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Large Orchestra Competitions & Call for pieces

 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.


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.- €

 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

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 (
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.

The composer of the winning entry will receive a cash prize of £200 and an appropriate certificate.

 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.

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.

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

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.


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.

 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.

​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.

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

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 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.

 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

-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.

"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.

 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.


Maximum size of orchestra: – – 6.1.1 – (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.

Minimum: 10 minutes
Maximum: 15 minutes

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):



Hirschmattstrasse 13

6003 Luzern


• 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)

Hirschmattstrasse 13 | Postfach | CH-6002 Luzern
t +41 (0)41 226 44 25 | f +41 (0)41 226 44 60

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.

 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.

(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 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 :

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.

 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: // 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.


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

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.



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 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.


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.


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.



for 14 composers, born after 1 January 1985


- 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.

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


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*



No audition – selection upon application material

Application until 1 March, 2017


from 21 August to 10 September 2017 – 21 days


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 €.

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 €.


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.

Summary:Young composers' competition
Deadline: 01 June 2017
Date Posted: 12 January 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:

 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


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."

 Submit work (performance/installation/papers)
Summary:Call for installations/papers
Deadline: 24 February 2017
Date Posted: 12 January 2017
Details: Submission deadline: February 24th 2017

If you are unsure about submitting a contribution and would like to discuss it further in person first, please email

We encourage submissions from:
– Independent practitioners: anyone creating/producing/performing sound works.
– Activists engaged in strategies for influencing change.
– Scholars (musicologists, sociologists, pedagogists) who offer an academically critical perspective, framed by gender studies, queer theory, and race.
– Educators engaged in music technology curriculum delivery or development
– Industry (Sound and music interface development, festivals, clubs, studios, media production, audio development, music journalism).

The event will include sound installations, performances, sandpit conversations and papers in order to open up different avenues for the meaningful exploration of issues. It will lead to a special edition publication and serve as a springboard for new research collaborations.

Broad thematic prompts:

Understanding challenges to diversity and access to music and sound technology institutions: documenting evidence of inclusive and exclusive spaces
Strategies that disrupt institutional spaces
Defining institutions and spaces of music and sound technology
Feminist perspectives on music technology paradigms
Men and masculinity in sound and music technology
Creating social change and mobility for better access to all fields of music and sound technology
Submitting a performance – 15 to 30 minutes.
Please submit a 200 word introduction to your practice and a brief 200-500 word outline of your performance work (with examples) plus a summary of your technical requirements. These word limits are guidelines but we do ask that you communicate your intentions concisely with associated links.

Although we cannot pay for performances, we are able to offer up to five £100 performance bursaries to cover performer’s costs (in addition to the bursary outlined above) thanks to Athena SWAN. If you wish to apply for a performance costs bursary, please outline how you will use the funds. If your application is successful, we will let you know by May 25th 2017.

Submissions for fixed sound installations – to run continuously for two days.
We invite fixed and interactive media installations/electro acoustic works for 1 to 8.1 speakers (or other equipment you provide). Please submit a 300 word abstract (word count not including references) and technical details for performance. Works that responds directly to or engage with the following thematic points will be prioritised.

We have most equipment however if you require additional specialist resources there may be a small amount of funding available for installation costs. If you wish to apply for installation expenses please outline the requirement with your submission. If your application is successful, we will let you know by May 25th 2017.

Call for papers – a) 20 minute academic papers or b) 10 minute position papers (which might be grounded in personal practice or activism).
Please submit a 300-500 word abstract (word count not including references) stating clearly if you are submitting a or b. Work that responds directly to or engage with the following prompts will be prioritised.

– how do individuals and communities disrupt, transform or subvert established spaces/practices, and facilitate intersectionality, inclusivity and emancipation?
– are social structures shaping a gendering of music technology and sound fields, if so how?
– have music and sound technology institutions become gendered, and if so in what ways?
– what can be offered through a critical perspectives on men and masculinities in sound and music technology fields.
– how do individuals and communities navigate gendered spaces in these practices.
– how does a gendered environment influence personal, institutional, technological, cultural and sonic change?
– how can music production and education institutions promote and encourage diversity, impact on the range of people that access and in turn, shape them?
Submission Deadline
Submission deadline: February 24th 2017
You will be notified if your submission has been successful by May 5th 2017

Please send to:

 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


 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:

A non-refundable application fee of $35 applies.

For more info visit 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.

 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.


 Charlotte New Music Festival: June 19 – July 1
Summary:Festival Two-Week Workshop
Deadline: 24 February 2017
Date Posted: 28 December 2016
Details: The Composers Workshop is a unique two-week event that allows a select group of about 30 student and emerging composers to work closely with world-class performers and distinguished guest faculty in the creation of new works for performances at the Charlotte new Music Festival. Participants will hone their craft, build their professional networks, listen to a lot of exciting new music, receive valuable and pragmatic career advice from musicians with a wide range of experiences, and much more.

