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 XIVth Inter­nati­o­nal Com­posers Competition Jihlava 2018
Summary:Choral/orchestral competition
Deadline: 30 September 2017
Date Posted: 09 August 2017
Details: Com­pe­ti­tionAims:

The orga­ni­zers set them­sel­ves the task of ini­ti­a­ting and sup­por­ting cre­ation of new works which would be distinctive in com­posi­tion and acces­si­ble for inter­pre­tation and which would be of bene­fit for the reper­toire of non‑professional choirs.


Art. 1

Com­posers without age and/or nati­o­na­lity limi­tation may enter into the com­pe­ti­tion with their com­posi­ti­ons for mixed, women or all-girls and male cho­irs with orchestra accompaniment (instrumentation: strings (8 violins I, 6 violins II, 4 violas, 4 cellos, 2 contrabasses and some or all of these instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani), writ­ten on text of their cho­ice pre­fe­ra­bly in Czech, Slo­vak or Latin lan­gu­age, alter­na­ti­vely in other language.

Texts sub­mit­ted in lan­gu­ages, which use other than Roman alpha­bet should be under­laid with pho­ne­tic transcription in the Roman alpha­bet (inclu­ding the names of the authors both lyrics and music) and accom­pa­nied with arough translation into Czech or English.

Art. 2

The required duration of the composition or cycle is in the range of 15 to 25 minutes.

Art. 3

Each com­poser should enter into the com­pe­ti­tion with only one com­posi­tion that has never been awar­ded in any com­pe­ti­tion nor com­mer­ci­ally published.

Art. 4

Each com­posi­tion should be sent in 4copies (easy legi­ble manuscript, copies the­reof or com­pu­ter prin­touts) to the add­ress: Spo­lec­nost pro FSU, o. s., Lesni 5, 586 03 Jih­lava, Czech Republic.

Note: Demo recor­dings are appreciated.

Art. 5

The com­posi­tion should be sent to the orga­ni­zer of the Com­pe­ti­tion till 30 September 2017 (postage stampdate).

Art. 6

The com­pe­ti­tion is anonymous.

Each com­posi­tion should be mar­ked by code-name/password only. Sheet of paper with the data about the composer (name and add­ress, both mail and e-mail and possi­ble other con­tact data) should be enc­lo­sed in asealed enve­lope mar­ked by the same code-name/password.

Art. 7

The manuscripts, copies and prin­touts shall remain in the possession of the com­pe­ti­tion orga­ni­zers. By ente­ring into the com­pe­ti­tion the author con­firms his/her per­mis­sion with the repro­duction of his/her com­posi­tion for the pur­pose of the poten­tial pre­sen­tation and with possi­ble non-commercial pub­lishing for FSU Jihlava.

Art. 8

Any fai­lure to meet any of the con­di­tion men­ti­o­ned in Articles 1to 7results in the com­posi­tion refusal from the competition.

Art. 9

The orga­ni­zers announce 3main awards:

1st prize CZK 11,000

2nd prize CZK 6,000

3rd prize CZK 3,000

Prize-winning com­posi­ti­ons will be per­for­med at one of following years of FSU Jihlava.

Art. 10

The inter­nati­o­nal jury will eva­luate all accep­ted com­posi­ti­ons. The jury has the right not to award any of the main pri­zes. The jury can recom­mend more com­posi­ti­ons for the pre­sen­tation in the future or, accor­ding to the possibili­ties, to award them with smaller money amount.

Art. 11

The accu­rate and com­plete terms and con­di­ti­ons of the com­pe­ti­tion in Czech and Eng­lish are for your dis­po­sal as well on the web­site of FSU (

or on the web­site of NIPOS ( In the case of any doubt or ambi­guity of their inter­pre­tation the deci­sive ver­sion isCzech.

Art. 12

The result of the com­pe­ti­tion will be offi­ci­ally announ­ced within the 61st FSU Jih­lava, which will be held in May 2018in Jihlava.

Con­tact add­ress: Spo­lec­nost pro FSU, z. s., Lesni 5, 586 03 Jihlava, Czech Republic


 SACRARIUM | Sacred music in our time. | International Composers’ Competition 2017 – 4th Edition
Summary:Competition with 3 Categories
Deadline: 03 September 2017
Date Posted: 09 August 2017
Details: City: Tchaikovsky str. 7 – Lviv (Ukraine)
Sponsored by: Lviv Philharmonic Society
Date: from 11 to 15 October 2017

The International Composers’ Competition SACRARIUM was born from the idea to create a project that will work on the meeting of the contemporary music of our time, with the writing of sacred music who combines musical genres associated with a sacred or religious theme.

All composers who wish to participate into the International Composers’ Competition SACRARIUM 2017 must write an original work for mixed chamber choir and string orchestra, associated with a religious theme, or tied to a specific liturgical function or must write a music inspired to elevate our souls to God, even without being embedded in a context of religious practice.

The organization will select composers who will have the opportunity to participate into the International Composers’ Competition SACRARIUM 2017 from 11 to 15 October in the city of Lviv (Ukraine), inside the Lviv Philhamonia.

The composers’ selected works will be performed in the final concert of the forum by Lviv Symphony Orchestra and Lviv Chamber Choir inside the Roman Catholic church of St. Peter and Paul in Lviv. The concert will be recorded by a sound engineer with the selected works.
A movie director will make a video of the concert.


Each composer must submit a music score choosen in the following categories:
– strings orchestra (8,6,4,4,2);
– vocal octet and strings orchestra;
– soprano and strings orchestra.
The sacred text can be chosen from the Old and New Testament in latin or english.
Deadline: 03 September 2017.
The work must not exceed 10 minutes.
All score will be sent by email (only one work for composer), in PDF format, at

Each email sent to submit a score shall include:
– The score and orchestral parts must be in A4 format, (please indicate minutes of the score) as PDF file (Sibelius or Finale program);
– A second PDF-file containing the identity of the composer (name and address, nationality, telephone number, email, website, short CV)
and a statement by the composer stating that the submitted work has never before been published, performed in public and/or broadcast before,
nor prized in any composer’s competition. Other file format than PDF are not acceptable and will result in the submission being rejected!
There is no registration form.
The Composition Staff will select composers, from all the application submitted, no later 03 September 2017.
Each composer selected for the International Music Composers’ Competition 2017 will be notified by email and must send the instrumental parts no later then 05 September 2017.


The tuition fee for all participants selected is: €690 (euro 690).
€200 to be paid no later than 07 September 2017 by Paypal on email;
€490 payable on 11 October upon arrival at Lviv or by Paypal no later than 02 October for composers who will not be in Lviv.

The tuition fee includes:
– Check sound of the works of selected composers from 11 to 15 October;
– Final concert, with the works selected with the Lemberg Sinfonietta;
– Professional AUDIO/VIDEO recording of the selected works during the final concert.

The tuition fee does not include:
– Food
– Accommodation
– Flight.

Administrative secretary for the International Music Composers’ Forum SACRARIUM 2017 is Ms. Anastasiya Kodola.
For any question about the tuition fee and payment method write to
Please send a PDF file with your payment check to

 ORIENT / OCCIDENT | International Composers’ Competition 2017 – 5th Edition
Summary:Competition with 2 categories
Deadline: 01 October 2017
Date Posted: 09 August 2017
Details: City: Tchaikovsky str. 7 – Lviv (Ukraine)
Sponsored by: Lviv Philharmonic Society
Date: from 19 to 23 November 2017

The project ”ORIENT/OCCIDENT” was born with the idea of meeting and sharing among composers of various nationalities and age, on the common theme of meeting between the world of the Eastern contemporary music and the Western culture.
The Competition will be made possible through one of the most renowned orchestras in Eastern Europe.
The high level technique and interpretative of the Lviv Philharmonic Orchestra, will be honored by the finalists of this international event.

The Competition is realized by the collaboration between KLKnewmusic and the Lemberg Sinfonietta.
The project is open to all composers of any age and nationality, who want to share their musical and personal journey, attend seminars and opportunities for discussion, on the art of our time, on the contemporary music and on the figure of the Composer in this Third Millennium.
The organization will select composers who will have the opportunity to participate in the “ORIENT/OCCIDENT COMPOSERS’ MUSIC COMPETITION 2017” from 19 to 23 November 2017 in the city of Lviv, inside the music center of Lviv Philharmonic Society.


Each composer must submit a score choosen in the following list:
a) Orchestra;
b) Soprano or mezzosoprano, and orchestra.
Deadline: 01 October 2017.
The work must not exceed 12 minutes.

The number of the orchestra’s instruments can be up to the following list, min 15/max 35 players: 1 flute (ottavino), 1 oboe (english horn), 1 clarinet (bass clarinet) 1 bassoon, 1 horn, 1 trumpet, 1 trombone, 2 percussionists, 1 harp, 8 violins I, 6 violins II, 4 violas, 4 cellos, 3 contrabass.

All score will be sent by email (only one work for composer), in PDF format, at
The selected works will be played on 22 and 23 November 2017 by Lemberg Sinfonietta.
All concerts will be recorded by a sound engineer and will be released a Cd containing the full concerts with the works selected.

Each email sent to submit a score shall include:
– The score and orchestral parts must be in A4 format, (please indicate minutes of the score) as PDF file (Sibelius or Finale program);
– A second PDF-file containing the identity of the composer (name and address, nationality, telephone number, email, website, short CV)
and a statement by the composer stating that the submitted work has never before been published, performed in public and/or broadcast before,
nor prized in any composer’s competition. Other file format than PDF are not acceptable and will result in the submission being rejected!
There is no registration form.
The Composition Staff will select the best composers, from all the application submitted, no later than 03 October 2017.


The tuition fee for all participants selected is €690 (euro 690):
€200+5% tax to be paid no later than 10 October 2017 by Paypal on email;
€490 payable on 19 November upon arrival at Lviv or by Paypal no later than 06 November for composers who will not be in Lviv.

The tuition fee includes:
– participation at rehearsals and check sound of the selected composers from 19 to 23 November 2017;
– Final concerts in Philharmonia with the works selected and performed by Lemberg Sinfonietta;
– professional audio/video recording of the final concerts;
– certificate of participation.

The tuition fee does not include:
– Food
– Accommodation
– Flight.

Administrative secretary for the International Music Composers’ Competition ORIENT OCCIDENT 2017 is Ms. Anastasiya Kodola.
For any question about the tuition fee and payment method write to
Please send a PDF file with your payment check to

 The David P ‘60 and Susan W Wohlhueter Jazz Composition Contest at Ithaca College
Summary:Jazz ensemble competition
Deadline: 01 October 2017
Date Posted: 02 August 2017
Details: About the contest
The contest has been created to encourage composers to write for the jazz ensemble and to give Ithaca College students the experience of evaluating and performing new music. Students will participate in the judging of the contest. The winner of the contest will receive a prize of $1,000 plus a concert recording of their piece with the Ithaca College Jazz Ensemble. In 2017 our guest artist at the culminating concert on December 8th, 2017 will be world-renowned drummer Matt Wilson, who will play the winning piece with the Jazz Ensemble.

In addition to reviewing submissions' musical quality, we will be assessing several other factors:

• Compositions should be steeped in the traditions of jazz music.
• Compositions should be musically accessible to both the audience and the performers.
• The difficulty level of the compositions should be such that they are playable by high school honor jazz bands, college bands, and professionals alike.
• Compositions may have drum solos, but they are not required to. Mr. Wilson's style and role in the piece should be well-conceived and clear. Featuring Mr. Wilson in creative ways other than in solos (or in addition to solos) is encouraged.
• Compositions must be clearly and professionally notated. Scores should be bound properly and parts bound/taped with well-considered page turns.
Winning pieces, composers and guest artists from previous years are listed at:

Submission deadline
All submissions must be received by October 1, 2017 to be eligible for the contest. Pieces received after that date will be ineligible.

