, it can create architectures that develop over time.

And finally the acousmatic has also succeeded in bringing something surprising to its use of recording, despite the will of its founder: the capture of the real, the possibility of bringing events (sometimes as complex as a landscape) and elements that become creators of stories, of imaginary by the simple fact that we recognize sounds and that they enter into relation to each other.

What we are interested to receive for this call for work are not pieces with classical narration (a music with simply read text, or melodrama, etc.) because for this, works of the acousmatic repertoire will be programmed. We search new approach of narration (here some possibility):

– by putting into relationship sounds that make sense,
– by the play on the possible identification of sounds,
– by the simulation of reality,
– by the incursion, the intrusion of it …
The idea of narration is mostly at the level of the form, the directionality of a “discourse” (or the absence of its voluntary directionality).

Required conditions :

–Only tape works accepted (acousmatic, musique concrète, radiophonic art, sound installation…), no real time or anything involving live instruments.
–Only two works by composer can be sent (no limitations for the works with video).
-Stereo works will be prefered (for the multitrack works, a stereo version is needed for evaluation purpose).
– Works must be sent to us by uncompressed file (no streaming) and by internet (wetransfer, dropbox, etc.) only to: info@festivalfutura.fr : it’s important that each file is correctly named: with author’s name and title. Send also your name, your adress, a short biography and a short notice of your works (max. 10 lines each).
–For works with video, it’s possible to send a DVD to the following address : Festival Futura-Nathanaëlle Raboisson, 46 rue du Docteur Léonce Basset, 93400 Saint Ouen, France.

Propositions must be sent before March 16 2017.
Web Site:festivalfutura.fr

 Ret Frem Call for Scores
Summary:Chamber Call
Deadline: 01 March 2017
Date Posted: 14 December 2016
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:
retfrem@willhandysides.co.uk or
Ret Frem Ensemble, Flat 1, 127 Stoke Newington Road, London, N16 8BT

N.B. Not all our performance venues have pianos.

RET FREM ENSEMBLE
Ret Frem is a new chamber ensemble specialising in the exploration of contemporary classical music; a collaborative, creative enterprise between instrumentalists, composers and conductors.

Our core membership of flute, clarinet, violin, cello and piano rehearse regularly together to form a close relationship with the repertoire and to achieve the intuitive energy of ensemble playing.

We are committed to giving further performances of works that have only been performed once. We will also perform new and commissioned works at
least twice, and hope to assimilate them into our core repertoire. As well as performing as a chamber ensemble the players use the group to form ‘breakout’ duos and trios, and perform solo repertoire in the same concerts.

We aim to engage a diverse audience by producing concerts in a different way, primarily by putting on Sunday morning brunch events in a relaxed atmosphere.
Web Site:www.willhandysides.co.uk/retfremcall.pdf

 Emissary Quartet
Summary:Work for 4 instruments call
Deadline: 01 May 2017
Date Posted: 14 December 2016
Details: Emissary Quartet seeks new repertoire for four flutes (instrumentation guidelines below). Three winning works will be performed and recorded by Emissary Quartet in Fall 2017.

This project is part of our mission to foster the creation of new music for flute quartet and advocate for the expansion of the flute quartet repertoire. We hope to establish a mutually beneficial partnership between composers and flutists in exploration of new artistic directions for the flute quartet.

Awards
• All three winning compositions will be performed at a public concert in the fall of 2017
• All three compositions will be professionally studio recorded and released on our
YouTube Channel, in addition to live recording of the Fall 2017 performance
• One grand prize-winning work selected from these three will be featured throughout our 2017-2018 season (at least three performances across the US)

Guidelines
• Submissions must be original compositions for flute quartet (four flutes)
• Available instruments: 4 C flutes, 4 piccolos, 1 alto flute, 1 bass flute (all members play all instrments)
• Electronics are welcome, but please keep in mind that these works may be difficult to program after the Fall 2017 performance, as we frequently perform in venues without electronics capabilities
• Compositions should be 3-12 minutes in length
• Multi-movement works should be submitted as a single entry
• There is no limit on the number of works submitted, but each work should be submitted as a separate entry

Application Materials
• Full Score (PDF format, please save as “LastName_FirstName_TitleofPiece”)
• Audio rendering or recording, if available (please send as a Google Drive, Dropbox, or iCloud shareable link)
• Completed Composer Information Sheet (scan to PDF, please save as
“LastName_FirstName_Info”)
• There is no application fee

Send all materials to emissaryquartet@gmail.com by May 1, 2017. Results will be announced in August 2017.

Questions? Please contact Colleen McElroy at emissaryquartet@gmail.com. For more information about Emissary Quartet, visit www.emissaryquartet.com
Web Site:www.emissaryquartet.com/call-for-scores

 West Cork Chamber Music Festival
Summary:String Quartet Competition
Deadline: 20 March 2017
Date Posted: 07 December 2016
Details: Works chosen will be performed at the 22nd West Cork Chamber Music Festival 30 June - 8 July 2017.

West Cork Music invites Irish composers under 35 years of age on 1st January 2017 to submit works for string quartet (violin, violin, viola, cello) of between 5-8 minutes duration for performance at the 22nd West Cork Chamber Music Festival 2017.

Four works will be selected. The composer of each selected work will receive a prize of €500 and two nights B&B at the Festival. They will be asked to attend the Young Composers Forum at the Festival on Saturday 1st July, which will be directed by an international Composer, where the winning pieces will be played through by a quartet on the Festival’s masterclass programme.

Terms/ conditions:

1. Entrants must be under the age of 35 on 1st January 2017, 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 2017. 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 2017. Selected composers will be notified by email.

11. Winning entrants must submit instrumental parts by 2nd May 2017.

12. It is a condition of entry that composers agree to attend the workshop in Bantry on Saturday 1st July 2017 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 two nights’ accommodation for the composer.

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

Address for submission:
Submissions should be made electronically by email to Clodagh Whelan, Programme Manager to the address clodaghwcm[at]eircom.net.
Web Site:westcorkmusic.ie/chambermusicfestival/composition-competition/young-composers-bursary-scheme-2017

 DSQ 2016 National Composition Competition
Summary:Competition for US Composers
Deadline: 01 March 2017
Date Posted: 07 December 2016
Details: 1st Prize - Two first prize winners will receive $500 each, have their piece premiered by DSQ, and receive audio and video recordings of the work.

Runner-Ups - Up to 7 runners-up will have their pieces premiered by DSQ and receive audio and video recordings of their piece.

- All composers must be currently registered students, of any degree level, in a music program in the United States as of January 2017.
- Previous first-prize winners are not eligible, all other composers are welcome.
- There is no application fee.
- All submitted pieces must not have been premiered in a public recital.
- New arrangements/transcriptions of your own works are acceptable provided they have not been performed in that version before.
- Pieces must be at least 3 minutes in length
- All composers are encouraged to view our recordings to become acquainted with various technical possibilities for the ensemble. Any composer with specific questions regarding technique or composing for saxophone quartet is encouraged to contact Dan Graser - dangraser@gmail.com
- Pieces must be submitted, score and parts, in PDF format to info@donaldsintaquartet by March 1st, 2017. Included with your piece please include a brief bio and resume detailing your current enrollment in a collegiate music program in the United States.
- MIDI audio files of submissions are encouraged but not required.
Web Site:www.donaldsintaquartet.com/commissioning

 5th Competition for Young Composers Dedicated to Gian Carlo Menotti
Summary:Songwriting Competition
Deadline: 30 April 2017
Date Posted: 07 December 2016
Details: The 5th Competition for Young Composers dedicated to Gian Carlo Menotti is a collaboration between the Fondazione Monini and Incontri Musicali to honor the musician, composer, director, and librettist’s passion in helping young and emerging artists. This year’s composition is a song cycle for soprano and piano in Italian, English, German, French or Spanish. The winner will receive €5,000 and will be recognized at the 2017 Festival of Two Worlds in Spoleto, Italy. The work will then be performed at Incontri Musicali 2017, also in Spoleto. www.incontrimusicali.com

COMPETITION RULES
1) The competition is open to composers of any nationality, who will be no more than 30 years old by the date of April 30, 2017.
2) Only one composition by each composer will be accepted.
3) The work presented must be 15 to 20 minutes long.
4) The composition is to be conceived as a song cycle for soprano and piano. 5) The text of the songs must be either in English, Italian, French, Spanish or German. 6) The composition must have not already been published.
7) The material must be sent to the Monini Foundation by April 30, 2017.

The winner will be invited both to the award presentation and the performance of his/herwork. The foundation will take care of hospitality in Spoleto, while travel expenses will have to be covered by the winner.

PRIZE
1) The winner will receive a prize of 5.000 euros.
2) The prize will be awarded in July, during the 2017
Festival dei Due Mondi of Spoleto.
3) The winning work will be performed during the
Incontri Musicali chamber music festival held in
Spoleto midsummer 2017.
4) The decision of the jury will be final.

APPLICATION
1) Send 3 copies of the score of the work with name, address and anything else that will identify you as the composer.
2) The material must be sent to the following address:
c/o FONDAZIONE MONINI, Via dell’Arringo 06049 Spoleto (PG) Italy
Web Site:www.incontrimusicali.com/

 Warren County Summer Music School
Summary:Young Composers' Competition
Deadline: 01 March 2017
Date Posted: 07 December 2016
Details: Warren County Summer Music School is pleased to announce its fourth annual Promising Young Composers Competition.

The application and information can be found at www.wcsms.org.

Original, unpublished compositions,vocal or instrumental, by composers ages 15--18, 19--23 and 24--30 must be received by March 1, 2017, in order to be considered for a $1,000 prize as wellas $250 age group awards.

Web Site:www.wcsms.org

 Busan Choral Competition
Summary:Choral Competition
Deadline: 31 May 2017
Date Posted: 30 November 2016
Details: Throughout its festival and competition history, Busan Choral has fostered cultural exchange and promoted high quality of choral music by attracting notable artists, conductors, and composers to one of Asia’s top choral festivals. The Busan Choral Composition Competition seeks to engage with aspiring young composers and to encourage the creation and performance of new works written for the choral music genre. The 1st winning work will be premiered at the 2017 Busan Choral Festival & Competition during the week of September 6-9, 2017.

Composer must be born between JUN 30, 1997 and JUN 30, 1977
(exceptions may be considered under the BCFC committee's review.)

-3-10 minutes in duration
-Piece must be for unaccompanied, equal or mixed voices choir.
-Smaller, portable percussion instruments are allowed. (Xylophone, vibraphone and timpani not allowed).
-Text can be chosen from Latin, English or Korean. If another language is chosen, a detailed English synopsis and pronunciation must be included in the score.
-Compositions must not have been previously published or awarded in previous composition competitions and never publicly performed.

Application: 31st May Deadline

-Complete Online Application Form
-Résumé/CV (*.doc / *.docx)
-Copy of passport or ID Card with date of birth in JPEG format
-Score in PDF format
-English synopsis and pronunciation
-Midi recording (by computer software) in MP3 format

Web Site:www.busanchoral.org/bcfc/competition/cc_guide02.asp

 AGOYO North Central Young Composers Competitionition Competition 2016-2017
Summary:Solo keyboard competition
Deadline: 10 March 2017
Date Posted: 30 November 2016
Details: First Place ($1,000) and Second Place ($500) The competition is open to any individual who is: (1) younger than 30 years of age as of August 31, 2017, and (2) either a permanent legal U.S. resident or a current student. Each applicant can submit one original composition for organ solo of approximately 3 to 6 minutes in duration. Premiered and/or published compositions (or arrangements) are not permitted. Prizes of $1,500 and $500 will be awarded to the 1st and 2nd place compositions; three honorable mentions will also be announced. The judges reserve the right to award ties and to make no award. Competition results will be announced on March 31, 2017. All prize winning and honorable mention compositions will be performed at the American Guild of Organists North Central Regional Convention in Iowa City, IA on June 20, 2017. Download the flyer!

