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electro acoustic Competitions & Call for pieces

Summary:Fixed media/acousmatic Call
Deadline: 10 October 2018
Date Posted: 15 August 2018
Details: RADIA, a project promoted by the Centro d’Arte degli Studenti dell’Università di Padova, in collaboration with SaMPL and Conservatorio Pollini, announces an open call addressed to sound artists and composers. The call is subdivided in two main categories: Eerie RADIA and Spaced-Out RADIA.The submission is free.

A review committee (to be revealed next September) will select the best submitted works to be performed for the last concert of the RADIA season, at the Conservatorio Pollini’s auditorium in Padova, next 14th December 2018.

The open call draws inspiration from the futurist manifesto from which the festival takes its name, “La Radia”, by Marinetti and Masnata: after its publication in 1933, “La Radia” forecasted the many forms of sonic arts that would develop in the next decades, until now.

In this vein, the RADIA open call seeks for artistic contributions of exclusively fixed media/acousmatic nature. With this call, RADIA wants to explore some of the most peculiar features which make acousmatic art a unique and irreducible field of musical and artistic research.

Spaced-Out RADIA focuses on the experimentation with spatialization techniques and, more generally, with the use of space as a compositional parameter in acousmatic music. For this reason this category asks for multi-channel fixed-media contributions to be played with the state-of-the-art eight channels surround sound system of the Auditorium Pollini in Padova.

We will exclusively accept multichannel pieces: from quadriphony up to 9.2 surround systems (8 channels + additional central channel + subwoofers). For more informations concerning the Auditorium Pollini’s sound system please see “Technical Details” below.

For this category, Radia asks for sound pieces which investigate the most magical, incantatory dimension of sound and sound mediation, the ability of sound to evoke, represent, narrate the imagination, the oneiric, the uncanny, the Other. This category is addressed to sonic art pieces of any form, such as radiophonic art, soundscapes, sonic documentaries, audio storytelling, field recordings and acousmatic music pieces.

In particular, Eerie RADIA is focused on those cases in which the nature of the sound event, when mediated by technology, is so ambiguous that it becomes impossible to objectively reconstruct its physical origin, the physical scenario of sound production. In such cases, the sense-making activity of our mind relies on the realm of the imagination, producing mental representations which are sometimes completely subjective and imaginative. Therefore, listening becomes an active and creative process, which can indeed produce ‘monsters’: new and weird fantasy landscapes, populated by mysterious and ever-changing entities, from which we can even be driven to build entire sonic narratives.

It is no coincidence that the early twentieth century’s spiritualists welcomed the noisy radio of that period as a means of listening to the voices of disembodied spirits. Similarly, no wonder the use of electronic music, as well as musique concrète sound processing techniques, as fundamental means to convey the supernatural, alien and unconscious dimension in much Sci-fi and horror movies and radio-plays.

We are looking for sound art pieces that explore sound recording, reproduction and production media for their possibility to be something more than mere technological means, but instead magical machines haunted by the imaginary.

“Poets have long used the word as incantation, evoking the visual image by magical acoustic stress. Preliterate man was conscious of this power of the auditory to make present the absent thing. Writing annulled this magic because it was a rival magical means of making present the absent sound. Radio restored it. In fact, in evoking the visual image, radio is sometimes more effective than sight itself. […] Because the visual image that sound evokes comes from the imagination.”
Marshall McLuhan, Acoustic Space

Please send an e-mail to, in the subject field write RADIA_Surname_Title_Category.
The e-mail must contain, as attachments:
• short bio of the author(s) (max 300 words)
• description of the submitted work (max 600 words)
• technical specification of the submitted work
• link for online streaming of the submitted work (soundcloud, vimeo, youtube etc) or download link (mp3 file, with download password if needed)
• for works submitted for category A – Spaced-Out Radia (or potential multichannel pieces for category B – Eerie Radia) please upload a stereo reduction of the work.

N.B. The submitted works should not exceed a duration of 12 minutes.

Summary:Electronic Music Composition Contest
Deadline: 26 October 2018
Date Posted: 08 August 2018
Details: Musicworks’ 2018 Electronic Music Composition Contest is now open. Musicworks’ annual juried contest spotlights new musical talent from around the world and offers cash prizes and opportunities to be published and heard.

