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 Global Call for New Music for Human Rights
Summary:Competition for female composers
Deadline: 30 June 2018
Date Posted: 24 May 2018
Details: The UN Human Rights Office celebrates the 70th Anniversary of the Adoption of the Universal Declaration of Human Rights (10th December 1948) and has launched a worldwide campaign to promote, engage and reflect on human rights.
Gender inequality in the field of music is a worldwide challenge. Sustaining the women creating music will influence public opinion and stimulate their full participation in cultural life.

Fondazione Adkins Chiti: Donne in Musica has organised a “Global Call for New Music” for women composers and creators of music of all ages, nationalities and musical backgrounds. Participants will compose/create a song, choral or instrumental work inspired by the struggle for Human Rights. Ten works, chosen by an international Reading Commission and publicly announced at the end of July, will be performed and recorded in a Gala Concert in the Teatro Argentina, Rome, Italy on the 5th November this year.

“Art and human rights are universal languages and the UN Human Rights Office is pleased to count on the support of the Fondazione Adkins Chiti: Donne in Musica in the 70th anniversary campaign for the Universal Declaration of Human Rights. It is an occasion in which to reaffirm that the rights of women and girls are an inalienable, integral and indivisible part of universal human rights. We look forward to the engagement of all musicians, teachers and researchers in promoting women’s artistic empowerment.” says Laurent Sauveur, Chief of External Relations of the UN Human Rights Office.

Donne in Musica (Women in Music), born in 1978 as a grass roots movement, became an international non-profit Foundation in 1996. It promotes and mainstreams music by women composers, songwriters and music creators of all ages and nationalities working in all genres while coordinating a network of over 27,000 composers, affiliate organisations, performers, pedagogues, and musicologists in 113 countries.


The Fondazione Adkins Chiti: Donne in Musica encourages excellence in contemporary music and intercultural dialogue worldwide. Its pioneering role in the affirmation of the concept of the uniqueness of women as creators of music has been recognized by the Italian government, UNESCO, EUC, EUP, Arab Academy and UNESCO’s International Music Council. Its daily work includes:

1. Promoting knowledge and respect for women’s cultural diversity, creativity and rights
2. Advocacy and recommendations to protect and assist composers.
3. Capacity Building
4. Research and Publication of books and scholarly papers
5. Music for the Mind – supplying music for Conservatories in need

REGULATIONS:
1. This call is open to
o girls from 8 to 18
o women from 19 years of age.
2. Composers may submit works in any musical idiom or genre (contemporary, classical, traditional, popular, jazz, etc).
3. Texts (where applicable) must be accompanied by an English language translation.
4. Music must be written in traditional notation.
5. Works submitted may be new or previously performed and in PDF files.
6. Do not send recordings.
7. Each composer may send only ONE score.
8. Duration of work: maximum 6 minutes
9. Categories for submissions:
o Solo instrument
o Solo voice with one to four instruments
o Choir s.a.t.b with or without pianoforte
o Group/ensemble of 8 to 12 instruments
10. Please include, in Word file (Times New Roman 12), a 10-line curriculum with nationality, date and place of birth, residence and contact (email).
11. Girls of 18 years of age or younger must accompany application with a signed letter from their family, school or teacher authorizing the participation, and confirming this is the composer’s own original work.
12. Deadline for submission: 30th June 2018
13. There is no submission fee
14. Please send scores to: controcanto@donneinmusica.org marking submission – GWIM4Human Rights

THE UNIVERSAL DECLARATION OF HUMAN RIGHTS (UDHR) is a milestone document in the history of human rights. Drafted by representatives with legal and cultural backgrounds from all regions of the world, it set out, for the first time, fundamental human rights to be universally protected. The Declaration was adopted by the UN General Assembly in Paris on 10 December 1948.Human rights are rights inherent to all human beings, whatever our nationality, place of residence, sex, national or ethnic origin, colour, religion, language, or any other status. We are all entitled to our human rights without discrimination. These rights are interrelated, interdependent and indivisible.

Please meditate on:
• All human beings are born free and equal in dignity and rights
• Everyone has the right to life, liberty and security
• Everyone has the right to freedom of thought, conscience and religion
• Everyone has the right to education
• Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to the protection of the moral and material interests resulting from any literary or artistic production of which he or she is the author.

Web Site:www.standup4humanrights.org/en...

 Busan Maru International Music Festival
Summary:Free style competition
Deadline: 30 June 2018
Date Posted: 24 May 2018
Details: Free style using any instrumentation and of about ten minutes in duration.

Application fee: $100

Full details available here:
Web Site:bmimf.co.kr/community/communit...

 impuls International Composition Competition
Summary:Commission Opportunity for Young Composers
Deadline: 31 October 2018
Date Posted: 16 May 2018
Details: impuls promotes and supports young composers not only within its Academy, but also through the impuls Composition Competition.

impuls commissions up to 6 new works for ensemble every second year from young composers selected by a jury. Subsequently these composers are invited to take part in the impuls Composition Workshop in Vienna and Graz – where their new works are collectively rehearsed and discussed extensively with musicians of world-class ensembles such as Klangforum Wien – as well as to the premiere of their new pieces within the impuls Academy and Festival in Graz. impuls also intends to support the composers´ works beyond that through recordings respectively broadcasting and additional concerts.

For information on composers selected from our last call back in 2016 please have a look at Composers for 2019.

For information on former composers selected for this program, please have a look at Archives.


NEXT CALL: May 31st to October 31st, 2018.


Apart from commissions coming along with the competition impuls commissions other young composers in the framework of projects such as Text im Klang and Ulysses or in cooperation with partners like the Ernst Krenek Institute. Further infos on these activities can be found at Archives as well.
Web Site:www.impuls.cc/competition.html

 FRAME DANCE COMPOSER COMPETITION
Summary:Dance company call
Deadline: 15 August 2018
Date Posted: 16 May 2018
Details: Frame Dance is committed to using new, original music in all its productions. Frame Dance has held an annual competition since 2011 to select pieces of music for its upcoming seasons. The contest is open to open to any composer who is a U.S. citizen or permanent resident. The competition offers outstanding, emerging composers a forum for their recognition as well as an opportunity to collaborate with the dance performance company. The winning composer’s music – a completed, unpublished piece, becomes the basis of a new original work at Frame Dance – film and/or live performance. This successful competition has attracted exciting new composers from the U.S. and across the world to collaborate with Frame Dance. Houstonians are exposed to the work of new composers who, in turn, have their music fully produced and choreographed. Some of these collaborations have become particularly fruitful and have spurred even more work with Frame Dance and grants from funders like the Aaron Copland Fund for Music and the Charles and Joan Gross Family Foundation.
Web Site:www.framedance.org/portfolio-i...

 SCI 2019 National Conference (Univ. of New Mexico) / Robb Composers' Symposium
Summary:Conference call for pieces in multiple categories
Deadline: 01 June 2018
Date Posted: 09 May 2018
Details: The University of New Mexico and the Robb Musical Trust are pleased to invite composers of all ages and nationalities to submit scores for performance at the 2019 SCI National Conference (March 28th to March 31st, 2019) as part of the 48th annual John Donald Robb Composers’ Symposium.

Special guest performers include:

The Arditti String Quartet
Sound Icon
Emanuele Arciuli
Chatter
New Mexico Contemporary Ensemble
UNM Music Department ensembles and performance faculty.

SUBMISSION PROCESS
[1] Composers may submit up to 3 scores that fit into any of the following categories:

A. Pieces for 1-3 players drawn from the following (1 player per instrument): Flute, Oboe, Clarinet, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba, Percussion, Violin, Viola, Cello, Baritone Voice, Soprano Voice, Piano

B. Pieces for one of the following UNM ensembles: Brass Quintet, Woodwind Quintet, Saxophone Quartet or Ensemble (up to 12 players), Horn Quartet, Percussion Ensemble up to 3 players (set-up taken into consideration), Big Band (4-4-5, Bass, Pno, Gtr, Drms, AuxPerc)

C. Works for the Arditti String Quartet (only 1 per composer)

D. Works for Sound Icon: All or any subset of Violin or Viola (one player), Clarinet, Saxophone, Bassoon, Piano, Percussion

E. Works for Chatter: All or any subset of Flute, Horn, Violin, Cello, Percussion

F. Works for New Mexico Contemporary Ensemble: All or any subset of Clarinet/Bass Clarinet or Piano (one player), Trombone, Percussion

G. Fixed media works for 2 or 4 channels or live-electronic works which the composer performs. If submitting a live performance work which has no written score, please upload a description of the piece as a PDF in place of a score. For live performance works, composers should plan to bring their own equipment. All media works submitted must include a description of set-up requirements.

H. Works for which the composer is able to provide all necessary performers.

[2] Pieces submitted should be no longer than 12 minutes. Composers are encouraged to include pieces between 5-10 minutes in length.

[3] Pieces should be submitted with recordings.

[4] Scores must be submitted as PDFs. Each score (composers may submit up to three) should be a single multi-page PDF document. Selected composers must provide all required performance materials upon selection notification. The Composers’ Symposium will not assume rental costs.

[5] Composers selected are expected to attend the National Conference (at the University of New Mexico in Albuquerque, NM) from March 28th to March 31st. Composers not attending the conference will not be included on the program.

[6] Through the generosity of the Robb Musical Trust, there is no fee for submission and all events are made free and open to the public. Attendance of the conference will require a $50 registration fee due on January 1st, 2019. Composers attending are expected to take care of their own travel and accommodations.

[7] Composers not already members of SCI are expected to join by the date of registration.

[8] Deadline for submission is June 1, 2018. Programming decisions will begin to be announced starting on Sept. 15, 2018.

Questions about the conference may be directed to the Robb Musical Trust Program Specialist, Eva Lipton-Ormand: admin@robbtrust.org.

Web Site:www.newmusicengine.org/categor...

 2018/2019 Composition Competition
Summary:Brass Band Competition
Deadline: 29 June 2018
Date Posted: 02 May 2018
Details: It is with great pleasure that we announce that we are again running our bi-annual Composition Competition event. We are extremely proud to run this event again and we invite all composers young and experienced to enter. We love being that so many of the composers and compositions have been taken from this event and played in other bands around the world and we feel incredibly honoured to have had a tiny part in their journeys so far. We are extremely excited to see the successes of all our composers and love that we have been able to play some of their incredible works so congratulations to all.

We are again offering a cash prize for 1st, 2nd and 3rd places plus a wonderful night or premieres and beautiful music.

Entries Close (ENTRY FORMS ONLY): 29th June 2018

Review (optional): TBC

Final Submissions: 3rd May 2019

Gala Concert: Date and Venue to be confirmed (June/July 2019)

If you have any questions please do not hesitate to contact our Composition Competition Coordinator Vanessa Midgley via email at vanessamidgley@gmail.com
Web Site:thefeds.org.au/index.php/lates...

 Global Women in Music for Human Rights
Summary:Competition for female composers
Deadline: 30 June 2018
Date Posted: 26 April 2018
Details: The UN Human Rights Office celebrates the 70th Anniversary of the Adoption of the Universal Declaration of Human Rights (10th December 1948) and has launched a worldwide campaign to promote, engage and reflect on human rights. Gender inequality in the field of music is a worldwide challenge. Sustaining the women creating music will influence public opinion and stimulate their full participation in cultural life. Fondazione Adkins Chiti: Donne in Musica has organised a “Global Call for New Music” for women composers and creators of music of all ages, nationalities and musical backgrounds. Participants will compose/create a song, choral or instrumental work inspired by the struggle for Human Rights. Ten works, chosen by an international Reading Commission and publicly announced at the end of July, will be performed and recorded in a Gala Concert in the Teatro Argentina, Rome, Italy on the 5th November this year.

GLOBAL CALL FOR NEW MUSIC for HUMAN RIGHTS
• This call is open to (a) girls from 8 to 18
(b) women from 19 years of age. 

• Composers may submit works in any musical idiom or genre (contemporary, classical, traditional, popular, jazz, etc). 

• Texts (where applicable) must be accompanied by an English language translation. 

• Music must be written in traditional notation. 

• Works submitted may be new or previously performed and in PDF files. 

• Do not send recordings. 

• Each composer may send only ONE score. 

• Duration of work: maximum 6 minutes 

• Categories for submissions: 
Solo instrument
Solo voice with one to four instruments Choir s.a.t.b with or without pianoforte Group/ensemble of 8 to 12 instruments 

• Please include, in WORD file (Times New Roman 12), a 10-line curriculum with nationality, date and place of birth, residence and contact (email). 

• Girls of 18 years of age or younger must accompany application with a signed letter from their family, school or teacher authorizing the participation, and confirming this is the composer’s own original work. 

• Deadline for submission: 30th June 2018 

• There is no submission fee 

• Please send scores to: controcanto@donneinmusica.org marking submission – GWIM4Human 
Rights 


THE UNIVERSAL DECLARATION OF HUMAN RIGHTS (UDHR) is a milestone document in the history of human rights. Drafted by representatives with legal and cultural backgrounds from all regions of the world, it set out, for the first time, fundamental human rights to be universally protected. The Declaration was adopted by the UN General Assembly in Paris on 10 December 1948.Human rights are rights inherent to all human beings, whatever our nationality, place of residence, sex, national or ethnic origin, colour, religion, language, or any other status. We are all entitled to our human rights without discrimination. These rights are interrelated, interdependent and indivisible.

Please meditate on:
-All human beings are born free and equal in dignity and rights
-Everyone has the right to life, liberty and security
-Everyone has the right to freedom of thought, conscience and religion
-Everyone has the right to education
-Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to the protection of the moral and material interests resulting from any literary or artistic production of which he or she is the author.

Web Site:www.standup4humanrights.org/en...
Email:controcanto@donneinmusica.org

 Rapido Competition Contest
Summary:14 day composing competition
Deadline: None
Date Posted: 26 April 2018
Details: The first 100 composers who register in each of our four regions will be able to participate in this cycle of the national Rapido!® 14-Day Composition Contest! Sign up today to ensure your spot and your chance to be the Grand Prize Winner! The registration fee is $40.

The winner receives a $7,500 cash prize, premiere performances from the Atlanta Chamber Players, Boston Musica Viva, Detroit Chamber Winds & Strings, Voices of Change, AND a premiere of a new orchestral work by the Atlanta Symphony Orchestra!
Register for Rapido!

What happens after I Register?
On June 4 at 9am ET, you will receive an email with guidelines for the piece to be composed. The required instrumentation, form, etc will be included. You will then have just 14 days to compose an original short work that follows the guidelines. The scores will be submitted electronically by June 17.

The entries from each Region will be put through a blind judging process to select the 3 Regional Semi-Finalists. Those 3 will move on to compete in a Regional Semi-Finals performance with live judges. One Finalist from each region will move on to compete in the National Finals in Atlanta, GA on January 20, 2019. And new this year -an additional Finalist will be selected to join them!

Which region do you live in?
(Students may choose to register in either the region where they attend school, or their home region.)

Regional Breakdown by States:

• Atlanta Chamber Players - Southeast Region:
AL, FL, GA, KY, MS, NC, SC, TN, VA, WV, MD, DE, Wash DC
• Boston Musica Viva - Northeast Region:
CT, MA, ME, NH, NJ, NY, PA, RI, VT
• Detroit Chamber Winds & Strings - Northwest Region:
AK, IA, ID, IL, IN, MI, MN, MT, ND, OH, OR, SD, WA, WI, WY
• Voices of Change – Southwest Region:
AR, AZ, CA, CO, HI, KS, LA, MO, NE, NM, NV, OK, TX, UT

Web Site:atlantachamberplayers.com/rapi...

 Alvarez Chamber Orchestra 'Voice your opinion'
Summary:Compose an original vocal work of any duration and scale
Deadline: 15 September 2018
Date Posted: 12 April 2018
Details: 9th Annual Composition Competition:
Compose an original vocal work
of any duration and scale,
from a solo sung piece to chamber orchestra* with voices.
First prize - £1000
Mullord Award - £500
Closing Date 15th September 2018

For the ninth year running, the Álvarez Chamber Orchestra (ÁCO) is inviting composers of any age and nationality to submit works for an annual composition competition.
• There is no specification as to the length or nature of the work apart from the inclusion of a vocal element.
• The voice part may be a setting of any text or pure vocalisations: an English translation should be provided for any non-English text.
• If electronics are used, if not notated conventionally and fully in the score, a CD or mp3 should be supplied.
• A recording of the work should also be submitted if the score is notated graphically or in any other unconventional format.
• There is no restriction on the number of works submitted by each composer but each piece will incur the same entry fee of £26.
• The work may be a new piece or may have been written at any time in the composer’s career.
• Scores may be submitted electronically as pdf files to the address of competition administrator Trevor Huntley:

trevor.huntley@btinternet.com

• Each piece should have only its title displayed on the cover. The identity of the composer, including address, email, phone number, biography, photograph and programme notes should be placed in a separate email marked with the same title and sent to the same address.
• Scores may also be submitted as hard copies which should be sent to the ACO company address:
5 Rensburg Road London E17 7HL
• In addition to the two awards mentioned above, there is the prospect of a performance by the Álvarez Chamber Orchestra at a future season.
• The deadline for posted entries is 15th, 2018 September - posted scores arriving after that date will be accepted if postmarked with the closing date.
• Composers submitting their scores via a link on a file sharing site such as Dropbox should ensure the files remain uploaded until adjudication has been completed.
• All entries that the ACO receives will be acknowledged prior to adjudication. Composers will be notified if any files of an electronic submission are corrupt or missing. It is the responsibility of the composer to provide the ACO with pdf files that can be opened. If the composer is unable to supply the requested downloadable and readable files within the time limits detailed above, the entry will be deemed disqualified.
• Entries should not contain a pseudonym; all entries will be allocated a unique reference number by the ACO competition administrator to ensure the composer's identity remains unknown. Identities will only be revealed to the adjudicators once their final decision has been made.
• Please contact Trevor Huntley if further clarification is needed.
• The maximum* size of the orchestra is as follows:

2 flutes (2nd doubling piccolo)
2 oboes (2nd doubling cor anglais)
2 clarinets (2nd doubling bass clarinet)
2 bassoons (2nd doublng contrabassoon)
2 horns
trumpet
trombone
tuba
timpani (doubling second percussionist)
percussion (one player)
harp
guitar
any keyboard
6 violins
2 violas
2 cellos
1 double bass.

• The vocal component can range from a solo voice
to a chamber choir of mixed or single-sex voices.
• Minimum specification is a single voice.

The entry fee is £26 per work. Payments may be made via Paypal by clicking below



Web Site:www.fiveseasonsmusic.co.uk/Voi...

 BASEL COMPOSITION COMPETITION
Summary:Chamber/symphony orchestra call
Deadline: 31 May 2018
Date Posted: 12 April 2018
Details: FOREWORD
The “Basel Composition Competition” (BCC) is an international event held biennially in collaboration with the Paul Sacher Foundation in Basel to honour works for chamber and symphony orchestra. Following the success of the inaugural BCC in February 2017, a second competition is to be held from 20 to 24 February 2019 under the directorship of Jury President Michael Jarrell. The founding president Wolfgang Rihm will also be a member of the Jury.

1 REGISTRATION

1.1. ELIGIBILITY
The Competition is open to all composers, with no limitation as to age or nationality.

1.2. SUBMISSION OF WORKS
The BCC will consider new orchestral works which have never previously been performed, with the following instrumentation:

Chamber orchestra:
Woodwind: 2-2-2-2; Brass: 2-2-0-0; a maximum of two musicians for Timpani and Percussion; Strings: 6-6-4-4-2

The following woodwind instruments may be included (also as a secondary instrument): Flute, Piccolo, Alto Flute
Oboe, Cor Anglais
Clarinet, E Flat Clarinet, Bass Clarinet

Bassoon, Contrabassoon
A work composed solely for strings with the above string instrumentation is also acceptable.

A list of prohibited percussion instruments can be downloaded from the website www.baselcompetition.com.

Symphony orchestra:
Woodwind: 3-3-3-3; Brass: 4-3-3-1; a maximum of three musicians for Timpani and Percussion; Harp (1), one musician for Celesta and Piano, Strings: 8-8-6-5-4


The following woodwind instruments may be included (no secondary instruments are permitted!): Flute, Piccolo
Oboe, Cor Anglais
Clarinet, Bass Clarinet

Bassoon, Contrabassoon
A list of permitted percussion instruments can be downloaded from the website www.baselcompetition.com.

No instrumentation or instruments other than those specified will be deemed acceptable; this applies to both the chamber orchestra and the symphony orchestra instrumentation. Works must not exceed 20 minutes in duration.

1.3. REGISTRATION FEE
Applicants must submit a registration fee of CHF 50.

1.4. REQUIRED DOCUMENTATION
• Filled in online application form

2 TIMELINE AND DEADLINES
31 May 2018
, 31 August 2018
, 31 October 2018, 30 November 2018, 17 February 2019, 20 February 2019, 24 February 2019

Registration and payment deadline
Deadline for submission of the full score
Announcement of nominated works
Deadline for submission of the orchestral parts
Nominated composers travel to Basel, Switzerland (obligatory!) Start of the BCC
Final round of the BCC

Web Site:baselcompetition.com/eng/BASEL...

 International Competition for Young Performers – Composers Oskar Rieding
Summary:Composing competition with 4 age categories
Deadline: 01 June 2018
Date Posted: 29 March 2018
Details: 1. International Competition for Performers – Composers Oskar Rieding is open for young musicians of all nationalities, who likes to compose and perform their own compositions. The primary goal of the competition is to support young performers on their music journey. Candidates can apply with one solo or chamber work for any instrument(s) /or vocal/, without electronics. The finals will take place in a wonderful hall of Narodni dom in Celje. Oskar Rieding chose this idyllic city for his home after he finished his orchestral career in the Budapest’s opera house and he wrote several important violin pieces there. These pieces still make part of repertoires for young violinists all around the world. It was in Celje where the composer wrote also one of his most performed pieces of the violin pedagogic repertoire – violin concert in H minor op. 35.

The organizing committee of the competition wants to offer to young musicians a new creative platform which will promote the importance of composing as an integral part of the development of each young musician. In this way, we will also symbolically revive the tradition of Oskar Rieding, a pedagogue, composer and performer of his own works. Performing your own piece on the stage is a very special experience.

We are looking forward to meeting you, dear young composers & performers and hearing your music!

Music is our companion throughout our life. It’s the beginning and the end. It’s a feeling and essence of many who chose it for their way of life.

Application and competition rules

A complete application for the 1. International Competition for Performers – Composers Oskar Rieding in Celje must include:
1st International Oskar RIeding Competition for Young Musicians – Composers is open for competitors of all nationalities, who likes to compose and perform their own compositions.

1. Candidates can apply with one solo or chamber work for any instrument(s) /or vocal/, without electronics. Competitior must be 20 years or younger ( exeption is the special – IV category *).
2. Competition will be divided in 4 age categories:

I category up to 10 y.o.
II category up to 15 y.o.
III category up to 20 y.o.
VI category from 21 y.o. – the special category Oskar Rieding

3. * Special category “Oskar Rieding”.
The competition has a special category for music pedagogues who are composing for their students. The category is named after a great pedagogue and composer Oscar Rieding, who devoted most of his work to his students. Only the lower age limit is set in this category: applicants from 21 years can apply. There are no upper age limits for candidates in this category.

4. Competition piece. In all categories, a candidate can apply with one composition, which can be written for a solo performer or for a chamber composition (two or more members) – in any classical music style or genre. The rule of the contest is that the author must also be the performer of the registered musical work. He/she can perform it as a soloist or as a member of the chamber group.
5. If a young musician ( I category) is getting help of a pedagogue in the process of own composing, this should be mentioned in the application.
6. In the special category IV it is desirable that a pedagogue`s pupil also participates in the performance of the declared composition.
7. The complete n-line application for the competition must include:

A filled-in application form on the competition website with enclosed:
• a YouTube link to the video recording of the candidate not older than 6 months on the day of application.*The video needs to be public (YouTube channel settings on “public”). There is a possibility to send the video recording in the DVD format. If so, please contact us before sending it via info@riedingcompetition.com
• score of the composition in PDF format. Finalists must prepare scores in Sibelius or Finale format.
8. The competition piece should not exceed:
10 min. for the I category,
15 min. for II category,
20 min. for III category,
25 min. for IV category – The special category “Oskar Rieding”.

9. A copy of an identity document of the candidate and information (name, surname, title) of a pedagogue.
10. A proof of payment of the registration fee. *Registration fee for the competition is 65 euros for the I,II and III category and 70 euros for the IV category. After you finish your on-line application you will get your invoice for fee payment. The registration fee must be payed in the period of 5 days after you get the invoice from us. The Organizing Committee will award 5 free registration to pupils from families, who apply for this type of assistance.
11. The last day for submitting your application is 1 June 2018.
12. The organizational committee will accept only complete applications.
13. The finalists will be informed about their participation in the finals until 5 June 2018 via e-mail stated in the application.
14. The international competition will take place in two rounds:

First round will take place online on the website of the competition between 15th March and 1th June 2018. During this period the participants can send their video applications on the competition address. After the completion of applications an international jury will meet and grade the videos.The competitors will be given a gold, silver or bronze award according to their points.

All the participants will receive a certificate for participation at the 1st International Competition for Young Violinists Oskar Rieding. The citations and certificates for participation will be sent to participants by post or by e-mail. A pedagogue and a piano accompanist will also receive a certificate for participation of a student at a competition.

The gold award winners from all categories will go to the finals.

The finals will take place on 29 and 30 June 2018 in the National Hall in Celje, Slovenia; on the same day after the finished final performances there will be the award ceremony.

Solemn proclamation of the final winners of the 1st International Competition for Young Violinists Oskar Rieding will be after the final performances at the National Hall in Celje, Slovenia.

15. The finalists themselves cover their travel and subsistence expenses. The organiser will inform the finalists about possible favourable accommodation.
16. The decisions of the competition jury are final.
17. The jury may distribute any of the prizes among more contestants (ex aequo).
18. The jury can determine additional prizes for competitors.
19. By submitting the application form, the candidate and the parents or caretakers agree with the above stated rules.
20. By submitting the application for the competition, the candidate and the parents or caretakers consent to free public display of their video and audio recordings, photographs and achievements.They also allow to print the competition piece by the publisher, chosen by the jury.
21. For all questions or disputes is responsible the organisational committee of the competition. Its decisions are final.

For additional information send us an inquiry to: info@riedingcompetition.com
We reserve the right to change these terms.

Web Site:riedingcompetition.com/competi...

 Synchromy
Summary:Call for scores based on writer's works
Deadline: 01 August 2018
Date Posted: 29 March 2018
Details: Synchromy announces a call-for-scores based on the writing of Ursula K. Le Guin

We are planning a concert of music to celebrate the life and work of author Ursula K. Le Guin. This concert will be presented during the 2018-19 season in Los Angeles. We are seeking chamber music only, no large-ensemble or choral works will be considered. Completed scores are preferred, but works-in-progress will be considered in consultation with the composer.

The details:
• There is no fee for entry, and submitted scores should not be anonymous.
• UPDATE – Scores should be directly related to the work or life of the writer Ursula K. Le Guin. Some examples

o A setting of text written by UKL
o A piece inspired by a specific work created by UKL
o A piece written to honor UKL
• Scores should be submitted by August 1st, 2018. In the case of works-in-progress, whatever is available should be submitted, along with a description of the remaining work to be completed.
• Recordings are preferred, MIDI realizations are acceptable.
• There is not a set instrumentation list, but keep in mind the practicalities will be a factor in programming, so large or unusual instrumentations may prevent us from being able to program your work at this time, though we’d still like to see it!
• If you have set Le Guin’s text, please provide a signed statement saying that you have been authorized to do so by either Le Guin herself or her literary managers.
• Submit scores and recordings (links to soundcloud or similar streaming options are fine) by August 1st, 2018 to synchromysubmissions@gmail.com . Scores that do not meet this deadline can still be submitted, but might not be considered.
• There are no age limits or nationality/residency requirements. All are invited to share their work.
• Synchromy will not be able to provide transportation, commissioning or rental fees for any composers whose work is selected for performance. Synchromy may not choose to perform any works submitted at all.
• Selected scores and parts must be completed and delivered to Synchromy by October 1st, 2018 unless other specific arrangements have been agreed to by both parties.

Questions? Contact us at synchromy@synchromymusic.org. We look forward to seeing your work.

Web Site:synchromymusic.org/ukl/

 2018-19 CINTAS Foundation Brandon Fradd Fellowship in Music Composition is
Summary:Award for artists of Cuban citizenship or direct lineage
Deadline: 01 June 2018
Date Posted: 22 March 2018
Details: The CINTAS Foundation Brandon Fradd Fellowship in Music Composition competition is offered annually.

The winner of this Fellowship in Music Composition will be eligible to have their work, if suitable, performed as part of the New Music Miami ISCM Festival led by Orlando Jacinto Garcia and being held in 2020 at the FIU Miami Beach Urban Studios. The corresponding experience and exposure of such prestigious performances represents a highly enriched award to the winner.

Candidates must submit a minimum of 3 and a maximum of 5 recordings, two should be recent works. Recordings must accompany scores. Scores must be digitally scanned in pdf form. A list of all works (including the date of each) must be provided, showing which works have been performed or read. Please do not submit commercially sold cds or compilations. Compositions on microfilm or loose sheets will not be accepted. For the purpose of historical value, the winner is expected to submit signed and dated bounded scores and an accompanying CD to be added to the CINTAS Fellows Collection.

Since 1963, the CINTAS Foundation has awarded over 24 fellowships in music composition. In addition to supporting Cuban artists, many early in their careers, the CINTAS Foundation also maintains a growing collection of works by past awardees and other esteemed Cuban artists. For the purpose of historical value and documentation, award recipients are encouraged to submit signed music scores (i.e., representative samples of their work) to be added to the CINTAS Fellows Collection after the grant period.

Application Guidelines - Fellowship in Music Composition

Eligibility: Creative artists of Cuban citizenship or direct lineage (having a Cuban parent or grandparent). Applicants engaged in research, students, or performing artists are not eligible to apply for CINTAS Fellowships.

All forms can be filled out online and saved to a cd, dvd or flash drive for submission. Please also print and sign copies of the application forms and include with your application package.

Application

The original application must be submitted. The application may be completed in English or Spanish. Please complete all sections of the application.

Artist's and Project Statements

Prepare two narrative statements: The Artist's Statement describes your personal history, your development as an artist, and your plans for the future. The Project Statement describes the project or activity that you would undertake if awarded a CINTAS Fellowship. Please include a timeline for the project, and identify other sources, where appropriate, of funding for the project.

Letters of Recommendation

Candidates must submit two letters of recommendation with the application. Letters may be submitted separately, if necessary, but must be received by the application deadline. Each letter of recommendation must be submitted in a sealed envelope, with the recommender's signature across the seal. Letters of recommendation must be written in English or Spanish.

Submission of Work Samples

Submission of Work Samples: All materials should be submitted to the CINTAS Fellowship Selection Program. Candidates are encouraged to send their materials electronically to the email address below or ship portfolios by express mail if necessary. Acceptable methods include Dropbox, Hightail, flash drive or CDs/DVDs. Materials must be accompanied by the Work Sample Form. Pieces should be carefully itemized on this form. Limit the submission to 5 (five) samples.

Send material to:

Laurie Escobar
CINTAS Administrator
MDC Museum of Art + Design
Freedom Tower at Miami Dade College
600 Biscayne Blvd.
Miami, Florida 33132

Tel: 305-237-7901
Email: lescobar@mdc.edu
Web Site:cintasfoundation.org/fellowshi...

 Wilde Lieder - Marx.Music
Summary:International call for scores
Deadline: 29 June 2018
Date Posted: 01 March 2018
Details: Karl Marx 200
Karl Marx was born in Trier on 5 May 1818. He became a journalist, editing the Rheinische Zeitung in Cologne, which was prohibited by the Prussian censor. Marx and his wife Jenny were forced to leave the country, and he spent the rest of his life in London as a refugee, without nationality or passport.

He synthesised economic and philosophical thinking and how they determine our whole way of life. He foresaw how inequality of ownership leads inexorably to an inescapable cycle of crises, to globalisation, and to alienation from work. In partnership with Friedrich Engels he wrote the Communist Manifesto, intended to support workers’ movements on an international scale. Enlightening the proletariat about their situation, they felt, would provoke action to gain control over the means of production, finally facilitating truly free work. Karl Marx died in 1883, long before working people anywhere in the world acquired power or states were founded, supposedly, based on his studies.

As a student, Marx published his own poems in a collection entitled Wilde Lieder (wild songs); later, he hardly ever wrote about aesthetics, but generations of artists would engage with how they could contribute to the advance of society. Could music describe his findings? Can it engage with today’s needs?

International Call for Scores
On the bicentenary of his birth, we invite contributions to commemorate Marx’s legacy through music: choose a quote from Marx’s writings to set to music, capture some essence, reflect on his life and work, their consequences, or their future development. Please visit bcmg.org.uk/wilde-lieder for full details.