Competition rules. All required materials must be submitted electronically via the online application accessible from this page. The application deadline is March 10, 2017.

Submit an online application

For more information contact North Central Region AGOYO.
Web Site:www.agohq.org/agoyo-north-central-composition-competition-2016-17/

 Composition Competition IN MEMORY OF ALMA GRAYCE MILLER
Summary:Composition, open instrumentation
Deadline: 09 March 2017
Date Posted: 30 November 2016
Details: POSTMARK DEADLINE:
March 9, 2017

FEE
$17.00 per entrant. All fees are nonrefundable.

APPLICATION REQUIREMENTS
1. Fill out the application. Click application 2017.
2. Submit four clear photocopies of each manuscript. On the manuscript, write the title of the piece, the composer’s age, and number of years of study. The composer’s name must not appear on the manuscript.
3. Include two CDs of the composition. Label each CD with the name of the composition (one composition per CD). Composer’s name must not be on CDs. Important: Select CD’s that are designated for Music. Example: Memorex Music CD-R. Alternately, teachers may submit a digital file of the music to mcconnell.piano@gmail.com, clearly labeled with the same information.

Mail application, manuscripts, CDs (or electronically submitted digital files) and one check per studio, payable to NVMTA, to:

Libby McConnell
1220 Bishopsgate Way
Reston, VA 20194
CHAIRS
Libby McConnell and Sheila Epstein

ABOUT THIS EVENT
This competition is intended to encourage the writing of original creative compositions. It is in memory of Alma Grayce Miller, a former NVMTA member, who left funds for this purpose.

ELIGIBILITY
Participants must study with an active member teacher of NVMTA or pay the non-member fee (as defined in the bylaws). Compositions must be in student’s own handwriting or in the form of a computer printout personally produced by the composer.

There is no restriction on the selection of instruments. However, if the composition includes the composer’s instrument, the composer must be one of the performers on the CD submitted. There are neither age or grade requirements nor requirements concerning form, style, or length of composition.

TEACHER GUIDELINES
Participating teachers must contribute time toward the success of this competition. Teachers should expect to work two hours as well as to attend the recital. Duties will be divided among all participating teachers at the discretion of the coordinator. Teachers who fail to carry out assigned duties may not enter students in the event in the following year.

AWARDS
McLean Symphony Concert: The conductor of the McLean Symphony, Dingwall Fleary, will select compositions to be orchestrated and performed on their 2018 youth concert. The 2017 youth concert will be February 18 at the Montessori School of McLean and will feature previous years’ composition competition Symphony winners. See http://mclean-symphony.org for more information.

The Jo Lombard Award ($150) will be given by competition judges to one overall outstanding composition. Second ($75) and third place ($50) awards may be awarded by judges at their discretion.

Honors Recital: Entrants awarded honors by the judges will play their compositions at the Composition Competition Honors Recital on Sunday, April 30, 2017 at 7 pm at the Woman’s Club of Arlington.

Each student will receive judges’ comments, certificate of participation, and a CD of all compositions, which may be picked up, along with CDs and manuscripts, at the Honors Recital or at the April and May NVMTA meetings.

IN MEMORY OF ALMA GRAYCE MILLER

POSTMARK DEADLINE:
March 9, 2017

FEE
$17.00 per entrant. All fees are nonrefundable.

APPLICATION REQUIREMENTS
1. Fill out the application and rating sheet application 2017.
2. Submit four clear photocopies of each manuscript. On the manuscript, write the title of the piece, the composer’s age, and number of years of study. The composer’s name must not appear on the manuscript.
3. Include two good quality CDs with composer playing composition. Place name of composition on each CD (NOT the name of the composer). Only one composition per CD. Use only music CD’s (ex. Memorex Music CD-R).

Libby McConnell
1220 Bishopsgate Way
Reston, VA 20194
CHAIRS
Libby McConnell and Sheila Epstein
Web Site:nvmta.org/competitions-and-festivals/composition-competition/

 CM Festival Composition Competition
Summary:Solo Instrument Competition
Deadline: 30 March 2017
Date Posted: 30 November 2016
Details: A work for solo guitar (no less than 4 minutes and no more than 6 minutes). Works must be composed for the six-stringed classical guitar. The name of the composer should never appear on any part of the submitted score.

Originality:
The work must be an original unpublished composition with no prior public performances. Arrangements of compositions that have received a public performance will not be accepted. Any public performance before whether it is by students, faculty, amateurs, professionals (paid or unpaid), and whether it was in a private, public, or academic venue, disqualifies the composition from the competition. A ‘public performance’ also includes formally attended public reading sessions, broadcast, or any recording that has been commercially released.

Submissions
Deadline: March 30, 2017
1) A completed application form must be completed on line.
2) In the body of the email, please state your full name and e-mail score submissions in PDF format to classicalmindsfestival@gmail.com along with a recording of the submitted work (MP3 audio file preferred).
There is a $35 processing fee for the Composition Competition.

2018 Prize
This competition is open to U.S. residents only, up to 30 years of age. The winning composition will be performed by Artistic Director, Valérie Hartzell, at the 2018 ‘Classical Minds’. In addition to the free 6-day registration to ‘Classical Minds’ 2018, the winner receives a $500 prize, along with lodging support.
Winners will be announced on the last day of the 2017 CM festival and posted online.
Web Site:classicalmindsfestival.org/composition-competition

 Boston Young Artists Composition Program
Summary:Programme for young artists
Deadline: None
Date Posted: 30 November 2016
Details: July 2-August 12, 2017 | Ages 14–19*

Directed by Boston University Professor, ASCAP composer, teacher and pianist Martin Amlin, with Assistant Director Justin Casinghino, the Young Artists Composition Program (YACP) offers talented high school composers the unique opportunity to focus for six weeks solely on exploring and refining their compositional skills. *The Young Artists Composition Program is open to high school students who have not yet begun full-time college or conservatory study.

Two private lessons per week

Daily classes in analysis, score-reading, theory, and compositional techniques

Small ensemble composition projects with weekly readings/recordings by BUTI students and faculty

Full orchestral reading/recording with the BUTI Young Artists Orchestra

Concert showcasing pieces written during the summer performed by BUTI students and faculty

Master classes with some of the world’s most esteemed music professionals (past visits and classes include John Harbison, David Del Tredici, Michael Gandolfi, Nico Muhly, Joan Tower, Richard Cornell, Joshua Fineberg, and Jonathan Newman)

Access to Festival of Contemporary Music rehearsals and performances

Access to all Boston Symphony Orchestra and Tanglewood Music Center concerts, as many as 15 events a week

6 hours of transferable Boston University course credit
Web Site:www.bu.edu/cfa/tanglewood/program/yacp/

 Electroacoustic Composition Workshop
Deadline: None
Date Posted: 30 November 2016
Details: June 18-July 1, 2017 | Ages 14–20

The two-week Electroacoustic Composition Workshop (ECWS), under the direction of Justin Casinghino, will serve as a platform for students to dive into the world of fixed media and interactive electronic music.

This introductory level course in electronic music will consist of interactive classes, private lessons, and scheduled personal work time with the electronic music studio equipment and will explore the philosophy, history, and compositional procedure behind various genres of electronic music. Students will also receive individual feedback from the director, their peers, and in guest artist master classes. As a final project, students will compose a multi-channel fixed media work, and the workshop will culminate in a concert-exhibition featuring a surround-sound presentation of these final projects. Course topics to include:

Audio and recording manipulation
Surround sound mixing
Experimentation with digital instruments
DAW platforms
Understanding the nature of sound
Creating and composing with computer manipulated sound
Recording and microphone techniques
Studio and live diffusion mixing techniques
Aesthetics in electronic music
Historically important works in the genre
2 hours of transferable Boston University course credit

Admitted students will be required to bring a personal laptop computer for working time and to complete assignments. Compositional techniques will be taught from a multi-platform bias, allowing students to continue work regardless of individual system types. Primary studio software includes Logic Pro and Max/MSP.
Web Site:www.bu.edu/cfa/tanglewood/program/yacp/

 DaCapo Chamber Choir
Summary:Choral Competition
Deadline: 13 March 2017
Date Posted: 23 November 2016
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 March 13, 2017.
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
• a cappella SATB (minimal a2 divisi permitted, but essentially 4-part)
• a single work, 4 to 6 minutes in length (i.e. do not submit a work with multiple movements)
• 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 13, 2017 or earlier
• entry form, fees, and any scores not submitted electronically must be postmarked by Monday, March 13, 2017 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 2017/2018 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 2017, 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 13, 2017 or earlier and mailed toDaCapo 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 13, 2017
• if submitting electronically, the entry form and fee must be mailed separately to the address above, and postmarked by Monday, March 13, 2017 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 13, 2017) are invited to submit compositions for consideration in our Young Composers Reading Sessions (YCRS). During the 2017/2018 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.

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/2017-competition/

 International Showcase Fund
Summary:Funding Opportunity
Deadline: None
Date Posted: 23 November 2016
Details: The International Showcase Fund offers funding support to artists based in England and Scotland invited to play at international showcasing festivals and conferences. Grants of up to £5,000 help to cover the costs of travel, visas and accommodation.

The International Showcase Fund is a partnership between PRS for Music Foundation, UK Trade & Investment, British Underground, Arts Council England, the Musicians’ Union, PPL and Creative Scotland and in association with PledgeMusic.

As well as offering grant support, partners offer advice, guidance and workshops for some events. Associate partner, PledgeMusic provides bespoke advice to any applicant wanting to include Direct to Fan income as part of their showcase budget, as well as ongoing support for ISF grantees.

What is Music Export?

So, you or your band is well on the way to breaking in the UK. You’ve had some success with your releases, toured the country, and are now eyeing territories beyond our shores to develop your career. In short, you are ready to export your music.

The UK is one of the biggest exporters of new music in the world. Every year our finest emerging talent is invited to key music industry-focused festivals and showcasing events to perform to interested international labels, promoters, agents and publishers.

Although it is crucial for an act to attract and secure deals in territories outside of the UK, these initial forays overseas can be expensive. The International Showcase Fund exists to help cover the costs of these trips, enabling artists to connect with and showcase to their potential next label, promoter or music supervisor.

Which showcase festivals are covered by the fund?

The kinds of events and festivals that are covered by the funding are those that have a mostly music industry audience or delegation. The fund can not support artists to play at festivals for the general public.

Examples of showcase festivals:

SXSW in Austin, USA
Tallinn Music Week, Tallinn, Estonia
JazzAhead, Bremen, Germany
CMJ in New York, USA
Folk Alliance International, Kansas City, USA
Eurosonic, Groningen, The Netherlands
Americana Music Association Festival, Nashville, USA
NXNE, Toronto, Canada
A3C Hip Hop Festival, Atlanta, USA
WOMEX
Iceland Airwaves, Reykjavik, Iceland
Classical Next, Vienna, Austria
Midem, Cannes, France
Rochester Jazz Festival, New York, USA

There are over 50 eligible events each year. Click here for a fuller list. If you have been invited to play an event and are unsure of its suitability, please email bhavesh@prsformusicfoundation.com.

Am I eligible for support from the International Showcase Fund?

Are you a band/artist based in England or Scotland?
Do you write and perform your own music, that is exceptional?
Have you been invited to play at an international event, with a conference element, that is geared towards music industry professionals rather than the general public?
Have you got a good profile in the UK (i.e. been featured in the national press/had airplay on national radio/and indie release)?
Do you have a list of meetings with music industry executives (i.e. publishers, labels, agencies, etc.) confirmed for when you are at your chosen showcase?
Do you have a strong business case for attending this specific showcase (i.e. are you building upon prior success there, or following up on significant buzz surrounding your band in that particular country)?
If you answer yes to all of the questions below then you are eligible to apply.

If any of the above doesn’t apply to you, you could still be eligible to apply to one of our other funding options.

Eligible Showcases

There are over 50 eligible events each year. Below is a list of eligible events. We highly recommend the Explore International Music Showcasing Toolkit – an invaluable resource for those considering international events.

If you have been invited to play an event and are unsure of its suitability, please email bhavesh@prsformusicfoundation.com.

Web Site:www.prsformusicfoundation.com/funding/international-showcase-fund/about-isf/

 Call for Works – Electroacoustic
Summary:Electroacoustic Call
Deadline: None
Date Posted: 23 November 2016
Details: How to submit

Elektramusic is always looking for new electroacoustic musics for the Radioshow, concerts, CD compilation, and for music+videos for the TV show and for video live performances, festival and much more. You can submit you electroacoustic music works, and-or your electroacoustic music and video art work as follows :

Musics : on Audio-CD (cd tracks) or Data-CD (with audio files : SDII, Wave, AIFF,…). Multiphonic works must be submitted in stereophonic version.

VideoArt and music : on DVD-DATA (high quality QuickTime or DV file), Video-DVD-vidéo, or mini-DV tape.

Please join to your submission a biography and work notice. For video works, please also include producer or video artist biography. Please print and fill in the submission form to complete your submission.

Submission by postal mail : Please send all your material by snail mail (please no registered mail) to : Elektramusic – 10 rue du Hohwald – 67000 Strasbourg France

Submission by web : You can send by web your audio/video files, with the submission form (filled and scanned), your bio and notice as pdf to our email (elektra at elektramusic.com) by using a file transfer service or cloud such as Dropbox or WeTransfer.

http://www.elektramusic.fr/call-for-works/
Web Site:www.elektramusic.fr/call-for-works/

 The 2017 Salvatore Martirano Memorial Composition Award
Summary:Flexible call for up to 15 performers
Deadline: 17 April 2017
Date Posted: 23 November 2016
Details: 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 2017 on the 21st 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 21st 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.

Entries must be submitted and paid for online by Monday, April 17, 2017 11:59PM CST (23:59 GMT-0600).

For more information and to submit scores go to:
https://music.illinois.edu/martirano-award

For questions:
zbrownin@illinois.edu
www.zackbrowning.com
Web Site:music.illinois.edu/martirano-award

 VONK CALL FOR SCORES
Summary:Opera Call
Deadline: 01 March 2017
Date Posted: 16 November 2016
Details: VONK is pleased to announce the Miniature Opera project. Composers of all ages and nationalities are invited to submit tiny operas with a duration of 2 minutes. Miniature operas about social change.

“Social change means that large numbers of persons are engaging in activities that differ from those which they or their immediate forefathers engaged in some time before.” Merrill and Eldredge.

VONK initiates productions on the edge of music and theatre.
The ensemble consists of Nicoline Soeter, composer and artistic director, Rianne Wilbers, soprano, Tom Sanderman saxophones, Erwin Muller, clarinets, Reggy van Bakel, percussion.

The Miniature Opera project will be developed in two ways:

3 selected miniature operas will be part of an online series of videos
5 selected miniature operas will be part of pop up (outdoor) performances
Rules
• Entries for the Miniature Opera project must be received no later than 01.03.2017;
• Composers of any nationality and age may enter a work;
• Submitted compositions should have a maximum length of two minutes;
• Compositions must be scored for four performers in the following instrumentation:
1. Soprano (G3-C6)
2. Clarinet in B-flat
3. Tenor saxophone in B-flat
4. Percussion: vibraphone, snare drum, small cymbals, hand–held percussion, a self-made instrument is optional;
• If a self-made instrument is used your entry must include clear instructions about building and performing with the instrument;
• The text should be written in English. It is the responsibility of the applicant to secure authorization and permission from the copyright owner(s).
• Entries consist of both scores (in c), and a set of transposed parts in PDF format;
• The piece must be feasible to perform without scenography, costumes or technique;
• Costumes are the responsibility of VONK.

Submissions
You can send your composition to vonkventures@gmail.com. Only digital scores can be submitted. Please note that digital scores and parts should not contain the composer’s name, since the scores are to be judged anonymously by VONK.

Selection
The five members of VONK will select the compositions for the Miniature Opera project. Scores will be judged anonymously. Participants will be notified about the results. The results are final.

Deadline
The deadline for submissions is 01.03.2017
Web Site:www.vonk.ventures/nl_NL/call-for-scores/

 Baltimore Composers Forum
Summary:Call for Scores
Deadline: 28 February 2017
Date Posted: 16 November 2016
Details: BCF Members are invited to submit scores for the woodwind quintet Daraja Ensemble (or subset thereof). The use of extended techniques are welcome. The concert is scheduled for Saturday, May 13, 7:30 pm at Christ Lutheran Church Inner Harbor. The submission deadline is Tuesday, February 28, 2017.

This Call for Scores is open only to members of the Baltimore Composers Forum who are up to date in payment of their yearly dues and who live in the greater Baltimore and Washington area. Annual membership renewals are due by September 15 of every year. Please note that any interested 
composer may submit a membership application along with their music submission.




Complete submissions need to meet the the following requirements:
-maximum duration of 8 minutes
-submission must be in pdf format
-optional audio file may be submitted as well
-in an additional separate pdf, include program notes and 100 word biography

Please e-mail final submissions (.pdf of score(s) and mp3 if available) to info@baltimorecomposersforum.com.

Daraja Ensemble Websites:
www.darajaensemble.com/
YouTube
Web Site:baltimorecomposersforum.com/call-for-scores-2

 2017 Australian Composition Seminar - Plexus
Summary:Workshop call for scores
Deadline: 23 June 2017
Date Posted: 16 November 2016
Details: Following a successful inaugural seminar in 2015 and a gigantic 2016 seminar, Richard Gill, Karen Carey and Andrew Batt-Rawden team up again to deliver another astounding compositional development experience for high school music 1 and music 2 students in years 8, 9, 10 and 11 with a choice of either Monday 24 July 2017, or Tuesday 25 July 2017. The workshop will run from 9am to 2:30pm.

The day has three core components;

- workshop/analysis of students' works
- analysis of contemporary Australian work composed by Stefan Cassomenos
- a performance and discussion other repertoire commissioned by Plexus, by both international and local composers.

A kit will be distributed on the day that includes; all student scores being played through, an educational guide to Stefan Cassemenos' work, scores of other works being performed and a guide to approaching their analysis.

Students are invited to submit a work that is no longer than a minute of a piece for the trio, clarinet (including bass), violin and piano.

PDFs of scores may be emailed to admin@limelightmagazine.com.au.
Scores must be received by June 23, 2017.

We will give broad analysis/pointers on as many works submitted as possible (there will by the necessity of time be a limit to how many works we can get through). All scores being played through in the workshop are published in a booklet that is handed out to all students attending on the day. This encourages students to learn from, and be inspired by, each others' scores.

In addition to workshopping the students' music, we will also give an in depth analysis of one of Stefan Cassemenos's works (details of exact repertoire will be sent prior to Term 1, 2017).

Any questions, please contact Andrew at andrew@limelightmagazine.com.au

DATE AND TIME
Mon., 24/07/2017, 9:00 am –
Tue., 25/07/2017, 2:30 pm AEST

LOCATION
Santa Sabina College
90 The Boulevarde
Strathfield, NSW 2135
Australia
Web Site:www.eventbrite.com.au/e/2017-australian-composition-seminar-plexus-tickets-28595657381?aff=es2

 Rarescale Summer School
Deadline: None
Date Posted: 16 November 2016
Details: rarescale Summer School for composers and flute players
Monday 31st July – Saturday 5th August 2017
Harlaxton Manor, near Grantham, Lincolnshire

For further information and to book, please contact us: rarescale@gmail.com

rarescale’s Summer School returns in 2017 in the beautiful venue of Harlaxton Manor, just outside Grantham in Lincolnshire.

Featuring courses for flute players (including the opportunity to specialise on alto or bass flute) and composers, this promises to be an inspiring week with new repertoire, collaborations and the opportunity to work towards individual goals in a relaxed and supportive atmosphere. Flute Course
Tutors: Carla Rees

This course is aimed at undergraduate level performers and above, and is suitable for students, young professionals and advanced amateur players. Minimum recommended standard ABRSM Grade 8.

-Learn the techniques of alto and bass flute playing, as well as piccolo and C flute
-Discussions on specific technical issues, including extended techniques
-Develop your performance skills
-Explore solo and ensemble repertoire for all members of the flute family
-Individual lessons, masterclasses and flute ensembles
-Opportunities for collaborations with composers and other flute players
-Introduction to playing music with electronics
-Opportunity to perform in an end of course concert

NEW FOR 2017: Flute Retreat
An opportunity for a maximum of two advanced students or early career flute players to prepare for a recorded recital during the course in a personally devised programme of study. Opportunities for composer collaborations and individual tuition. Download the Application Form

Composition Taught Course: Electroacoustic and/or acoustic composition
Tutor: Michael Oliva

Suitable for all standards, including those with no prior experience of EAM composition

Both courses are taught together, allowing composers the flexibility to choose their preferred pathway. To an extent, the course content will be tailor made to suit the needs of the participants, but areas which may be covered include:

-Group classes and individual tuition
-Compose a piece during the week and perform it in the final concert
-Potential to collaborate with flute players and other composers

Electroacoustic course:

-Learn the basics of Electroacoustic composition, or refine your skills
-Learn field recording techniques, software skills and develop your understanding of EAM compositional techniques
-Learn techniques of synthesis, sampling and real-time computer transformations in the context of creating new work
-Explore current approaches to working with computer sound and the performance of electroacoustic music
-Collecting and working with environmental sound
-Developing and writing your own interactive performance software with Max/MSP
-Composers should bring a laptop running a standard sequencer programme (e.g. Cubase, Logic or Performer), headphones and any other items required for their compositional activity.

Acoustic course:

-Develop your skills in composition, including aspects of structure, instrumentation, harmonic language etc
-Opportunity to develop specific knowledge of writing for solo flute and/or flute ensemble (including extended techniques) in collaboration with performers
-Opportunity to explore the basics of electroacoustic composition (optional)
-Composers should bring a laptop running Sibelius (preferred) or other music notation software, headphones and any other items required for their compositional activity.

Composition retreat
The Composition Retreat offers experienced composers the opportunity to work in the wonderful surroundings of Harlaxton Manor, with support from rarescale course tutors, while maintaining the freedom to work on independent compositional projects.

-Open to composers of all disciplines
-Come and enjoy the wonderful surroundings of Harlaxton while working on -independent compositional projects
-Consultations available with rarescale members Carla Rees and Michael Oliva
Potential for collaborations with rarescale and participants of the flute course

BOOK NOW: http://amazon.clikpic.com/rarescaleonskye/clik_media/BOOKING_FORM_rarescale_Summer_School_2017.pdf

Read about the 2015 course here: http://weareoca.com/music/rarescale/

Concerts
The course will feature a public concert by rarescale, in addition to a concert by course participants on the final evening.

Dates, Accommodation and Fees
Dates: Monday 31st July to Saturday 5th August (Arrive by 11am on Monday and depart on Saturday after breakfast)

Accommodation is in study bedrooms in the student-style accommodation at Harlaxton Manor. Rooms are allocated on a best available basis and course participants may be asked to share. A surcharge of £75 is payable for anyone wishing to guarantee a single room. All bathroom facilities are shared, and accommodation fees also include all meals. Additional accommodation may be available for the Sunday before the course starts at an additional cost – please ask. If you prefer to stay in one of the local hotels, a non-residential rate is also available.



Web Site:weareoca.com/music/rarescale/
Email:rarescale@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/introduction-to-the-composers-craft

 CARITAS INTERNATIONAL YOUNG COMPOSER COMPETITION 2017
Summary:Choral Competition
Deadline: 01 March 2017
Date Posted: 09 November 2016
Details: Introduction
This is inaugural competition is presented by Music Director Benedict Preece and the Caritas Chamber Choir. Young composers from the UK and abroad are invited to write a new choral composition based on Chaucer’s Canterbury Tales. e competition is being launched on November 1st 2016; the closing date for entries will be 1st March 2017. e composer of the winning entry will receive a prize of £750 while ve runners up will each receive £150*.