Contest rules
Please read this complete set of rules before submitting your piece. (Instructions for submission are found below, in the section "How to enter the contest.")
1. Entries must be original, unpublished compositions for instrumental jazz ensemble, utilizing the following instrumentation:
• 5 saxophones, AATTB. 1st alto sax may also double on soprano sax. Any/all woodwind doubling parts must be optional, and the chart must be playable without the doubles. Non-doubling parts must also be provided.
• 4 trombones (3 tenor + 1 bass trombone)
• 4 Bb trumpets. Common mutes (plunger, straight, cup, harmon, or bucket) are usable. The range and endurance of college and high school honor band trumpeters should be considered thoughtfully. Flugelhorns are also possible.
• Rhythm section of piano, guitar, double bass and drum set. A part for vibes or auxiliary percussion is also possible.
• Other members of the jazz ensemble may also be given solos.
2. No transcriptions or arrangements (except arrangements of the composer's own works) will be eligible. Current Ithaca College students, faculty or staff (or direct family members of a student, faculty or staff member) are not eligible to enter the contest. Students, faculty and staff are encouraged to submit pieces/arrangements to Mr. Titlebaum for consideration for performance at any time, including for this concert, but not to enter the contest itself.
3. The composition may already have been performed, but must have been written in the past three years of the contest deadline.
4. The purpose of the prize is to encourage the composition and performance of the highest possible quality of jazz ensemble literature for a wide range of experience levels. Therefore, the composition should be conceived and constructed to ensure effective performance by high school honors jazz, university and professional ensembles alike.
5. Entries should be no longer than 10 minutes in length.
6. Compositions must be submitted with a full score and full set of parts. Compositions without a full score or complete set parts will not be considered.
7. An audio recording of the piece must be submitted along with the online entry form. High-quality computer renditions or MIDI-based recordings are acceptable, but a recording of a live reading, rehearsal or performance is preferable.
8. The submissions must be completely anonymous. Therefore, the composer’s name must not appear on score, parts, nor be audible on the audio file (if the composer's name is announced at a recorded performance, that portion should be edited out). The envelope containing the printed entry form confirmation email (see "How to enter the contest" below for the link to the online entry form) and a check or money order for $25 made out to "Ithaca College" should be included in the envelope. The date of composition must appear on the title page. Entry fees will not be returned for any reason.
9. Composers of any age or national origin are eligible.
10. Composers may submit as many pieces as they like, but each piece must be submitted separately with a separate entry fee, printed entry form and outer/inner envelopes for each.
11. The winning composer will receive $1,000 (US). Winners will also receive a concert recording of their piece with guest artist Matt Wilson, from the performance which is scheduled to occur on Friday, December 8, 2017 in Ford Hall at the Whalen Center for Music, Ithaca College. In the unlikely event that an unforeseen situation prevents Mr. Wilson from performing, the piece will still be recorded, but only with the IC Jazz Ensemble. The winner is strongly encouraged to attend the performance. Travel/lodging is at the composer’s own expense.
12. The Ithaca College School of Music has the option of withholding the award if no entry is found to be suitable.
13. Composers must not attempt to contact any of the members of the Ithaca College Jazz Ensemble, guest artist or faculty (other than to ask questions directly to the director) to exert influence over the outcome of the contest. Any attempt to do so will immediately disqualify the composer and all their submissions from the contest.