During the festival, each composer will have the opportunity to have two pieces that will be professionally performed by world-class musicians. Composers also have the option to collaborate with a choreographer in the Dance Co-Lab.

More info & to apply online

Check out the guest musicians and composers below!

Deadline to apply: February 24, 2017, 5pm.
Early bird applications ($25 discount): January 9.
(FREE to apply. Applications reviewed as they are received and acceptances are on a rolling basis.)

Guest Ensembles, Musicians, Composers
Beo String Quartet (Pittsburgh)
Loadbang (NY)
Out of Bounds Ensemble (SC)
Orlando Cela, Flute
Erinn Frechette, Flute
Tomoko Deguchi, Piano
John Allemeier
Craig Bove
Lawrence Dillon
Charles Nichols
Ronald K. Parks
(Others TBA, see website for details)

 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

-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.

 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:

 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).


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

• - 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).

 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.

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.

 The Sound of Memory Symposium: Sound-track/Sound-scape
Summary:Call for Sound Art
Deadline: 22 February 2017
Date Posted: 21 December 2016
Details: 22-24 April 2017

Zilkha Auditorium
Whitechapel Gallery
72-82 Whitechapel High Street
London E1 7QX
University of London
New Cross
London SE14 6NW

The Sound of Memory Symposium explores creative works and ideas situated at the interface of composers working in acoustic ecologies and artists working within social ecologies, where the primary engagement is a form of sonic ethnography. The overarching thematic is an exploration of how individual and cultural memory resonates in the shaping of social space. The Symposium will explore the broad domain of acoustic ecologies and soundscape’s engagement in place.

Keynote Speakers
Zilkha Auditorium and Goldsmiths, University of London
Hildegard Westerkamp
Sarah Turner
Lawrence Abu Hamdan

Keynote Concert for ‘Earth Day’ Saturday, 22 April 2017, Goldsmiths Great Hall
Hildegard Westerkamp

Concerts on 23 and 24 April 2017 will take place at Goldsmiths Great Hall, and will include commissioned works and a selection from the Call for works. Workshops, installations and listening rooms will be at various locations throughout the symposium at Goldsmiths.


Call for Submissions. Deadline 22 Feb 2017.
Proposals are invited for academic papers, study reports, posters, acousmatic compositions informed by the environment, sound art, sound installations, workshops and artworks pertinent to the symposium theme. PhD students and early career researchers are especially encouraged to submit.

Themes/ Forms
Memory and community: vernacular texture and social actant
Acoustic memory: hearing the past in the present
Trauma/ conflict: Acoustic echo/ Landscape / Ear witnessing
‘Space as a simultaneity of stories’: Speech that matters – word/text poetry

The above list is not exhaustive. The Sound of Memory Symposium aims to situate questions, foster inter-disciplinarity, explore sound, voice, text, listening, audibility and inaudibility, within musical, visual, social and cultural contexts.

Submission Instructions
Please submit your works through EasyChair:

Authors will be notified that their work is accepted by 17 March 2017.

Papers and Posters:
Deadline for submission of abstracts and short biography is on 22 February 2017. Presentations of papers will last for c.20 min with c.10 min for questions/discussion. Submit a pdf file containing your abstract (500 words max) and biography (150 words max) through EasyChair.
After selection, the deadline for submission of complete papers ready for publication at the symposium proceedings is on 30 March 2017.

Deadline for submission is on 22 February 2017. Submit a pdf file through EasyChair that contains the following:
– Technical requirements.
– Programme notes.
– Short biography (150 word max).
– A web link to an audio file (wav) of your work (Dropbox is preferred). A selection of works will be diffused live with our MAAST diffusion system that uses c.40 loudspeakers.

Installations, Sound Art, A/V
Deadline for submission is on 22 February 2017. Submit a pdf file through EasyChair that contains the following:
– Technical requirements.
– Programme notes.
– Short biography (150 word max).
– Documentation for the proposed work, and a web link with a recording or video clip as appropriate.
Some limited sound equipment may be provided, but artists are responsible for providing all necessary components for their installation, and they are required to confirm with the Organising Committee the feasibility of their setup at the installation space.

Proposals for workshops pertinent to the theme are invited.

Organised by
The School of Music and Fine Art, University of Kent

Sound and Image Research Centre (SISRC; University of Kent)
The School of Sound
Unit for Sound Practice Research (SPR; Goldsmiths, University of London)

Funded by
School of Music and Fine Art (SMFA)
Unit for Sound Practice Research (SPR; Goldsmiths, University of London)

Organising Committee
Sarah Turner, University of Kent, UK
Dr Aki Pasoulas, University of Kent, UK
Dr John Levack Drever, Goldsmiths, University of London, UK
Dr Holly Rogers, Goldsmiths, University of London, UK

Contact email address for enquiries:

 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
Log on to, 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.

 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


 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

 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 (, or call 07500791942, or visit

 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: (i.e., and then 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:

 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.


 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:

electric guitar
double bass

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: