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electro acoustic Competitions & Call for pieces

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

1st International Electroacoustic and Composition Competition „eviMus“

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

Work for:

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

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

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

Duration: between 6 and max. 12 minutes.

CONDITIONS OF PARTICIPATION

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

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

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

How to apply:

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

The application must fulfill the following requirements:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Prizes:

Category A

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

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

Category B (one prize)

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

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

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

Participation & Commission Opportunity

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

Masterclasses and Workshops

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

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

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

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

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

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

Participant Composers can also avail of:

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

Deadline for applications 13 March 2017

Web Site:www.dublinsoundlab.ie/musiccurrent2017/

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

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

Open Call for Works

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

Works

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

Categories

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

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

Submission

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

The following electronic materials and information are required as well:

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

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

Submission fee
There is no submission fee.

Technical specifications

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

• Normalization: -1dB

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

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

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

“your_name_L” and “your_name_R”

Deadline

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

Acceptance

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

Elektro Arts Events

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

Contact

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

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

 International Call for Fixed Media Works - Prague
Summary:Acousmatic Call
Deadline: 19 March 2017
Date Posted: 04 January 2017
Details: Echofluxx 17, an annual festival of new media, visual art, and experimental music in Prague, requests submissions of experimental works for combined 1-channel video and 2-channel sound from artists of all ages. Approximately 1 hour of work will be presented throughout the festival as selected by an international panel of sound and video artists. Pieces of 10 minutes or less will be given preference. Up to three works may be submitted at $15 for the first and $10 each for additional work. Submission deadline is Sunday, March 19, 2017 with resubmission files due in early April. Works must be uploaded to YouTube or Vimeo for adjudication.

Please include the following information in an email to: submission@echofluxx.org

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

 Futura Festival
Summary:Electronic Call
Deadline: 16 March 2017
Date Posted: 14 December 2016
Details: For is 25th edition, the Futura Festival is looking for music around the idea of “narration”.

Even though “music is powerless to express anything” (Igor Stravinsky’s somewhat provocative but no less profound sentence), we assume that it can emerge a kind of narrative that underlies it.

Indeed the sound does not say anything by itself, tells nothing, represents only itself, we often need to see its origin so that it takes meaning. But on the other hand it makes feel, makes imagine, it can create architectures that develop over time.

And finally the acousmatic has also succeeded in bringing something surprising to its use of recording, despite the will of its founder: the capture of the real, the possibility of bringing events (sometimes as complex as a landscape) and elements that become creators of stories, of imaginary by the simple fact that we recognize sounds and that they enter into relation to each other.

What we are interested to receive for this call for work are not pieces with classical narration (a music with simply read text, or melodrama, etc.) because for this, works of the acousmatic repertoire will be programmed. We search new approach of narration (here some possibility):

– by putting into relationship sounds that make sense,
– by the play on the possible identification of sounds,
– by the simulation of reality,
– by the incursion, the intrusion of it …
The idea of narration is mostly at the level of the form, the directionality of a “discourse” (or the absence of its voluntary directionality).

Required conditions :

–Only tape works accepted (acousmatic, musique concrète, radiophonic art, sound installation…), no real time or anything involving live instruments.
–Only two works by composer can be sent (no limitations for the works with video).
-Stereo works will be prefered (for the multitrack works, a stereo version is needed for evaluation purpose).
– Works must be sent to us by uncompressed file (no streaming) and by internet (wetransfer, dropbox, etc.) only to: info@festivalfutura.fr : it’s important that each file is correctly named: with author’s name and title. Send also your name, your adress, a short biography and a short notice of your works (max. 10 lines each).
–For works with video, it’s possible to send a DVD to the following address : Festival Futura-Nathanaëlle Raboisson, 46 rue du Docteur Léonce Basset, 93400 Saint Ouen, France.

Propositions must be sent before March 16 2017.
Web Site:festivalfutura.fr

 Call for Works – Electroacoustic
Summary:Electroacoustic Call
Deadline: None
Date Posted: 23 November 2016
Details: How to submit

Elektramusic is always looking for new electroacoustic musics for the Radioshow, concerts, CD compilation, and for music+videos for the TV show and for video live performances, festival and much more. You can submit you electroacoustic music works, and-or your electroacoustic music and video art work as follows :

Musics : on Audio-CD (cd tracks) or Data-CD (with audio files : SDII, Wave, AIFF,…). Multiphonic works must be submitted in stereophonic version.

VideoArt and music : on DVD-DATA (high quality QuickTime or DV file), Video-DVD-vidéo, or mini-DV tape.

Please join to your submission a biography and work notice. For video works, please also include producer or video artist biography. Please print and fill in the submission form to complete your submission.

Submission by postal mail : Please send all your material by snail mail (please no registered mail) to : Elektramusic – 10 rue du Hohwald – 67000 Strasbourg France

Submission by web : You can send by web your audio/video files, with the submission form (filled and scanned), your bio and notice as pdf to our email (elektra at elektramusic.com) by using a file transfer service or cloud such as Dropbox or WeTransfer.

http://www.elektramusic.fr/call-for-works/
Web Site:www.elektramusic.fr/call-for-works/

 2017 UNCAGED::CONLON KEYBOARD PRIZE–Call for Submissions
Summary:Toy instrument competition
Deadline: 01 April 2017
Date Posted: 25 October 2016
Details: In 2017, for the first time, the UnCaged Toy Piano (US) and Conlon Foundation (NL) will collaborate on a joint call for submissions for the 2017 Robot Keyboard Prize. For this year’s competition, we are seeking adventurous new works for Ranjit Bhatnagar‘s midi-controlled Robot Toy Piano. Innovative ways of integrating electronics are encouraged, but not mandatory.