The final six short-listed compositions will be judged by David Conte, Professor and Chair of Composition at the San Francisco Conservatory of Music and composer of over 100 compositions published by E. C. Schirmer Music Company.

The competition final will take place at e Colyer-Fergusson Hall, University of Kent, Canterbury, on Saturday 8th July 2017 at 7.30pm. Caritas Chamber Choir will make a professional recording of the winning entry later in the year.

The primary objectives of this competition are to raise the pro le of young composers of new choral music, attract interest and motivate young composers both in the UK and abroad.

A further objective is to promote the ancient City of Canterbury: not only its famed connection with Chaucer, but also its long, rich, history of choral music.

In hosting this competition, Director Benedict Preece and the Caritas Chamber Choir hope to build on their considerable reputation and create new relationships and performance opportunities, locally, nationally and internationally.

The Invitation
You are invited to write an original composition, taking as your subject either one of the vibrant characters or tales brought to life in the Canterbury Tales or The Prologue. You may use any publicly available abridged text. A sample of the texts can be found here:
http://www.hudsoncress.net/hudsoncress.org/ html/library/literature/ e%20Canterbury%20Tales.pdf

You may use the text as published or you may render it in your own prose. However, your chosen character or tale must be easily recognizable in your composition.

1 The competition is open to composers of any nationality born between 1987 and 1999.

2 The work should be scored for a minimum of four parts (SATB), and a maximum of eight parts (SSAATTBB), with or without piano.

3 It is the responsibility of the composer to ensure that the written text is out of copyright.

4 The work will have elements of melody, harmony and rhythm to reflect the characteristics of the subject of your chosen Canterbury Tale.

5 The work should ideally last between four and six minutes.

Submissions
1 Scores may be handwritten or computer-set and should be submitted in PDF format and suitable for performance without further typesetting. An MP3 le may also be submitted in support of your written score.

2 Submission of each composition attracts a £10 fee which should be paid via the website: www.caritaschamberchoir.com/competition.html
More than one composition may be submitted.

3 Submissions should be emailed to: competition@caritaschamberchoir.com

Terms and Conditions

The finalists will be notified in April 2017. The final 12 compositions will be chosen by our Music Director (Benedict Preece) and Honorary Patron (Stephen Portman). The final six will be chosen by David Conte.

In correspondence with David Conte, Caritas Chamber Choir reserves the right to withhold prizes.

The decision of the judging panel is final.

The winning entrants must grant Caritas Chamber Choir the right to perform the work(s) at no extra cost(s) and to make a professional recording of the work within a year of the final.
Web Site:www.caritaschamberchoir.com

 International Composition Competition
Summary:International Percussion Competition
Deadline: 15 May 2017
Date Posted: 02 November 2016
Details: Preface
Please find enclosed the official regulations and registration form of the Composition Competition for percussion duo organised by the International Percussion Competition Luxembourg.

You are kindly requested to read carefully the following paragraphs and in case of interest, to fill in the registration form and to send it to the Office of the Competition.

Please keep your correspondences in the official languages of the Competition: French, German or English.

Composition
The subject of the Composition Competition of the International Percussion Competition Luxembourg ( IPCL ) is a work for percussion duo.

Duration: 7-8 minutes

Suggested instruments:
• Marimbas, xylophones, vibraphones, glockenspiels, timpani • Snare drums, bongos, tomtoms, bass drums
• Templeblocks, woodblocks, claves
• Suspended Cymbals, hihat, 1-2 tamtams/gongs, triangles

The use of electronics is not permitted.
In June 2017, the jury of the Competition will select the prize-winning work, which will be the setpiece for the 1st round of the Percussion-Duo Competition 2018 organised by the International Percussion Competition Luxembourg and taking place from 10th until 18th February 2018.
Web Site:ipcl.lu

 1st International Classical Guitar Composition Competition Rust 2017
Summary:Solo Guitar Competition
Deadline: 28 February 2017
Date Posted: 02 November 2016
Details: 1st International Classical Guitar Composition Competition
Rust 2017
www.guitarfestivalrust.at
Closing date: 28th February 2017

Subject: Composition of a piece for classical solo guitar (six strings) of a length between 2 and 4 minutes’ duration that can be described as an etude.

Description: The idea of the competition is to encourage a range of 21st century responses to the genre of etudes. Entries will be judged according to composers’ ability to take on the challenge of writing a memorable, individual and truly contemporary piece of etude in a genre that crosses so many boundaries in music, with account also taken of skill in writing for the guitar.

The competition is open to composers of all ages and nationalities Only unpublished and previously unperformed works may be submitted.

Submissions: Submissions are to be latest at Sunday 28th February 2017 by email to Jovan Pesec, President of the jury and competition Administrator at jovan.pesec@gmail.com

How to apply: Read carefully the Conditions of Entry below. and then email your full name, nationality, contact details and date of birth to Jovan Pesec, Competition Administrator, at jovan.pesec@v4m.net, attaching your score as a PDF and the performance as MP3. Please note that your name should not appear anywhere on the score or in the MP3 data.

Selection: The selection committee will consist of a jury of distinguished guitarists and composers. Wolfgang-Michael Bauer, Gabriel Guillén, Heinz Irmler, Tibor Nemeth, Jovan Pesec and Siegfried Steinkogler.

Three works will be short-listed following the closing date and announced on March 14th 2017 on the Homepage of the International Guitar Festival Rust www.guitarfestivalrust.at

These will all be performed by Gabriel Guillen at a public concert at the International Guitarfestival Rust in April 2017 or 2018 and other Festivals (date and venue to be confirmed), at which the winning etudes will be announced.

Prizes: The winning composer receive a cash prize of € 500. This prize is sponsored by studio.v4m.net. The studio.v4m.net will also produce a professional audio and video recording of the winning piece and the other pieces in the shortlist, which will be posted on YouTube within three months of the public performance. Last but not the least three shortlisted pieces will be performed by winners of the International Guitar Festival Rust 2016 in the following years at a public concert. In the event of multiple short-listed submissions being found suitable, the International Guitar Festival Rust reserves the right to extend both the performance and video recording to additional pieces and to make commendation of works outside the short-list.
Web Site:www.linkedin.com/pulse/1st-international-classical-guitar-composition-rust-2017-jovan-pesec

 Composers’ Programme to the festival “Days of chamber music”
Summary:Composers' Programme
Deadline: 15 June 2017
Date Posted: 01 November 2016
Details: Gabrovo, Bulgaria
September 8 – 15, 2017 г.
(September 6 – 16 2017 for composers)

The Gabrovo Chamber Orchestra invites student composers in high-school and university (bachelor) level to participate with their compositions in the Composers’ Programme to the festival “Days of chamber music”, organized by the Gabrovo Chamber Orchestra.

The Composers’ programme targets student-composers at high-school and university level seeking opportunities to rehearse and hear their music performed by professional musicians, as well as to participate in workshops and lectures in different practical and theoretical disciplines.

The composers will have a work included in the programme of the festival, which will be rehearsed and performed by the Gabrovo Chamber Orchestra. The concert will be recorded and offered to the composers for non-commercial purposes. The work does not have to be written specifically for the festival.

During their work in the workshops the composers will write exercises in orchestration and arrangement, which will be rehearsed with the orchestra. They will participate in a conducting masterclass with the Gabrovo Chamber Orchestra. Some participants will be recommended to the festival performers for future commissions and collaborations.

The composers will benefit from activities outside the studies and the festival, including museum visits, a mountain hike, etc.

Personnel of the Gabrovo Chamber Orchestra: 9 violins, 3 violas, 2 violoncellos и 1 double bass

Lectures offered
Individual composition lessons
Group masterclasses in composition
Groups lectures in history and theory of music Group lessons in conducting
Individual and group career consultations

Teachers
Mag. Ivan Stoyanov (conducting), conductor of the Gabrovo Chamber Orchestra
http://www.gko.gabrovo.bg/istoriya
Dr Alexandra Fol (composition and theoretical disciplines), guest-composers
https://alexandrafol.wordpress.com/

Price for 10 days: accommodation, breakfast, tuition, organized external activities (including entrance tickets, transport, tour guide)
Price for citizens of the European Union € 500 Euros for 10 days
Price for citizens of countries from outside of the European Union € 800 for 10 days

Teaching language for individual lessons
Bulgarian, German, English, French, Italian

Teaching language for group classes
English. Other languages dependent on particular circumstances.

Important dates
Deadline for applying, by e-mail only: June 15, 2017
gabrovo.composers.programme@gmail.com
Announcing the results: June 30, 2017
If you need to know your results earlier in order to apply for funding, etc., please, do write to us.
Deadline for fee payment: July 31, 2017
The accepted composers will receive the bank account information by e-mail.
Deadline for receiving the work and the parts: August 20, 2017 Day of arrival in Gabrovo: September 6, 2017
Possibility of pick-up from Sofia for an additional fee
Day of departure from Gabrovo: September 16, 2017

Applications
Composers wishing to apply must send the following documents
1) Short biography
2) 2-3 scores in PDF format
3) Recordings,ifsuchexist
4) Link to a personal website, if such exists

E-mail for application and contact
gabrovo.composers.programme@gmail.com

Phone numbers for contact
+1-514-264-7777 (Bulgarian, German, English, French, Italian) +359 889 619 345 (Bulgarian)

Internet links:

Gabrovo municipality
http://gabrovo.bg/en

Museum of humour and satire
http://www.humorhouse.bg/enindex.html

Gabrovo Chamber Orchestra
http://www.gko.gabrovo.bg/

Gabrovo Chamber Orchestra on facebook
https://www.facebook.com/Gabrovo-chamber-orchestra-Габровски-камерен-оркестър--126356347430505/?fref=ts

Central Bus Station
http://www.centralnaavtogara.bg

Busses from Sofia to Gabrovo departing from the Central Bus Station
http://avtogari.info/search.php?start=%D0%A1%D0%9E%D0%A4%D0%98%D0%AF&end=%D0%9 3%D0%90%D0%91%D0%A0%D0%9E%D0%92%D0%9E
Email:gabrovo.composers.programme@gmail.com

 Peter Reynolds Composer Studio
Summary:Composition programme
Deadline: None
Date Posted: 30 October 2016
Details: Every year, the Vale of Glamorgan Festival brings together exceptional artists and composers from the UK and further afield to celebrate the wealth of work being created across the world today.

In 2017, we are launching the Peter Reynolds Composer Studio, named in memory of a composer, long-time friend and supporter of the festival and run in partnership with Cardiff University School of Music.

The programme offers anyone looking to pursue a career in composition the opportunity to work with some of the composers and ensembles taking part in the 2017 festival and tap into a rich resource of expertise. Participants will be offered:

-Direct access to a range of composers
-The opportunity to write for a leading professional ensemble
-A performance and recording of their work
-Free access to Vale of Glamorgan Festival concerts and events
-Excellent networking opportunities

The programme is divided into two modules and applicants can choose to take part in one or both.

Module 1 running from Friday 19 – Monday 22 May 2017 and featuring Grand Band, a six piano “supergroup” based in New York City

Module 2 running from Tuesday 23 – Friday 26 May 2017 and featuring The Marsyas Trio, comprising flute, cello and piano

Over each four day module, participants will take part in a series of seminars, workshops and tutorials led by a team of composers including Graham Fitkin, Rob Fokkens, John Metcalf, Steph Power, Guto Puw, Hilary Tann and Huw Watkins. This will culminate with a performance and recording of participants’ work by the featured ensemble.