How to enter the contest
1. Read the complete set of rules (above).
2. Completely fill out an online entry form at the address and print the confirmation message you receive after submission.
3. Enclose the printed confirmation message and entry fee into a sealed envelope. Write your name and the name of your piece on this envelope.
4. Enclose the sealed inner envelope (containing the printed submission form and entry fee) with the fully anonymous score and parts, and place them all into a single outer envelope/package.
5. Send the envelope/package to be received no later than October 1, 2017 to:

Jazz Composition Contest
Ithaca College School of Music
953 Danby Road
Ithaca, NY, 14850

Questions can be addressed to Mike Titlebaum, Director of Jazz Studies, at In any communication, do not name your piece or mention any specific aspects of it that would identify your piece to ensure that anonymity of all the entries is maintained.

I'm looking forward to hearing the pieces!


 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.

• 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.


 27th International Review of Composers – CALL for Scores
Summary:International Call 5 Categories
Deadline: 15 October 2017
Date Posted: 19 July 2017
Details: Composers’ Association of Serbia
27th International Review of Composers
Belgrade, 4– 9 October 2018

CALL for Scores

All submissions should employ the following performing forces:

1) String orchestra (4, 4, 3, 3, 1) or
String orchestra (4, 4, 3, 3, 1) including an ensemble of up to five instruments ad libitum.
Duration: up to 12 minutes.

Eligible instruments: accordion, flute, oboe, clarinet, bassoon, French horn, trumpet, trombone, guitar, harp, piano, percussion (small), mezzo-soprano, baritone

2) Duet – compositions for 2 instruments ad libitum, with or without electronics *
Duration: up to 10 minutes

3) Ensemble of 1–9 instruments ad libitum, with or without electronics *
Duration: up to 12 minutes

* Eligible instruments: flute, oboe, clarinet, bassoon, French horn, trumpet, trombone, guitar, harp, piano, percussion (small), mezzo-soprano, baritone, two violins, violoncello, and double bass.

4) Brass quintet
Duration: up to 10 minutes

5) Compositions for baroque instruments – two baroque violins, baroque viola, viola da gamba, and harpsichord
Duration: up to 10 – 12 minutes

Submission is free and it is not anonymous.

Individual authors may submit pieces in multiple categories, but no more than two works in total.
In adherence to the Statute of the International Review of Composers, only works written over the past three years will be considered. Eligible applicants include authors, performers, associations, and national author societies.

Submissions should include the following:
6) score;
7) recording (if possible);
8) short biography (up to 150 words).
The authors of pieces selected for performance will be obliged to submit complete performance materials, including the following:
1) the parts;
2) electronic realisations (for electro-acoustic pieces);
3) one photograph;
4) biography (up to 150 words);
5) programme note (up to 150 words).

Applications should be emailed to or mailed to:
Udruženje kompozitora Srbije
Mišarska 12–14, 11000 Beograd, Serbia

The deadline for competition applications is 15 October 2017 (CET).

All applications sent by mail should be posted before the deadline and stamped accordingly.
The deadline for online applications is 15 October 2017, but the files should remain downloadable until the end of February 2018 (SoundCloud, YouTube, Dropbox, and the like, but not WeTransfer).
Preferrably, applications should be submitted via email.

 As you like it Composition Competition
Summary:Competition, small to large ensemble
Deadline: 15 September 2017
Date Posted: 12 July 2017
Details: Compose or submit an original work
of any duration and scale,
from a solo work to chamber orchestra*.

For the seventh 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.

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.

Each piece should have only its title printed on the cover: the identity of the composer, including address, email, phone number, biography, photograph and programme notes should be placed in a separate sealed envelope also marked with the same title.

The scores may be submitted electronically as pdf files with the composer's pseudonym as heading to the following address:

The accompanying details should be sent in another email with the same heading to the same address.

The deadline for posted entries has been extended to September 15th, 2017 - 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 receipt of the written adjudication following the conclusion of the competition.

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. If 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.

Please contact the ACO at for further clarification.
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
timpani (doubling second percussionist)
percussion (one player)
any keyboard
6 violins
2 violas
2 cellos
1 double bass.