Prizes will be awarded in three categories:

1. Ensemble of up to six instruments (fl, cl/bcl, pi, perc, vl, vcl) with or without soprano or ensemble of up to fourteen instruments (fl, ob, cl/bcl, bsn, hrn, trp, trb, pi, perc, 11111) with or without baritone, maximum duration 12 minutes
2. Duo of soprano or baritone and one instrument (fl, cl/bcl, trp, perc, vl, vcl), maximum duration 8 minutes
3. Sound art / radiophonic composition: stereophonic, for broadcast on hr2-kultur (Hessischer Rundfunk – Radio Frankfurt, public service radio) and at public performances and installations, maximum duration 10 minutes.
World premieres will be given on 1 and 2 September 2018 in Trier, and UK premieres in Birmingham.

Conditions of entry
The jury may at their discretion distribute the prize money otherwise depending on the distribution of submissions; their decision is final and not subject to legal recourse.

Prizewinners must be present at the first performance of their works, and are obliged to supply all the necessary materials for performance in the event of their work being selected no more than seven days after being notified of selection, currently scheduled for the third week in July 2018. By accepting the prize money the artist consents to his/her radiophonic soundart piece being broadcast by hr2–kultur (Hessischer Rundfunk–Radio Frankfurt) in any area and for an unlimited period; the association also retains the right to play the work during its public events without being liable to pay a composer’s fee (performances will be, registered with the respective performing rights societies, e.g. GEMA).

How to enter
Works must be submitted anonymously (identified only by a number corresponding to that on an envelope containing the name, address, telephone number and email address along with a CV and photograph of the composer) and in TRIPLICATE, by postal mail and in digital form, by 29 June 2018, 09.00am (British Summer Time UTC+1) at the latest to:

Birmingham Contemporary Music Group
CBSO Centre
Berkley Street
Birmingham
B1 2LF
United Kingdom

Please mark your envelope: Marx Call for Scores

Digital submissions should be sent to: scores@bcmg.org.uk.

Web Site:www.bcmg.org.uk/commissioning/...

 Concorso Smareglia
Summary:Competition with 2 categories
Deadline: 31 May 2018
Date Posted: 22 February 2018
Details: 1. The Accademia di Studi Pianistici «Antonio Ricci» of Udine, in collaboration with the Casa Musicale Sonzogno of Milan, the Archivio Smaregliano of Udine, the Teatro Nuovo “Giovanni da Udine” and the Conservatorio Statale di Musica Jacopo Tomadini of Udine and with the sponsorship of the Regional Council of Friuli Venice Giulia, Udine Town Council, the Fondazione Friuli, the Fondazione Carigo and the Società Filologica Friulana are pleased to announce the

5th ANTONIO SMAREGLIA INTERNATIONAL COMPOSITION COMPETITION

2. The Competition is divided into two sections as follows:


Section A: compositions for solo piano of between 5 and 10 minutes.

Section B: compositions for solo voice and piano of between 3 and 6 minutes.

For section B, the choice of text is at the discretion of the composer, provided that: - the text has been published (or translated) in one of the following languages: Italian, French, English, Spanish or German;
- the text is in the public domain, or the composer has requested and obtained the author’s and/or translator’s explicit permission to use the text (or the permission of his/her legal heirs and/or legal representatives, see § 7)

In the 5th edition of the competition, there is a special prize, that will be awarded to composition for solo voice and piano of between 3 and 6 minutes, with a text in the Friulan language. The choice of text is at the discretion of the composer, provided that the text is in the public domain, or the composer has requested and obtained the author’s explicit permission to use the text (or the permission of his/her legal heirs and/or legal representatives, see § 7).

The Società Filologica Friulana, patronage of the competition, can provide a selection of texts in Friulan language with a possible translation in Italian, German or English, and also audio files with reading of the texts themselves (contact to biblioteca@filologicafriulana.it).

3. The competition is open to participants of every nationality and there are no age restrictions applied. The works presented may have been performed previously but must be unpublished and not have been awarded prizes, awards or special mentions in previous competitions.

4. The Jury Commission (five members) will consist of eminent musicians of international acclaim and a representative of the Casa Musicale Sonzogno of Milan.

5. Competition entries, with all file specified in point 7, must be delivered no later than 31 May 2018, only by electronic means and in PDF format, to:

concorsosmareglia@libero.it

6. No entry fee is required.

7. The title and the name and the surname of the author must be evident on the frontispiece of each composition.
Every e-mail must have in attachments the following documentation in PDF format: - the particulars and contact details of the composer (including telephone number and e-mail address);

- a ID cart copy;
- a written statement, signed by the composer, affirming that the composition has not been previously published or received prior awards, prizes or special mentions in previous competitions; - written authorization signed by the author (or his/her legal heirs and/or legal representatives) permitting the use of the literary text selected, where said text is not already in the public domain; - proof of copyright clearance to publish the work in cases where the composer is contractually bound by an exclusivity agreement to a particular publisher.

Failure to comply with these requirements will result in the participant being automatically disqualified from the Competition.

8. The author of the winning work will be obliged to ensure that the score, publicity posters and all future citations of the work are accompanied by the following phrase: "Work awarded the 5th Antonio Smareglia International Competition Prize”.

9. The result of the Competition will be announced within the 30 June 2018 and the competition results will be promptly published on the official website of the Accademia Ricci.

10. PRIZES: SECTION A – Piano
1st Prize
The winner of the composition awarded 1st prize will receive an award of € 2.000,00*. The composition will be published by the Casa Musicale Sonzogno of Milan (see § 7) and will be performed in concert during 2018. The Casa Musicale Sonzogno will include the winning composition in its own catalogue and will undertake the drafting of the contract and the promotion of the work, the material for which must be delivered strictly in digital format and realized using the Finale software program.

2nd Prize
The composition awarded second prize will receive an award of € 1.000, 00*.

3rd Prize
The composition awarded third prize will receive an award of € 500, 00*.

SECTION B – Voice and Piano

1st Prize
The winner of the composition awarded 1st prize will receive an award of € 2.000,00*. The composition will be published by the Casa Musicale Sonzogno of Milan (see § 7) and will be performed in concert during 2018. The Casa Musicale Sonzogno will include the winning composition in its own catalogue and will undertake the drafting of the contract and the promotion of the work, the material for which must be delivered strictly in digital format and realized using the Finale software program.

2nd Prize
The composition awarded second prize will receive an award of € 1.000, 00*.

3rd Prize
The composition awarded third prize will receive an award of € 500, 00*.

The winning composition of special prize (for the use of a text in the Friulan language) will receive an award of € 800,00*.
• All prize monies are gross and therefore subject to taxation.

11. The Judges may also decide to give special mentions to compositions deemed worthy of particular merit. All winners and those receiving special mentions will receive a Diploma of merit.