Information and Application Form (PDF)

Information and Application Form (Word Doc)

For further information, contact Jennifer Hill, General Manager, Vale of Glamorgan Festival

Email vogfestival@sky.com

Tel: 07891 765 696
Web Site:valeofglamorganfestival.org.uk/composer-programme/

 2017 UNCAGED::CONLON KEYBOARD PRIZE–Call for Submissions
Summary:Toy instrument competition
Deadline: 01 April 2017
Date Posted: 25 October 2016
Details: In 2017, for the first time, the UnCaged Toy Piano (US) and Conlon Foundation (NL) will collaborate on a joint call for submissions for the 2017 Robot Keyboard Prize. For this year’s competition, we are seeking adventurous new works for Ranjit Bhatnagar‘s midi-controlled Robot Toy Piano. Innovative ways of integrating electronics are encouraged, but not mandatory.

The prize for 1st place is a performance in the Gaudeamus Muziekweek (Utrecht, Holland) in September 2017 and the UnCaged Toy Piano Festival (New York City, December 2017), plus $1000 of which $500 from the UnCaged Toy Piano and $500 from Conlon Foundation towards travel/accommodation costs, to enable the prize winner to attend the performance in Utrecht, NL. The prize for Honorable Mention is a performance in the Gaudeamus Muziekweek (Utrecht, Holland) in September 2017 and the UnCaged Toy Piano Festival (New York City, December 2017).

Guidelines for the competition:

1. The competition is open to composers and sound artists of all ages and nationalities.

2. Works must be written for the Robot Toy Piano as a concert work (not installations).

3. Works may include one live performer on a conventional or unconventional instrument (i.e. orchestral,homemade, or mechanized instrument)

4. The duration of the piece may be no longer than 15 minutes.

The deadline for submissions is April 1st, 2017 and should include:

1. A short bio of the composer in pdf.

2. A score/information sheet with a detailed description of the work in pdf.

3. An audio and/or video preview of the work in .mp3, .avi, or link to web.

The decision of the jury will be made public no later than June 1st, 2017.

• The Robot Toy Piano

Built by New York-based sound artist, Ranjit Bhatnagar, the robot toy piano is a redesigned player toy piano (PianoLodeon) that reads MIDI files. The range of the robot toy piano keyboard is midi note 36-64 (C3-E6) Here is a video of it playing every note: http://uncagedtoypiano.org/?page_id=1487. The robot toy piano can play off either a USB or traditional MIDI cable. Due to the delicate and homemade nature of the instrument, it is best not to ask the robot to fire more than eight notes simultaneously.

Submissions and inquiries should be sent to: uncagedconlon2017@gmail.com
Email:uncagedconlon2017@gmail.com

 Ablaze Records
Summary:Multiple Opportunities
Deadline: 01 April 2017
Date Posted: 19 October 2016
Details: Hong Kong New Music Ensemble—LIVE FROM PRAGUE-ECHOFLUXX 17 Festival—Live recording Opportunity
APPLY
Calling for Scores for Violins (2), viola, cello, double bass, piano, flute, clarinet, bassoon, zheng, conductor for a concert performance and live recording in Prague, Czech Republic as part of the ECHOFLUXX 17 Festival.
CLOSING DATE: February 1, 2017

Orchestral Masters, Vol. 5
APPLY
Calling for Orchestral Scores for our Fifth Volume of Orchestral Masters to be recorded in Brno, Czech Republic with the Brno Philharmonic in summer of 2017.
CLOSING DATE: February 1, 2017

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.
CLOSING DATE: April 1, 2017

Electronic Masters, Vol. 6
APPLY
Calling for new recordings of Electronic or Electroacoustic works for our sixth volume of Electronic Masters.
CLOSING DATE: April 1, 2017

Millennial Masters, Vol. 8
APPLY
Calling for new recordings of Chamber music works for our eighth volume of Millennial Masters.
CLOSING DATE: April 1, 2017

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 2016.
CLOSING DATE: February 1, 2017

Pierrot Ensemble Series, Vol. 2
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, 2017

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, 2017

Composer Monograph CD—APPLY
Ongoing, submit your proposal anytime.

Performer Portrait CD—APPLY
Ongoing, submit your proposal anytime.
Web Site:www.ablazerecords.net/submissions-1/

 The 2nd Malta International Choir Festival Composition Competition
Summary:Choir Competition
Deadline: 31 March 2017
Date Posted: 12 October 2016
Details: This edition of the Malta International Choir Festival Composition Competition
is dedicated to the memory of one of Malta’s preeminent composers: Benigno Zerafa1.

Malta has regularly hosted international choir festivals and competitions since 1988. The islands of Malta and Gozo can boast of a very thriving choral scene and – with over 350 churches serving a population of about 430,000 – the choral tradition is, understandably, built around and mostly focused on sacred music.

In 2017, the Ministry for Tourism and the Malta Tourism Authority will be holding another edition of the Malta International Choir Festival between 2 and 5 November. As part of the structural components of the festival the organising committee is pleased to launch the 2nd edition of the Malta International Festival Composition Competition. The aim of this competition is to choose the best composition that will be performed and recorded during the festival.

Participating composers are very welcome to attend the festival but international participants would be required to fund their own travel and accommodation.

Summary

-Nature of work: Sacred

-Written for: SATB a cappella (with the option of divisi)

-Participation fee: €15 per composer (for the first work submitted) €10 per additional work submitted

-Administration fee: €10 per additional work submitted

-Submission deadline: 31 March 2017

-Results published by: End-June 2017

For complete details:
Web Site:www.composerssite.com/opportunity/7617

 New York Composers Circle
Summary:Call wth no deadline
Deadline: None
Date Posted: 12 October 2016
Details: New York Composers Circle’s Monthly Salon Call for New Works No Deadline, No Fee

Invitation to NYCC Salons

The New York Composers Circle (NYCC) invites composers in the New York metropolitan area to its monthly salons to audition either completed works or works-in-progress for constructive commentary and attentive listening. This opportunity to share your works and commingle with your peers is especially valuable for composers recently out of school, working outside the music field and those simply hungry for a fresh perspective given in a warm, welcoming environment.

Guests are invited to bring their works, complete or not, to monthly salons. However, space and time are limited, so only those first five respondents who can arrange either a live performance or provide a recording (live performance preferable though a “good” MIDI realization is acceptable) and score (traditional, graphic, etc.) will be invited to one of the monthly salons. If invited, prepare a few introductory remarks and short commentary about your work to the assembled gathering. The remarks need only to be a quick summation of the impetus for the work or a short summary of its technical aspects. Guests who have presented at salons may be invited to join NYCC and have their works performed at one of its concerts.

Duration of presented works should not exceed 15 minutes and commentary on your work no longer than 5 minutes. We welcome printed handouts if you wish to share more about your work process and inspiration which members and guests can read at their leisure.

About Us
NYCC is a New York City composers’ collective founded in 2002 with over 60 members consisting of composers and performers. Members come from many walks of life and share a passion and deep knowledge about the complex process of composing a work and having it performed publicly. All are devoted to the core mission of promoting public awareness and appreciation of contemporary music through concerts, salons, and other events in the New York metropolitan area. As part of its fulfillment of this mission, the collective produces four concerts every year featuring its members' chamber works at such venues as Symphony Space, St. Peter’s Church and Leonard Nimoy Thalia Theater.

Submission Information
If you are interested, please write to Hubert Howe at the email
listed below with a description of the piece you will be bringing - its
title, instrumentation, duration, and the particulars of its
performance, and include some information about your musical background.

For general information about the New York Composers Circle, please
visit the website below.
NYComposersCircle
Contact: Hubert Howe
Email: Hubert.Howe@qc.cuny.edu
Web Site:newyorkcomposerscircle.org

 Tesla Quartet Call for Scores 2016
Summary:String Quartet Competition
Deadline: 01 April 2017
Date Posted: 12 October 2016
Details: The Tesla Quartet is pleased to announce its inaugural Call for Scores. Composers are encouraged to submit completed works for string quartet for consideration, with the winning quartet receiving two performances in the spring of 2017. Any composer is eligible regardless of age, nationality, sex, color, creed, sexual orientation, marital status, disability or veteran status. The composition must be written for string quartet (2 violins, viola, cello) and must have a duration between 5 and 20 minutes.

The selection will be made using a blind evaluation process. All submissions will go to a dedicated email address, teslacallforscores@gmail.com, which will be monitored by an assistant who will transfer all the anonymous scores to the members of Tesla Quartet for review. An anonymous call prevents against any bias while selecting the work. Our decision will be made purely on quality of the music and not personal connections we may have with composers.

The winning work will receive two performances in the spring of 2017:

April 1, 2017
Mount Allison University
Sackville, New Brunswick, Canada

April 8, 2017
Western Piedmont Symphony Chamber Classics
Hickory, NC

We strongly encourage the composer of the winning work to travel to the performance and Tesla Quartet will gladly provide a travel stipend of $400 towards his/her travel expenses.



To Apply:
1. Submit the entry fee of $15 through PayPal at paypal.me/teslaquartet.

2. Each entry of 1 anonymous score and parts must be emailed in pdf format to teslacallforscores@gmail.com (subject: “TeslaCFS2016”) along with:

a. An info sheet (.pdf, .doc, .docx, .odt, or .txt ) with composer’s name, title of the submission, length of work, short bio, and contact information

b. Receipt or screenshot of completed PayPal payment of $15 per submission.

c. An optional anonymous recording of the work. The recording is welcome but not required. A midi rendering of the work is acceptable if a live performance is unavailable.



Guidelines:
1. Application Deadline: All submissions must be sent and fees paid by 11:59 pm EST on December 1, 2016. Entries received after this date will not be considered.

2. Composers may submit as many scores as they wish, but each work should be submitted as a separate entry and will require a separate fee of $15.

3. No name or any personal information should appear anywhere on the submitted scores or recordings. Any submission with identifying information will be disqualified from the selection. The entry fee is not refundable.

5. Every submission must include both score and individual instrument parts.

6. Works that include electronics will not be considered at this time. We hope to expand the Call for Scores to include electronic or amplified works in the future.

7. The winning composition will be announced on February 15, 2017.

8. The decision of the Tesla Quartet is not open to appeal. The results will be announced on our website and across our social media platforms.

9. Please see the FAQ below for the most commonly asked questions. Any additional questions may be sent to teslacallforscores@gmail.com. Note: Please do NOT send submission materials or any questions to the Tesla Quartet’s official email address (teslaquartet@gmail.com), to our social media portals or contact any of the members personally, as this will violate this call for scores strict anonymity requirements and will result in removal from consideration.

10. Submission fees are not refundable.



FAQ:
Q: Can the piece be longer than 20 minutes?
A: Every submission must have a duration between 5 and 20 minutes.

Q: Can I submit a work for trombone and string quartet?
A: No. Please submit works for two violins, viola and cello only.

Q: My quartet has already received its premiere and has been performed a few times. Am I still eligible to submit it?
A: Yes! We're accepting scores regardless of whether they are hot off the press or collecting dust on the shelf.

Q: If my quartet is selected as the winner, can I attend both performances?
A: Yes you can! And we hope you do. However, the Tesla Quartet can only offer one stipend of $400 total toward travel.

Q: I'm still working on my string quartet, and I'm not sure when it will be finished. Can I send you what I have?
A: Please only send completed works. Incomplete works will not be considered.
Web Site:www.teslaquartet.com/call-for-scores-2016

 CNM call for scores: harpsichord duets
Summary:Keyboard duet competition
Deadline: 01 December 2017
Date Posted: 12 October 2016
Details: Colchester New Music is pleased to announce a call for scores for harpsichord duet, to be performed by the Knights-Tidhar harpsichord duo in Colchester in Spring 2018. All works submitted must be original, and not exceeding 7 minutes in length. There are no stylistic limitations.

Francis Knights and Dan Tidhar (http://harpsichordduo.webnode.com/) are the world’s busiest early keyboard duo, giving many performances each year of repertoire which ranges from the Renaissance to the present day. They are actively seeking to expand the small contemporary repertoire for two harpsichords.