The prize for 1st place is a performance in the Gaudeamus Muziekweek (Utrecht, Holland) in September 2017 and the UnCaged Toy Piano Festival (New York City, December 2017), plus $1000 of which $500 from the UnCaged Toy Piano and $500 from Conlon Foundation towards travel/accommodation costs, to enable the prize winner to attend the performance in Utrecht, NL. The prize for Honorable Mention is a performance in the Gaudeamus Muziekweek (Utrecht, Holland) in September 2017 and the UnCaged Toy Piano Festival (New York City, December 2017).

Guidelines for the competition:

1. The competition is open to composers and sound artists of all ages and nationalities.

2. Works must be written for the Robot Toy Piano as a concert work (not installations).

3. Works may include one live performer on a conventional or unconventional instrument (i.e. orchestral,homemade, or mechanized instrument)

4. The duration of the piece may be no longer than 15 minutes.

The deadline for submissions is April 1st, 2017 and should include:

1. A short bio of the composer in pdf.

2. A score/information sheet with a detailed description of the work in pdf.

3. An audio and/or video preview of the work in .mp3, .avi, or link to web.

The decision of the jury will be made public no later than June 1st, 2017.

• The Robot Toy Piano

Built by New York-based sound artist, Ranjit Bhatnagar, the robot toy piano is a redesigned player toy piano (PianoLodeon) that reads MIDI files. The range of the robot toy piano keyboard is midi note 36-64 (C3-E6) Here is a video of it playing every note: http://uncagedtoypiano.org/?page_id=1487. The robot toy piano can play off either a USB or traditional MIDI cable. Due to the delicate and homemade nature of the instrument, it is best not to ask the robot to fire more than eight notes simultaneously.

Submissions and inquiries should be sent to: uncagedconlon2017@gmail.com
Email:uncagedconlon2017@gmail.com

 Musical Studies Superior Institute “P. Mascagni”
Summary:Electroacoustic Call
Deadline: 01 March 2017
Date Posted: 27 September 2016
Details: The Musical Studies Superior Institute “P. Mascagni” in Leghorn (Italy) is searching for compositions to be performed in next concert season named Suoni Inauditi (from end of April to first part of June 2017).

Electroacoustic compositions from 4 to 16 channels are requested, according to the distribution of the speakers placed into Auditorium, as in enclosed scheme (two levels of 8 speakers, numbered clockwise beginning from frontal left one).
The selected compositions will be performed in next concert season or in the following ones. The unique requested characteristics are the duration ranging approximately from 5 to 7 minutes, and the obligation to use, in whatever form and technique, one ore more fragments relative to Nardini's works recordings.

The participants will have to send to the mail address fdesanctis@teletu.it a mail containing:
- a link for downloading a mp3 or ogg file (please, use services like Dropbox, WeTransfer, GoogleDrive or similar) containing a stereo version of the composition
- the composer's data (full name, mail and so on)
- an attachment in pdf format with a brief Curriculum Vitae (max 300 words) and a technical and poetic description of the work (max 300 words)

The deadline is March 1, 2017.

Selected composers will be requested to send a link from which to download the mono audio files, aiff or wav format, 16 bit, relative to the tracks to assign to the corresponding speakers; the files should be numbered according to the selected speaker, as in enclosed scheme.

Composers of any nationality and age can participate, excluding those who have had a composition selected and performed after the call for compositions “Mascagni Remix” in 2015 or “Cambini Remix” in 2016.
The Institute shall not be held responsible if the concert season will be not realized for major causes. In this case the Institute will be able to use the selected compositions in future concerts.
Web Site:www.istitutomascagni.it/Portals/0/Documenti/Eventi/Nardini_Remix.pdf

 ABLAZE Records ELECTRONIC MASTERS Series
Summary:Electroacoustic commercial release
Deadline: 01 April 2017
Date Posted: 25 August 2016
Details: Have you got a great recording of your original electronic or electroacoustic composition that you would like issued on a commercially released CD?

Now is your chance with the ABLAZE Records call for Master tapes.

Submit your mastertape (digital recordings only please) to us for your chance to win a place on our ELECTRONIC MASTERS Vol. 6 CD. If our expert panel of composers and audio engineers chooses your work, you will win a spot on our FIFTH ELECTRONIC MASTERS CD. This will entitle you to a partially subsidized commercial release of your work worldwide during 2017.

1. The works can be for any ELECTRONIC OR ELECTROACOUSTIC medium and can include instrumental or vocal resources.

2. For any works involving texts the composer must also submit proof of copyright clearance and permission for use on a commercial recording.

3. The work must be a studio (rather than a ‘live’) recording

4. Works must be fully edited/mixed to a version suitable for mastering to a CD publication

5. Works must be in digital format (WAV/BWAVE file to at least 48K sample rate and at 24 bit resolution)

6. Include notes about any performers, composer and work

What we are looking for:

1. Very high quality recordings

2. Very high quality works

3. Very high quality performances

Who is Eligible:

Any composer without restriction as to style of music, age or nationality may submit a mastertape for consideration.

Submission Deadline


APRIL 1, 2017
Web Site:ablazerecords.submittable.com/submit/30186

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

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

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

Composer/performer Rodney Waschka II is looking for works for narrator or actor or speaker and electronic music fixed on two channels. Works will be considered for performance on the Arts NOW Series and elsewhere. You can read a review (http://www.cvnc.org/reviews/2009/022009/ArtsNow.html) by the Classical Voice of North Carolina of a concert of this type of music performed in February, 2009. Waschka has performed works by Alden Jenks, Pertti Jalava, Mansoor Hosseini, Stephen Pope, Allen Strange, Pauline Oliveros, Mara Helmuth, and others.

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

"Tape" pieces that have explicit political meaning

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

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

Thanks.
Web Site:http://www.waschka.info/call_for_scores.html