Minimum specification is a single performer
There is a first prize of £1000
and the Mullord Award of £500

The main reason for entering the Competition each year is the excellent and detailed feed-back one gets afterwards.

Recently I had a request to perform the Song Cycle I had entered for ‘Going for a Song 2011’. I have thoroughly enjoyed the experience of trying out (and adopting) the suggestions made by the judging panel.

Song Cycle ‘Seagull’ will be performed by Karen Harries – soprano and the Wymondham Symphony Orchestra on 5th July 2014 – the 30th anniversary concert for the orchestra in Wymondham Abbey Norfolk.

Thank you judging panel – long may the encouragement you are giving composers continue!

 13th SUN RIVER PRIZE Students’ New Music Composition Competition
Summary:Students' competition competition
Deadline: None
Date Posted: 28 June 2017
Details: Chengdu, P.R. China, 2017

◆Sponsored by Sichuan Conservatory of Music
◆Organized by Research Institute of Composition Technique of Sichuan Conservatory of Music
Composition Department of Sichuan Conservatory of Music

◆Chairman of the Organizing Committee
Prof. Lin Ge’er
Composer, President of the Sichuan Conservatory of Music

◆Chairman of the Jury
Dr. Zhou Long
Pulitzer Prize-winning composer
Distinguished Professor of Music, University of Missouri-Kansas City
Distinguished Professor, Tianjin Conservatory of Music

◆Qualification all students (without restrictions on nationalities regions and ages) are qualified
◆Deadline 08th October 2017
(Entries must be received before 08th October 2017)
◆Mailing Address
Committee of 13th SUN RIVER PRIZE Students’ New Music Composition Competition
Research Institute of Composition Technique,
No.6 Xinsheng Road, Chengdu, 610021 Sichuan, P.R.China
Mrs. Liang Yi-fei
Mr. Jing Xu
Tel & Fax +86-28-8543 0253

13th SUN RIVER PRIZE Students’ New Music Composition Competition
Chengdu, P.R. China, 2017

Rule of the Competition

◆Aim of the Composition
New Talent, New Idea
New Composition, New Music

the competition of this year is chamber music, and the establishment of music instruments to be selected of 1-9 instrumentalists combined willingly and the same instrument is not more than 4. (Without any electronic instrument, equipment and computer)
The composition should be under 12 minutes.
1. All students (without any restrictions on nationalities, regions and ages).
2. The composition should be written any style and in last three years.
3. The composition must be unpublished, and must not have been awarded in any other contest prizes.
4. Each candidate is allowed to offer only one piece for the competition and should not enter for the competition with others' name.

◆How to enter
Candidates should fill out the entry form (enclosed) and offer the copies of the ID and the Student ID card, as well as 7 copies of the composition score.
The composition should be delivered by the registered letter to the Competition Committee before the deadline.
The score of the computer file (PDF format) should be sent via email to at same time.

◆Mailing Address
Committee of 13th SUN RIVER PRIZE Students' New Music Composition Competition
Research Institute of Composition Technique,
No.6 Xinsheng Road, Chengdu, 610021 Sichuan, P.R.China

◆ Contact
Mrs. Liang Yi-fei
Mr. Jing Xu
Tel & Fax +86-28-8543 0253
Deadline: 08th October 2017
(Entries must be received before 08th October 2017)
we recommend the candidates to offer the CD record of the composition, but the audio files are not required.
All materials offered by the candidates (including scores and CD) will not be returned.

◆Award and Prizes
1st Prize (1): RMB ¥15,000 (pre-tax) and the certificate.
2nd Prize (2): RMB ¥10,000 (pre-tax) and the certificate.
3rd Prize (3): RMB ¥5,000 (pre-tax) and the certificate.
Honorable Mention (several): the certificate.

The juries have the rights to decide the prizes and the number of the vacant winners, and the jury's decision is final.

◆Copyright of the Attribution
During the selection of the competition, any prize-winning composition could be published and played permanently and freely by the sponsors.