For the harpsichords, assume one double-manual instrument of FF-f3 compass with 2 x 8′, 1 x 4’ stops, and one single-manual instrument of GG-d3, 2 x 8′; they will match in tone and volume. Many recordings of modern harpsichord styles can be found on YouTube, and http://www.christopherlewis.net is also worth a visit. For technical queries, please contact calls@colchesternewmusic.com.

Submissions will be judged anonymously by the performers and an external judge; scores must be submitted in pdf format, and the composer’s name must not appear anywhere on the score. All submissions must be accompanied by a completed application form.

Composers may submit up to three pieces – Entry fee is £3 for one, £5 for two or £7 for three pieces, or free for CNM members, students and under 25s (note: proof of age/studentship will be required).

Scores and application forms should be e-mailed to calls@colchesternewmusic.com by 1st December 2017. Links to the downloadable application form and payment details are below:
Web Site:colchesternewmusic.com/calls-for-scores/call-for-scores-harpsichord-duets/

 NBA Young Composers Jazz Composition Contest
Summary:Jazz Competition
Deadline: 01 July 2017
Date Posted: 27 September 2016
Details: The contest seeks to recognize and encourage young jazz composers to submit their works for the prize. Composers must be 39 years of age or younger by July 1 of each year. In addition, the work submitted must be for jazz ensemble with no restrictions as to style, form or length.

Deadline for submissions is July 1, 2017. For additional information, visit https://www.nationalbandassociation.org/contests
Web Site:nationalbandassociation.org/nba-young-composers-jazz-composition-contest/

 NBA/Alfred Publishing Young Band Composition Contest, sponsored by Alfred Publishing
Summary:Band Competition
Deadline: 01 June 2017
Date Posted: 27 September 2016
Details: The NBA/Alfred Publishing Young Band Composition Contest is sponsored by Alfred Publishing. Special thanks to composer and music educator Robert Sheldon for his support and guidance in establishing this special partnership with the National Band Association. This young band contest seeks to find composers writing for grades 1-3. There is a cash prize for the winner, plus the possibility of the winning work being published in Alfred’s Young Band catalog. Deadline for submissions is June 1, 2017. For information, email the contest chair, Audrey Murphy: murphyal@fultonschools.org.
Web Site:nationalbandassociation.org/nbaalfred-publishing-young-band-composition-contest-sponsored-by-alfred-publishing/
Email:murphyal@fultonschools.org

 Musical Studies Superior Institute “P. Mascagni”
Summary:Electroacoustic Call
Deadline: 01 March 2017
Date Posted: 27 September 2016
Details: The Musical Studies Superior Institute “P. Mascagni” in Leghorn (Italy) is searching for compositions to be performed in next concert season named Suoni Inauditi (from end of April to first part of June 2017).

Electroacoustic compositions from 4 to 16 channels are requested, according to the distribution of the speakers placed into Auditorium, as in enclosed scheme (two levels of 8 speakers, numbered clockwise beginning from frontal left one).
The selected compositions will be performed in next concert season or in the following ones. The unique requested characteristics are the duration ranging approximately from 5 to 7 minutes, and the obligation to use, in whatever form and technique, one ore more fragments relative to Nardini's works recordings.

The participants will have to send to the mail address fdesanctis@teletu.it a mail containing:
- a link for downloading a mp3 or ogg file (please, use services like Dropbox, WeTransfer, GoogleDrive or similar) containing a stereo version of the composition
- the composer's data (full name, mail and so on)
- an attachment in pdf format with a brief Curriculum Vitae (max 300 words) and a technical and poetic description of the work (max 300 words)

The deadline is March 1, 2017.

Selected composers will be requested to send a link from which to download the mono audio files, aiff or wav format, 16 bit, relative to the tracks to assign to the corresponding speakers; the files should be numbered according to the selected speaker, as in enclosed scheme.

Composers of any nationality and age can participate, excluding those who have had a composition selected and performed after the call for compositions “Mascagni Remix” in 2015 or “Cambini Remix” in 2016.
The Institute shall not be held responsible if the concert season will be not realized for major causes. In this case the Institute will be able to use the selected compositions in future concerts.
Web Site:www.istitutomascagni.it/Portals/0/Documenti/Eventi/Nardini_Remix.pdf

 Luna Nova 2017 Student Composition Contest
Summary:Chamber Call
Deadline: 01 March 2017
Date Posted: 21 September 2016
Details: Sponsored by
Luna Nova Music
The Beethoven Club of Memphis

The Luna Nova 2017 Student Composition Contest is offered in conjunction with the Belvedere Chamber Music Festival (www.belvederefestival.org) to be held June 21-24, 2017 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, 2015. They must give the name and contact information of their current theory/composition professor.

GUIDELINES
Participants may submit up to two scores and accompanying mp3s. These 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/2017contest.pdf

ONLINE ENTRY FORMS
https://www.surveymonkey.com/r/BJD87B6

DEADLINE
Pdfs of scores and mp3s must be received by March 1, 2017 at 10 p.m. CST. (Computer realizations will be accepted if a live recording is not available.) Winners will be posted at www.belvederefestival.org by April 1, 2017. Composers of winning entries must provide full score and parts by May 1, 2017.

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/contest.html

 Walter Ferrato Competition
Summary:Solo, duet and trio competition
Deadline: 15 April 2017
Date Posted: 21 September 2016
Details: The association Ensemble Nuove Musiche is organizing a competition aimed at new compositions; the winning scores will be per- formed by the Ensemble Nuove Musiche in a concert in the 5th edition of the Festival Internazionale di Musica di Savona, in June 2017.

Art. 1 - The competition is open to all nationalities with no age limit and with limitless styles of composition.

Art. 2 - types oF scores
The presented compositions must not have received any awards in other competitions, or other call for scores, but they may have already been performed. Published scores may be presented, but they must not incur any monetary cost to the association (editorial rental fees of parts or fees for the performance).
The categories of compositions are as follows:

solo instrument
• Solo Flute. The performer may use: flute in G, flute in C, piccolo
• Cello solo
• Piano solo (also prepared with discretion)

duos
• Piano (also prepared with discretion) and Flute (in G, in C, piccolo)
• Piano (also prepared with discretion) and Cello
• Flute (in G, in C, piccolo) and Cello

trios
• Piano (also prepared with discretion), Flute (in G, in C, piccolo) and Cello

The use of electronic devices is not permitted. 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.

For more information:
Web Site:www.ensemblenuovemusiche.eu/wp-content/themes/bacliatheme/pdf/bando-concorso-composizione-all-languages.pdf

 Cove Park Artist Centre
Summary:Residency Opportunity
Deadline: None
Date Posted: 14 September 2016
Details: Cove Park’s brand new Artist Centre is now complete. Individuals and groups of up to 12 artists and makers from across disciplines and fields are now able to make use of the new centre for residencies from October 2016 to May 2017.

The Artists Centre has brand new devising and workshop spaces, a large communal kitchen and snug, library and archive. Overlooking the firth of the Clyde, Cove Park is 1 hour from Glasgow on the Rosneath Peninsula. Please see the website for images under ‘Cove Tour’.

Our 10 individual, self-contained live/work pods and cubes are perfect for researching, reading and writing, and were designed to offer artists of all disciplines (working singularly or together) an uninterrupted focussed space to devise, explore, experiment or hone a creative project whilst in residence. We have 5 studios available to those needing additional room for small group work or individual making-space. Our new Artists Centre has a large wooden-floored room designed for movement and voice work, and a large, separate meeting room.

We welcome artists from across the world and from all disciplines to Cove Park for residencies, allowing enriching and nourishing creative exchange.

Your residency can be part of your professional development or an opportunity to step back and out of everyday life, to imagine new ways of working or plan or complete a commission. We have a sliding scale of reasonable hire charges to help you plan an invaluable residency at Cove Park.

Residencies available October 2016 – May 2017.

To send an enquiry please contact Catrin Kemp (Assistant Director).

Location: All Scotland ,England, Wales, Northern Ireland, International

For further information, please contact catrin.kemp@covepark.org (catrin.kemp@covepark.org), or call 07500791942, or visit http://covepark.org/
Web Site:covepark.org

 Jordan College of the Arts Composers Orchestra Call for Scores 2016
Summary:Orchestral Competition
Deadline: 05 April 2017
Date Posted: 07 September 2016
Details: Jordan College of the Arts Composers Orchestra Call for Scores 2016
Call for Scores – Jordan College of Arts Composers Orchestra 2016

The Jordan College of Arts Composers Orchestra of Butler University invites composers of all ages and in any stage of their career to submit scores to be considered for our upcoming concert seasons. Originally formed by Michael Schelle during the Ford Administration, the JCAco is not a standard orchestra, but a highly skilled, non-standard chamber group whose instrumentation changes each year, that is skilled in performing works that are text-based, improvisational, Fluxus spirited, and often theatrical, typically performing 5-7 concerts each year.

Please send us fun, wacky, wry, off-beat, pointed, awkward, silly, non-specific instrumentation, improvisational, graphically notated pieces. Even though it says ‘orchestra’ in the name of our ensemble. ummmmm……… well, we typically don’t have that kind of instrumentation. Works including voice, electronics*, found instruments, handmade instruments, or appliances are all welcome.

*Electronic works should be easily able to be performed. Stereo fixed media and Max pieces that have been compiled into Runtime are best. Pieces that require more complicated setups are discouraged at this time.

Length of works: 1-12 minutes maximum

Composers may submit a maximum of two (2) scores in PDF format, along with complete composer contact information in a Zip archive. Each Zip archive should consist of one score, and one docx or pdf file with the composer’s info, duration of the work, link to a recording of an actual live performance (if available – no MIDI realizations, please), instrumentation of the piece, and list of necessary tech items (if needed) on it. Send a separate Zip file for each submission. Please title each file like this: LastName_Firstnameinitial-#_TITLE.zip (i.e. Felice_F-1_ZOINKS.zip, and then Felice-F2_EGAD.zip for the second entry).

Please do not send audio with your submission – instead, provide a link to Soundcloud, ReverbNation, etc.

The pieces may have been already performed. Submit only full scores at this time. If selected, you will be contacted for performance materials. Electronic submission only – please place each submission into this Dropbox folder:

https://www.dropbox.com/request/Fv8G78UxBz81pKFYvodJ
Email:ffelice@butler.edu

 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/application/

 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/939142276213069/

 Resonance Extra
Summary:Broadcast Call
Deadline: 31 August 2017
Date Posted: 25 August 2016
Details: Resonance Extra is a 24/7 broadcast platform based at Resonance FM’s London Bridge studios. Dedicated to supporting experimental musicians and sound artists, the station broadcasts online via its website and on Small Scale DAB Digital Radio in Brighton & Hove. Following Ofcom’s decision in 2016 to extend its DAB trial license by a further two years, the platform seeks new contributions with an Open Call for Broadcast Proposals.

Radio Art, Experimental Music and Documentary

Resonance Extra seeks local and international artists, broadcasters, students, sound artists, musicians, producers, archivists, festivals, venues and arts organisations to submit proposals for ambitious broadcasts (or programmes of broadcasts) in the following broad categories:

• Sound and Radio Artworks
• Experimental and Global Music Radio
• Documentary - Sound and Music

Submit a Broadcast Proposal

To submit a proposal or programming idea, please email Peter Lanceley on extra@resonancefm.com, including in your submission: your full name (in the subject line); a brief description of what you propose (no more than 250 words); a link to your website, artistic CV, or previous work.

Responses to the Open Call will be considered on an ongoing basis until September 2017. We regret that we cannot necessarily respond to nor commit to providing feedback for unsuccessful applicants. For more information on Strands, a separate round of paid artistic commissions for UK sound and radio artists under the age of 28, supported by the Jerwood Charitable Foundation, visit our Commissions webpage.
Web Site:extra.resonance.fm

 Ablaze Records NEW CHORAL Series
Summary:Choral Opportunity
Deadline: 01 April 2017
Date Posted: 25 August 2016
Details: Would you like to have your choral work recorded and released on CD to a worldwide audience, radio stations and CD Reviewers? Now is your chance with the ABLAZE Records call for SCORES for its NEW CHORAL series disc. For this series ABLAZE will record your work with the tremendous Ablaze Records ensemble CORO VOLANTE conducted by new music specialist conductor Brett Scott.