12. In the event that the Jury should deem the quality of the works presented to be of an insufficient standard, one or more of the prizes may not be awarded.

13. The Competition organizers reserve the right to alter the terms and conditions of this competition announcement in the event that such changes become necessary due to Force Majeure or any circumstances beyond the organizers’ control.

14. Participation in this Competition implies the full acceptance of the terms and conditions stipulated above.

15. The decision of the Jury is final.
The official text for this competition is deemed to be that published in the Italian language. All disputes shall be subject to the jurisdiction of the Court of Udine.

16. For any further information required, candidates are advised to contact:

ACCADEMIA DI STUDI PIANISTICI «ANTONIO RICCI» www.accademiaricci.uniud.it
tel. +39.338.6648129 - e-mail: accademiaricci@virgilio.it
Web Site:www.accademiaricci.uniud.it
Email:accademiaricci@virgilio.it

 CREATIVE COMPOSERS 2018
Summary:Competition with 4 categories
Deadline: 29 June 2018
Date Posted: 08 February 2018
Details: REGISTRATIONS ARE OPEN FOR THE
INTERNATIONAL COMPOSITION COMPETITION
"CREATIVE COMPOSERS 2018"

* We kindly ask the composers to carefully read the whole regulation, which contains detailed information. As already happened with our previous competitions, many composers write us to ask for the same things, which are clearly explained in this regulation. This is probably due to the unwillingness to read such a long regulation, which refers to 4 different competitions. However, if you read it carefully, you will find the answers to all your questions. "Participation in this contest implies acceptance of these Rules"

CONTEST RULES
1 – In this contest any music style is allowed, however it stands out from the previous editions in particular for the first two categories (A and B) which test the creativity of the composers and urge them to create new compositions, within a short time, using only the instruments indicated.

2 - This regulation is very similar to the previous one, but contains the obligation to use the instruments specified for the first two Live categories. In the third category, the composers will be able to choose the instruments that they prefer based on a list (like in the previous competitions.) Conversely, for the fourth category- which is completely different from the other three sections – the choice of the instruments is utterly free.

3 - All the music genres shall be admitted in all the contest categories, provided that the score is written in a clear way. In particular, the third and fourth category are open to: compositions for symphonic orchestra, bands, jazz orchestras, movie soundtracks, different music styles from everywhere in the world (classic, contemporary, choir and solo singers etc. etc.). The competition is open to any musical expression. From compositions written for a single instrument, to those for large orchestra.

4 - As the contest is open to all forms of musical expression, it is allowed to participate with any kind of compositions. According to latest research, there are at least 1264 music genres all over he world. All genres are admitted, and compositions may be registered for any of the 3 categories of this third edition. Special prizes, in addition to those specified in the rules, will be awarded to the most unusual and interesting music genres, with complete freedom of musical experimentation.

5 – The first three categories shall be judged live; which means that they shall be played directly before the jury by one of our orchestras. The compositions of the fourth category called "Instruments of the world" will not be played by the orchestra, but will be rather judged after the reproduction of the audio files and the display of the musical score, by evaluating the files sent by the composers, as happens in the majority of the competitions worldwide. We have added this fourth category to allow the composers to include any existing instrument, including the ethnic ones and those which are rarely used in Western orchestras. Each orchestra, even the larger ones, has its own limitations from an instrumental point of view, therefore it would be impossible to find musicians able to play any instrument, considering the countless instruments in the world.

6 – Most of the articles included in this regulation provide rules applicable to all the categories, except for some points dealing specifically with one of the four categories, which differ from one another in some aspects, such as the participation fee costs (much lower for the fourth category).

7 - EACH CATEGORY is an independent international contest, with no connection to other categories. Composers who register in 3-4 different categories are basically participating in 3-4 separate contests. There is a relation among the various competitions, but only for the numerous prizes and those who sign up for multiple categories. This novelty is interesting and has been introduced in these contests. There will be also a special prize for those who obtain the highest score, adding up the scores reached in the Live categories for which the composer has signed up. Therefore, if a composer takes part in two or three Live categories, in addition to the specific prizes of each category, he/she can win the special prizes relating to the highest score obtained by adding up the “A+B”, “A+C”, “B+C”, “A+B+C” categories (as will be better explained further on.)

8 - Each composer may also take part in different categories with the same composition, provided that it is compatible with the instruments specified; since these competitions are independent and will be judged in a different way.

9 - WHO CAN TAKE PART IN THE CONTEST

10 – All composers of the world may take part in the contest, from any Country of any continent.

11 – No is required a music diploma.

12 - There are no age limits. Young music students as well as elderly composers are admitted. As always, the jury will not know the name or age of composers, so that all musicians may have equal chances, even the youngest. We cannot exclude the possibility that somewhere in the world there may be a child prodigy, composing great music at a very young age, like Mozart did. All composers younger than 18 years must have a written and signed authorisation by their parents, or legal tutor.

13 - Compositions may have been already played in public and may appear on YouTube or other websites; they may also be recorded on CDs/DVDs. Compositions will not be admitted if they won the first prize in other contests.

14 – THE NUMBER OF PLACES IS LIMITED to max 30 composers of each registered Nation (for each category), or Independent State. No additional registrations will be accepted from Nations which already reached this number of contestants. This rule aims to allow enough time to evaluate all compositions in the best possible way, which would be impossible to do in the time frame available, if contestants are too many. This way, the Contest will be better manageable and will represent many different Nations. 30 composers of each registered Nation is the maximum number allowed for each category of the contest.

15 – THE CONTEST IS DIVIDED INTO 4 CATEGORIES, four different composition contests:

CATEGORY “A”: “LIVE CHAMBER ORCHESTRA”
CATEGORY “B”: “LIVE STRING ORCHESTRA”
CATEGORY “C”: “LIVE FREE ORCHESTRA”
CATEGORY “D”: “INSTRUMENTS OF THE WORLD”

Now, let us see the characteristics of each category:

16 – CATEGORY "A": “LIVE CHAMBER ORCHESTRA” (14 mandatory parts).
In this category only compositions with the following 14 instrumental parts shall be admitted: violin 1, violin 2, viola, cello, double bass (4 strings), oboe 1, oboe 2, horn 1, horn 2, bassoon 1, bassoon 2, flute, clarinet, timpani (4).

The orchestra playing the songs before the jury shall be made up of about 20 string instruments which play the same parts in unison, in addition to the other instruments indicated, thus creating an orchestra consisting of at least 30 musicians. However, the composition must include only 14 parts.

17 – CATEGORY "B": “LIVE STRING ORCHESTRA” (5 mandatory parts).
In this category only compositions for string instruments are allowed, precisely with these 5 instrumental parts: violin 1, violin 2, viola, cello, double bass (4-string).
The orchestra playing the song before the jury shall be made up of several instruments, which play the same parts in unison, thus creating an orchestra of at least 20 musicians. However the composition must include only 5 parts.