First prize is $500 CDN, a composer profile in Musicworks 133, Spring 2019 issue (both in print and online) and the composition released on the Musicworks 133 CD.
Second prize is $200 CDN and composer coverage on in 2019.
Third prize is $100 CDN and composer coverage on in 2019.

Compose an experimental piece in any electronic-music genre—acousmatic, electroacoustic, glitch, soundscape, intelligent dance music (IDM), turntable art, or video music.

The contest is open to entries from anywhere in the world and from artists at any stage of their careers.

Pieces must be previously unpublished, i.e. not released on a commercially available recording at the time of submission.

Maximum length:10 minutes.

Accepted file types: MP3 or MP4 only.

Contest entry fee is $25 CDN and includes a one-year subscription to Musicworks—less than our normal subscription rate! Additional entries are $5 each, unlimited.

Contest closes October 26, 2018.
Prize details, eligibility and assessment criteria, rules and restrictions, and entry portals can be found at

 Iannis Xenakis International Electronic Music Competition
Summary:Electronic Call
Deadline: 31 December 2018
Date Posted: 22 March 2018
Details: The competition is anonymous and open to composers of any nationality and age, each of whom may submit only one work.
– The composers who were awarded in 2016 Xenakis competition cannot participate to the 2018 competition.
– The submitted work shall be an electroacoustic composition, it is meant to be diffused by loudspeakers, without any intervention of live sound sources.
– The submitted work might implement a maximum of 8 channels and must have a duration between 7 and 15 minutes.
– The submitted work may have been performed in concert but It should not be the object of any discographic publication/rights.

– The deadline for submission is 31st of December 2018.

The Jury will select and mention the 5 highest quality works and will award three of them with prizes of €600 €400 €300 respectively. Contemporary Music Lab will present the distincted pieces in a concert in April 2019.

The entry fee for participation is 15€. You can use the following links to pay on-line.

– All applicants should submit a single zip file containing the following files inside a single folder:
i. A short biography, contact information and information about the piece in the following formats: (.doc, .txt, .rtf or .pdf).
ii. 1 Audio file (.aiff or .wav format, 16bit or 24bit at 44,1kHz sampling rate) containing the stereo version of the piece.
iii. Additionally, for multichannel pieces the audio files corresponding to each of the channels inside a separate folder along with set-up/routing information on a separate sheet
iv. Please include also the pdf receipt of the fee payment
– Please name the ZIP file as following: IX2018_Name_Surname_TitleOfThePiece (e.g. IX2018_Nick_Edison_Title).
– Please use the following link to register your details and upload your piece
Application Form

By entering his/her work in the competition, the composer consents to public performances free of charge of his/her work in concerts and/or radio broadcasting.

 The composer retains the copyright of his/her work. The files entered in the competition shall remain in the archives of Contemporary Music Lab of Aristotle University of Thessaloniki.


Trevor Wishart (UK) – Chair
Ludger Brümmer (DE)
Oliver Carman (UK)
Panayiotis Kokoras (GR/USA)
Joao Pedro Oliveira (PT)


 CALL FOR SCORES 2015 – Cello and Contrabass
Summary:Electroacoustic Call
Deadline: None
Date Posted: 20 May 2015
Details: 1. Call for Narrator/Speaker/Vocalist/Actor plus Electronic Music Scores (performer and "tape")

2. Call for "tape" pieces that have explicit political meaning

Narrator/Speaker/Vocalist/Actor plus Electronic Music Scores (performer and "tape")

Composer/performer Rodney Waschka II is looking for works for narrator or actor or speaker and electronic music fixed on two channels. Works will be considered for performance on the Arts NOW Series and elsewhere. You can read a review ( by the Classical Voice of North Carolina of a concert of this type of music performed in February, 2009. Waschka has performed works by Alden Jenks, Pertti Jalava, Mansoor Hosseini, Stephen Pope, Allen Strange, Pauline Oliveros, Mara Helmuth, and others.

If you have composed such a piece or are interested in composing such a work, please contract me.

"Tape" pieces that have explicit political meaning

Pieces of this type are needed for programming for the Arts NOW Series.

Please contact me if you have a piece that you think might be appropriate.