Send a score of your work to us for your chance to win a place on our New Choral, Vol. 3 CD. If our expert panel of composers and conductors chooses your work, you will win a spot on our THIRD NEW CHORAL CD. This will entitle you to a partially subsidized commercial release of your work worldwide.

1. The works can be for UNACCOMPANIED SATB CHOIR (up to 16 voices divisi)

2. Works using accompaniment are not eligible. Works using keyboard (piano or organ) acoustic or amplified instruments or electronics are not eligible.

3. The composer must provide proof of CLEARANCE OF RIGHTS to set the selected text used for the work. Composers that can not prove that rights have been obtained to set the text they have used WILL BE DISQUALIFIED.

4. The works can be of any duration.

5. The score must be a computer engraved (Finale, Sibelius, etc) score.

6. Languages other than English, French, German, Italian and Latin MUST be accompanied by an IPA pronunciation guide of the language

7. The composer will supply notes about the composer and work.

8. The composer will supply a high quality photograph of his/herself for use in the CD booklet and ABLAZE website.

Who is Eligible:
Any composer without restriction as to style of music, age or nationality of the composer may submit a score for consideration.

Submission Deadline

APRIL 1, 2017
Web Site:ablazerecords.submittable.com/submit/35301

 Ablaze Records NEW CHORAL Series
Summary:Choral Opportunity
Deadline: 01 April 2017
Date Posted: 25 August 2016
Details: Would you like to have your choral work recorded and released on CD to a worldwide audience, radio stations and CD Reviewers? Now is your chance with the ABLAZE Records call for SCORES for its NEW CHORAL series disc. For this series ABLAZE will record your work with the tremendous Ablaze Records ensemble CORO VOLANTE conducted by new music specialist conductor Brett Scott.

Send a score of your work to us for your chance to win a place on our New Choral, Vol. 3 CD. If our expert panel of composers and conductors chooses your work, you will win a spot on our THIRD NEW CHORAL CD. This will entitle you to a partially subsidized commercial release of your work worldwide.

1. The works can be for UNACCOMPANIED SATB CHOIR (up to 16 voices divisi)

2. Works using accompaniment are not eligible. Works using keyboard (piano or organ) acoustic or amplified instruments or electronics are not eligible.

3. The composer must provide proof of CLEARANCE OF RIGHTS to set the selected text used for the work. Composers that can not prove that rights have been obtained to set the text they have used WILL BE DISQUALIFIED.

4. The works can be of any duration.

5. The score must be a computer engraved (Finale, Sibelius, etc) score.

6. Languages other than English, French, German, Italian and Latin MUST be accompanied by an IPA pronunciation guide of the language

7. The composer will supply notes about the composer and work.

8. The composer will supply a high quality photograph of his/herself for use in the CD booklet and ABLAZE website.

Who is Eligible:
Any composer without restriction as to style of music, age or nationality of the composer may submit a score for consideration.

Submission Deadline

APRIL 1, 2017
Web Site:ablazerecords.submittable.com/submit/35301

 ABLAZE Records ELECTRONIC MASTERS Series
Summary:Electroacoustic commercial release
Deadline: 01 April 2017
Date Posted: 25 August 2016
Details: Have you got a great recording of your original electronic or electroacoustic composition that you would like issued on a commercially released CD?

Now is your chance with the ABLAZE Records call for Master tapes.

Submit your mastertape (digital recordings only please) to us for your chance to win a place on our ELECTRONIC MASTERS Vol. 6 CD. If our expert panel of composers and audio engineers chooses your work, you will win a spot on our FIFTH ELECTRONIC MASTERS CD. This will entitle you to a partially subsidized commercial release of your work worldwide during 2017.

1. The works can be for any ELECTRONIC OR ELECTROACOUSTIC medium and can include instrumental or vocal resources.

2. For any works involving texts the composer must also submit proof of copyright clearance and permission for use on a commercial recording.

3. The work must be a studio (rather than a ‘live’) recording

4. Works must be fully edited/mixed to a version suitable for mastering to a CD publication

5. Works must be in digital format (WAV/BWAVE file to at least 48K sample rate and at 24 bit resolution)

6. Include notes about any performers, composer and work

What we are looking for:

1. Very high quality recordings

2. Very high quality works

3. Very high quality performances

Who is Eligible:

Any composer without restriction as to style of music, age or nationality may submit a mastertape for consideration.

Submission Deadline


APRIL 1, 2017
Web Site:ablazerecords.submittable.com/submit/30186

 Ablaze Records Mastertapes Series
Summary:Recording Opportunity
Deadline: 01 April 2017
Date Posted: 25 August 2016
Details: Have you got a great recording of your original composition that you would like issued on a commercially released CD? Now is your chance with the ABLAZE Records call for Mastertapes.

Send a CD of your mastertape (digital recordings only please) to us for your chance to win a place on our Millennial Masters, Vol. 8 CD. If our expert panel of composers and audio engineers chooses your work, you will win a spot on our EIGHTH Millennial Masters CD. This will entitle you to a partially subsidized commercial release of your work worldwide.

1. The works can be for any ACOUSTIC medium.
2. For any works involving texts the composer must also submit proof of copyright clearance and permission for use on a commercial recording.
3. The work should preferably be a studio (rather than a ‘live’) recording
4. Works must be fully edited/mixed to a version suitable for mastering to a CD publication
5. Works must be in digital format (to at least 44.1K sample rate and at 24 bit resolution)
6. Include notes about the performers, composer and work

What we are looking for:
1. Very high quality recordings
2. Very high quality compositions
3. Very high quality performances

Who is Eligible:
Any composer without restriction as to style of music, age or nationality may submit a mastertape for consideration.

Submission Deadline
APRIL 1, 2017
Web Site:ablazerecords.submittable.com/submit/30187

 CALL FOR SCORES RISUONANZE 2017
Summary:Chamber Competition
Deadline: 27 February 2017
Date Posted: 04 August 2016
Details: Associazione Culturale TKE is calling for pieces to be performed at the “Risuonanze 2017 - incontri di nuove musiche” Festival, which will take place early June, 2017, in Friuli Venezia Giulia region - Italy (for the previous edition results: http://www.risuonanze.it/calls/results2016.html#ENGLISH).

The Call is open to composers of any nationality and age.

Pieces should be written for solo piano, or solo violin, or solo flute [C Flute, Piccolo, G Alto flute], or solo trombone, or solo voice [mezzo-soprano], or voice [mezzo-soprano] and piano, or two flutists, or two violins, or flute and piano; 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.

15 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 2017” 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

The Call is open to composers of any nationality and age.

Pieces should be written for solo piano, or solo violin, or solo flute [C Flute, Piccolo, G Alto flute], or solo trombone, or solo voice [mezzo-soprano], or voice [mezzo-soprano] and piano, or two flutists, or two violins, or flute and piano; 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.

15 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 2017” 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

a) UNACCOMPANIED: solo piano, or solo violin, or solo flute [C and/or Piccolo and/or G Alto flute], or solo trombone, or solo voice [mezzo-soprano, range: F3 to F5 (piano dynamics) or Ab5 (forte dynamics)];

b) DUOS: voice [mezzo-soprano, range as before] and piano, or two flutes [both doubling piccolo, one of them also doubling G Alto flute], or two violins, or flute [C] and piano;

• Regarding vocal works, the text should be in the public domain, otherwise the composer should be authorized for its utilization;

• Works not longer than 6 minutes in duration;
• All submitted works must be “world premieres” or “Italian premieres” in the Festival; • Submissions via email only;
• Each submission consists in:

◦ a) one to six scores, 

◦ b) payment proof 15 Euros (bank transfer: IBAN IT58P0634067684510701023136, BIC/SWIFT 
IBSPIT2U, beneficiary: Associazione culturale TKE, or Pay Pal: please see the Risuonanze website 
- as description of payment please write “Call for Scores Risuonanze 2017”), 

◦ c) a short biography (170 words max.); 


• The scores must be attached as PDF files;
• 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;
• The payment proof (bank transfer or PayPal) must be attached as PDF file;
• In the body of the email, please specify whether the pieces, if selected, should be presented as “world premiere” or “Italian premiere”;
• Send the submission via email to callrisuonanze2017@gmail.com

The results will be announced not later than April 25th, 2017 on the Risuonanze website, and composers of the accepted works will be notified by email.
For any further information, please visit: http://www.risuonanze.it/calls/call.html or email: tkecallforscores@gmail.com

• Submission deadline: February 27th, 2017;


Web Site:www.risuonanze.it/calls/call.html#ENGLISH

 Cum Laude Music Awards
Summary:Chamber Call with Choice of Instrumentation
Deadline: 28 February 2017
Date Posted: 04 August 2016
Details: International Consonant Chamber Music
Composition Contest

Premiering, Performing, Recording and Broadcasting New Music for a New Audience

The value of the award is up to 30,000 € investment in the dissemination of the winning works. The prize is a full program of international promotion of the winning works through his performance in concert halls world-class with renowned interpreters. In addition, a CD Audio will be recorded provided that there is established in the point No.9 of Prize Rules section is accomplish. The recording will feature an international broadcast campaign between broadcasters and print media.

The premiere or performance of the work will be videotaped, additionally, for submission to be broadcasted by Spanish Radio Television. Each winning author will also receive 50 copies of the recording. The distribution of the recording in the United States and Canada will be made through Naxos of America and Europe through Semele Music Projects. The recording will be distributed on digital download stores both high resolution and generic stores too.

◦ Any possible combination that includes up to 2 violins, viola, cello, piano and soprano. It can be present works for a single instrument alone but not for voice a capella. As an example we could cite:
◦ Piano Trio
◦ String Quartet
◦ String Quartet and Soprano
◦ String Trio
◦ Piano
◦ Viola and Piano
◦ Piano Quintet
◦ etc...

◦ Can participate composers of any age but over 18 years and of any nationality irrespective of their place of residence.
◦ The works can not be longer than 20 minutes, or less than 3 minutes.
◦ The work may have been performed and / or recorded previously, but never released in Spain.
◦ There is a registration fee for each work a composer present to this contest of $50 / 45€ to be paid online through PayPal.
◦ Of each registered work it must be provided a single PDF containing the full score and particellas, and a MP3 audio file containing either a recording of a performance or a simulation performed in MIDI instruments. All contact details for the composer, a biography of 250 words maximum, a color photograph high resolution and an email address is also needed. All this material will be sent through the website page that the Non Profit Music Foundation enabled the composer once the registration amount paid.
◦ Each composer can submit unlimited works provided are appropriate to the template shown below. The material submitted for registration will not be returned to the author and will be destroyed except after the winning works for dissemination. When submitting a work the composer explicitly recognizes that owns the copyright and exploit rights and accept no liability to the Non Profit Music Foundation for the use of the work.
◦ The composers of the winning works will transfer their rights for free for the music recording, performance, premiere, broadcast television and image rights subject to copyright arising from the concepts of public performance and mechanical reproduction which will be controlled by the General Society of Authors of Spain and they will get through it in their respective management copyright entities of their respective countries.

◦ The works that sign must have the intention of getting a new audience for classical music in a way that stimulates the creation of new audiences for it. To this end each entry will have digital access to a recording published by Non Profit Music Foundation that brings together such intention.
◦ The languages for vocal music should be among the following: English, German, Italian, French, Spanish, Portuguese and Latin.
◦ The deadline for registration is February 28th / 2017.
◦ In any case the amount of registration will be refunded. Once the payment is meant the understanding and acceptance of all rules. If in doubt use the contact form before enrolling. The languages accepted for communication are Spanish and English. Keep on mind the English translation of this rules could have errors so, in case of doubt check the Spanish Cum Laude Music Awards page.
◦ No one connected with this institution or with the jury can participate.