18 – CATEGORY “C”: “LIVE FREE ORCHESTRA” (from 1 to 50 parts of your choice).
19 - Compositions of this category may include maximum 50 different instrumental or vocal parts, with all possible mixed combinations. The expression “instrumental parts” especially refers to the number of musicians, considering that the same musician may sometimes play several instruments at the same time, such as percussionists. For example, if the same musician plays 4 different percussion instruments, which alternate during the song, these 4 instruments will count for one (instead of 4 different parts). Similarly, if the same musician plays the flute and the piccolo, and these instruments alternate in the track, they will count for one, instead of two. In this category is possible to partecipate also with the compositions for solo instrument (1 part), for example solo compositions for piano, harp, guitar, violin, cello, accordion etc.

20 – In case of doubts, or if you wish to add instruments that are not included in the list, please send us an email.

21 - It will be up to conductors to decide how many identical instruments will play the same part together, for example 12 violins – 6 cellos – 4 double basses, etc. Composers may also give their own suggestions about which orchestra formation they consider to be the most suitable.

22 – CATEGORY: “INSTRUMENTS OF THE WORLD”: Compositions of this category may include from 1 to 50 different instrumental or vocal parts, with all possible mixed combinations, from one single instrument or voice up to big orchestra.

23 - This category is extremely different from the other three "LIVE" categories. The main differences are: *The compositions of this category will not be played by our orchestras; *To evaluate the compositions, the judges will listen to the audio files previously sent and examine the musical score; *All the existing musical instruments can be used; *The participation cost is much lower than the other categories, because the orchestra is not included and the single parts must not be printed.

24 - Almost every point included in this Regulation also applies to the third category, except for two important aspects: 1) It is mandatory to send the audio file (which is optional for the first three categories); 2) Only themusical score must be sent, i.e. the one generally used by orchestra conductors, which includes all the instruments on the same page "without sending the single parts" of each instrument (which is, conversely, mandatory for the other categories).

For further information:
Web Site:creativecomposers2018.weebly.c...

 Waterloo Region Contemporary Music Sessions
Summary:Competition with 2 categories
Deadline: 18 June 2018
Date Posted: 18 January 2018
Details: Call for solo saxophone

OR

flute, violin, clarinet, cello, piano, percussion

Full information here:
Web Site:wrcms.org/call-for-scores/

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

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

Submission Link Below (please read the rules first)!

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

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

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

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

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

February 9-10, 2018

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

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

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

Each work may fit into one category:

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

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

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

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

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

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

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

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

 2018 ISB Composition Competition
Summary:Bass with various categories
Deadline: 01 June 2018
Date Posted: 02 August 2017
Details: The International Society of Bassists biennial composition competition is dedicated to the memory of double bassist David Walter, longtime ISB member, performing artist, composer and renowned educator.

DEADLINE: Online entries due by June 1, 2018.

The goal of the Competition is to encourage the creation of new repertoire and/or the discovery of unknown repertoire for the double bass. There are four divisions of the competition, open to all composers. There are no restrictions regarding past performances, publications or recordings of a work. However, widely known works that are deemed to have entered the standard double bass repertoire, based on the judgement of a panel of judges, will not be considered. Entries can be in any style, between 6 to 15 minutes long. WINNERS WILL BE ANNOUNCED ON OR SHORTLY AFTER SEPTEMBER 1, 2018.

• UNACCOMPANIED SOLO DOUBLE BASS DIVISION
• CHAMBER DIVISION: For one double bass in an ensemble from two to five players. Entries may consist of a prominent bass part plus additional players drawn from the following: piccolo, flute, alto flute, oboe, English horn, clarinet, bass clarinet, bassoon, saxophone, French horn, trumpet, trombone, euphonium/tuba, percussion (1 player), harp, guitar, piano/other keyboard instrument, violin, viola, cello and/or voice. Normal woodwind doubles are acceptable: flute/piccolo/alto flute, oboe/English horn, clarinet/bass clarinet.
• BASS ENSEMBLE DIVISION: A new work for two to eight double basses
• DOUBLE BASS AND ELECTRONIC MEDIA DIVISION: Includes video, live electronics, backing tracks, computers, etc.

GRAND PRIZE: $1,000 U.S. for each division, made possible by the generous support of The Ned and Frances Black Fund, and performances at the 2019 ISB Convention.


Web Site:basschurch.com/event/2018-isb-...

 School of Music of Azusa Pacific University and J.W.Pepper Music
Summary:High School Competition
Deadline: None
Date Posted: 11 March 2015
Details: This High School Composition Contest is offered jointly by the School of Music of Azusa Pacific University and J.W.Pepper Music. It’s intent is to encourage the composition by high school students of high quality music that is accessible to reasonably well-developed high school music ensembles and performers. While this is the first year of the Contest, it is intended that it be an annual event.

The prizes for the winning composition in each category are:

1) $1000 cash

2) Public performance and recording by the appropriate Azusa Pacific University music ensemble.

3) Consideration for publication by J.W.Peppers publishing arm, Wingert-Jones Publications.

4) A complimentary subscription for J.W.Pepper’s My Score® self-publishing platform, valued at $99.

There are five categories of music being sought for the Contest. They are listed below, along with the length limitations for each category.

1) Orchestra 5 to 8 minutes

2) Choral 4 to 6 minutes

3) Wind Ensemble 5 to 8 minutes

4) Jazz Ensemble 5 to 8 minutes

5) Chamber 5 to 8 minutes

Plan to submit a properly notated score and demo recording. The winner in any category will be expected to provide clear, readable parts for the appropriate ensemble. Details are at the “How to Enter” tab above.

The choral composition may be accompanied or unaccompanied. It can be for mixed chorus, women’s choir, or men’s choir. Any accompaniment should be limited to piano and/or no more than two other common instruments.

The chamber composition may be for string quartet, string quintet, woodwind quintet, brass quintet, piano trio, piano quintet, guitar ensemble, guitar with bowed strings, or any common solo instrument. Other small groupings may be considered. If you would like to compose for a non-standard chamber group, it is suggested that you send email to musiccontest@apu.edu with a description of the ensemble to get approval of the ensemble for which you wish to compose.

Instrumentation for the other ensembles follows.

Orchestra:

Wind Ensemble:

Jazz Ensemble (big band):

Please see the “Contest Rules” tab above for further details, and the “How to Enter” tab for instructions about how to apply for the contest and submit your composition(s).

The contest is not yet “live.” It will be opened on April 1, 2015. After that time, questions not answered at the Contest Rules and How to Enter tabs may be directed to musiccontest@apu.edu.
Web Site:www.apumusiccontest.com/?page_...

 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