Web Site:www.nonprofitmusic.org/en/cum-laude-music-awards.html#reglas

 Kate Halsall & Fumiko Miyachi piano duo
Summary:Call for existing duets
Deadline: 28 February 2017
Date Posted: 20 July 2016
Details: We are putting together an album of piano duets (1 piano/4hands). We’re really interested to know if you have existing works you would like to submit for this project, which we will be recording at Birmingham Conservatoire. NB: Please only submit pieces that are not currently released on disc elsewhere.

It’s a challenge for composers (we’ve found) to write successfully for this medium, which can seem ‘small scale’ and has various technical hazards, not to mention the occasional body slam..

We can’t guarantee to include all pieces for a single disc release, as we have some new works already committed to for this project. The final composer collection will be 50% female, 50% male. We’re happy for you to encourage any students you may have, to submit works too.

Formats:

Please only send digital copies of scores. If you have supporting audio, send a link/file share, not an attachment please. Please include tech spec for any electronics/preparations etc.

Content: Duration is open, though with the caveat of fitting into a set of works for a single disc release. Pieces with any extended piano techniques, electronics, improvisation, voice/s, or any experimental performance ideas are welcome, as long as consideration of the recording format for this project, have been assessed. We will plan to give live performances during the project whenever possible.

Deadline: You can submit to info@katehalsall.co.uk/subject line DUETS until 28/2/2017 and we will let you know within 2 weeks if we would like to record your piece. You are welcome to attend rehearsal/recording sessions.

Example of recent release: https://soundcloud.com/kate-halsall/sets/miniaturised-concertos-mach
Web Site:katehalsall.co.uk/news/

 International Percussion Competition Luxembourg
Summary:Percussion Composition Competition
Deadline: 15 May 2017
Date Posted: 23 June 2016
Details: The subject of the Composition Competition of the International Percussion Competition Luxembourg ( IPCL ) is a work for percussion duo.

Duration: 7-8 minutes

Suggested instruments:
• Marimbas, xylophones, vibraphones, glockenspiels, timpani • Snare drums, bongos, tomtoms, bass drums
• Templeblocks, woodblocks, claves
• Suspended Cymbals, hihat, 1-2 tamtams/gongs, triangles

The use of electronics is not permitted.

In June 2017, the jury of the Competition will select the prize-winning work, which will be the setpiece for the 1st round of the Percussion-Duo Competition 2018 organised by the International Percussion Competition Luxembourg and taking place from 10th until 18th February 2018.
Web Site:ipcl.lu

 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/p010j8y5

 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:http://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:http://faqdsasongcontest.blogspot.co.uk

 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:http://www.waschka.info/call_for_scores.html

 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:http://www.sarasotaopera.org/Request_for_Submission.aspx

 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:http://www.apumusiccontest.com/?page_id=32

 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:http://rarescale.org.uk/section468038.html

 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

 MUSLAB 2014. International Electroacoustic Music Exposition
Summary:Sound Art Workshops
Deadline: None
Date Posted: 18 June 2014
Details: Asociación Camin-Art and MUSLAB Ensemble invite composers of electroacoustic music, sound artists and visual artists to participate in the

Muestra Internacional de Música Electroacústica MUSLAB 2014
This exhibition will take place in October and November in Mexico City and the states of Tamaulipas, Nayarit and Veracruz in 11 different locations.
The International Electroacoustic Music Exposition / MUSLAB 2014 is a project that we do in order to help to recover public spaces as a way to promote social interaction and citizenship using artistic interventions with electroacoustic music and video projection on buildings (Video Mapping).

This exhibition is accompanied by a workshop in new technologies applied to art, open to students and artists interested in working with sound and image. This workshop will be adapted to the needs of each community where the exhibition is presented.

The event will be broadcast by Radio UNAM Mexico, Radio UAM, UAM TV nationwide and internationally via Internet. We also have the support of the Zero Records Productions label to record the event, that might end up publishing a selection of the submitted works in a CD-DVD.

Web Site:http://muslab.org/index.html#english

 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:http://www.duoscordatura.com/call-for-scores-2014-2015-season.html

 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:http://wildrumpusmusic.org/general-call-for-scores/

 2014 Summer Choral Composers Forum
Summary:Choral Composing Course
Deadline: None
Date Posted: 07 January 2014
Details: The Lehigh Choral Composers Forum, in association with the ACDA, offers a unique opportunity to composers of all levels to explore and develop their compositional voices in a weeklong intensive seminar held at Lehigh University's beautiful Zoellner Arts Center. The emphasis of the Forum is on the compositional process. Composers accepted into the program are asked to come with ideas, not finished pieces. In the course of the week, these ideas are developed, discussed, and tried out in rehearsals with the professional a cappella ensemble, The Princeton Singers.

Under the leadership of Steven Sametz and Tania León, composers are encouraged to be adventurous. This is an opportunity you may never have again: to hear a professional ensemble read through a portion of a work one day, get feedback, rework it, and hear it another way at rehearsal the next day.

Each morning, seminars led by Sametz and León help composers to develop their unique compositional voices. Afternoons, there is one-on-one time with each student sharing individual ideas with the mentor-composers. This is an environment that supports compositional risk-taking as well as building on what you already do well.

On Saturday, June 29th, an informal concert of the works created in the seminar will be held at Lehigh University's Baker Hall, a 900-seat state-of-the-art concert hall. Composers come away with a professional-quality recording of their works by The Princeton Singers.

The week also includes information and discussion on the ever-shifting world of music publication. How do we best get our works out there? How are publishers looking at new compositions? How can we best market our works to get as many performances as possible? Many works from past Lehigh Composers' Forums have been published by major publishing houses.

The seminar is co-sponsored by The American Choral Directors Association and is available for graduate credit through ACDA.
Web Site:http://lehighchoralarts.com/composersforum/

 Soundscape Festival 2013
Summary:Festival call for scores
Deadline: None
Date Posted: 31 December 2012
Details: Composers are invited to apply for the 2013 Soundscape festival in Italy submitting one score and the application form which can be found on the festival's website listed above.
Web Site:http://soundscapefestival.org/about/study/

 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/Theory-composition-and-conducting/11th-Joan-Guinjoan-International-Prize-for-Young-Composers

 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

 Queen Elisabeth Competition
Summary:Prize for concerti
Deadline: None
Date Posted: 15 August 2012
Details: Composers are invited to submit scores for piano and symphony orchestra with a maximum duration of ten minutes. The winning composition will be performed by winners of the Queen Elisabeth Piano Competition. More details on the competition and how to apply can be found on the organiser's website listed above.
Web Site:www.qeimc.be/cgi?usr=a82dgdpzc6&lg=en&pag=1692&tab=87&rec=4&frm=0&par=secorig1677&par2=atvorig0&id=6453&flux=6111162

 Lecturer in Music
Summary:University teaching post
Deadline: None
Date Posted: 09 July 2012
Details: The Department of Music at Princeton University has an occasional need for lecturers. Dependent on department need, responsibilities may include some or all of the following: teaching or co-teaching in areas such as Musicology, Ethnomusicology, Musical Performance, Jazz Studies, Computer and Electronic music, music theory and composition and/or coaching student ensembles and presenting a final concert to the University community.

Web Site:www.princeton.edu

 Assistant Professor of Theory/Composition
Summary:University teaching post
Deadline: None
Date Posted: 06 May 2011
Details: The University of Texas at Tyler is seeking to appoint an assistant professor of music responsible for teaching theory and aural skills, orchestration, form and analysis, counterpoint and applied composition. More details on the post and how to apply can be found on the university's website listed above.
Web Site:www.uttyler.edu

 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:http://www.northsouthmusic.org

 Walden School Creative Musicians Retreat
Summary:Summer course for composers
Deadline: None
Date Posted: 30 March 2011
Details: At the Creative Musicians Retreat (CMR), participants will take classes (including courses in The Walden School Musicianship Course), sing in chorus, write music, and improvise. Participants will be exposed to a variety of Walden musicianship materials, including acoustics, drills with intervals and triads, resolving structures, rhythms, solfege and harmonic analysis. Classes will also include topics in contemporary music, computer music and applied skills (conducting, improvisation and more). Composition lessons and tutorials will also be offered.

The faculty for the Creative Musicians Retreat (CMR) are drawn from veteran faculty of Walden’s renowned Young Musicians Program and Teacher Training Institute. They have all had extensive training through Walden’s Teacher Training Institute and are a diverse mix of improvisers, composers, performers and music scholars. All are acclaimed members of The Walden School faculty. The 2011 CMR faculty include:

Marshall Bessières
Dr. Caroline Mallonée
Dr. Loretta Notareschi
Sam Pluta
Leo Wanenchak

Members of The International Contemporary Ensemble (ICE) will be in residence at the Creative Musicians Retreat. A concert, open to the public, will bring a world-class performance ensemble to CMR and exciting music to participants’ ears. Participants will have the opportunity to write for and work with the ensemble. Everyone will participate in two Composers Forums, where they will have the opportunity to hear brand new music and discuss it with the performers, composers, visiting artists, faculty and Russell Pinkston, the workshop's Composer-in-Residence.

At the Creative Musicians Retreat, participants will have the opportunity for community singing and will train with solfège using Curwen handsigns. Acclaimed choral pedagogue Leo Wanenchak will lead daily choral rehearsals.

The proposed schedule of activities for the week is available by clicking on this link, which will open up a .PDF document. This schedule is subject to change.

The Creative Musicians Retreat will offer something for anyone wanting to invigorate their musical training, participate in a rich and diverse musical community, and to engage in creative music making, through musicianship, composition, improvisation, choral singing, computer musicianship and more. The program is not designed for the brand-new, novice musician, but it is also not designed exclusively for those with extensive training. The faculty and administration intend to offer a program appealing and worthwhile to a range of participants, across a variety of age groups, skill levels, and interests.

Participants will live in single rooms on the beautiful Smith College campus in one of their dormitory buildings. Meals will be taken in the Smith College dining facilities and will feature varied and delicious menus. Participants will have access to athletic and workout facilities, practice rooms in the music building for study, composition and practice, and enjoy the Smith College campus. We hope that all of the participants will join us for a hike on a nearby mountain on the final Saturday, and opportunities will be made available for participants to enjoy Northampton, a quintessential New England town.

The Walden School Creative Musicians Retreat offers more than just training. It will reinvigorate its participants on an academic and musical level, as well as invite them into a unique creative community. CMR offers a true experience, an exploration of self, of music – a connection with a vital creative community. Each participant will form meaningful musical and personal connections with others and with his/her own creative self.
Web Site:www.waldenschool.org/retreat/

 Assitant Professor of Composition
Summary:University teaching post
Deadline: None
Date Posted: 08 December 2010
Details: Colgate University is seeking a full time assistant professor of music composition. The succesful candidate will hold a doctoral degree and have experience of working in a digital music studio. The role includes teaching composition, digital music studio and traditional harmony. More details on the post and how to apply can be found on the university's website listed above.
Contact:Glenn Cashman, Chair Department of Music Colgate University 13 Oak Drive Hamilton, NY 13346
Web Site:www.colgate.edu

 MFA in ICIT at UCI
Summary:Courses in Integrated Composition
Deadline: None
Date Posted: 26 November 2010
Details: The Department of Music at the University of California, Irvine invites applications to its Master of Fine Arts program in Integrated Composition, Improvisation, and Technology (ICIT). The program is taught by a core faculty whose work embraces diverse forms, challenging conventional distinctions between classical composition, computer music, non-Western music, and jazz. Students receive close personal attention from faculty, and are encouraged to work on interdisciplinary projects. We seek students with a strong foundation who wish to develop creative work integrating a wide range of contemporary music and ideas.
Web Site:http://music.arts.uci.edu/icit