◆Additional Directions
1. Please do not write your name and any non-musical notes on the composition score, otherwise the candidates cannot enter for the selecting procedure.
2. The entry form is enclosed (copy is available), which should be posted after being filled out with the record and copies of the composition score.


 MotoContrario ensemble
Summary:Call for Scores 2018
Deadline: 31 August 2017
Date Posted: 28 June 2017
Details: MotoContrario Ensemble is very excited to announce its fourth call for scores.

For the third edition of the call we received over 200 works from all over the world; eleven pieces for ensemble, sax quartet and solo instrument have been chosen and performed in the winner concert during the last edition of the Festival. Other pieces have been performed in different appointments of the Festival.

For this edition we open the call for two different categories:

cat.A – solo instrument or mixed ensemble (from 2 to 9 instruments, no electronics) – see available instruments below

cat.B – sax quartet (soprano, alto, tenor, baritone)

Instrumentation for cat. A:

1 clarinet (single performer, including soprano Bb and A and bass)
1 saxophone (single performer, including sopranino, soprano, alto, tenor, baritone)
1 trumpet (single performer, including flugelhorn, piccolo trumpet, cornet)
percussion (single performer; available instruments: marimba (4.3 octave), vibraphone, glockenspiel, 2 susp.cymb., 5 temple bl., snare drum, bongos, congas)
piano type accordeon (single performer)
1 piano (one or two performers)
1 violin (single performer)
1 viola (single performer)
1 cello (single performer)

Guidelines for submission:

– Applicants may be of any nationality and age.

– Applicants may submit only one work for each category.

– Submitted works must not exceed 15 minutes of duration.

Deadline: 31th august 2017 (CET 11.59pm)

Fee: No fee

The submitted pieces will be selected by the members of MotoContrario Ensemble.

The selected pieces will be performed in a dedicated concert of the 5th edition of Festival Contrasti, that will have place in the spring of 2018 in Trento, Italy; other pieces will be considered for different occasions.

All submissions should be sent via email to with the subject heading “Contrasti 2018 ‐ Call For Scores ‐ Your Name” and should include a link (Dropbox, Google Drive, WeTransfer, etc) to the following files:

PDF score;
MP3 recording (not mandatory – MIDI realizations are acceptable);
curriculum vitae;
contact details;
All parts must be sent a week after the selection.

For more information regarding the call for scores, please send an email to:

Web site: –


 Short Sounds Film Festival
Summary:Film festival seeks submissions
Deadline: 31 August 2017
Date Posted: 21 June 2017
Details: The Short Sounds Film Festival is the world’s first dedicated celebration of cinematic sound and music.

The world is full of NOISE, loud, raw and unrelenting on our ear drums. Escaping it is nigh on impossible and in time it fades motionless to the background of our lives, HOWEVER…

… in the temple of cinema, the crude ore of NOISE is crafted by unsung masters into sculpted waves designed to wash sensually upon our ears with majesty and wonderment. Rich in resonance, subtle in sentiment and lasting in legacy, this mesmerising process has seen NOISE become SOUND.

The Short Sounds Film Festival is the world’s first dedicated celebration of cinematic sound and music. An event to champion the audio wizards that fill our heads with SOUNDS that make our heart race and SCORES that storm our souls. This October, join us in central Bournemouth for a programme of films richly authentic in their use of sound and music and a whole host of uniquely engaging experiential installations designed to challenge your very relationship with cinematic audio.

Come free your ears from the monotony of NOISE and tantalise them with the glory of cinematic SOUND

Submissions open between 1st Feb and 31st Aug

 Young Composers Challenge!
Summary:Pre-notification of competition
Deadline: None
Date Posted: 21 June 2017
Details: Welcome to the 2017 edition of the Young Composers Challenge! The start of this year’s contest is edging nearer and nearer, and we’re super excited to see what this year’s participants will create.

Registrations will open 2nd of August, with the complete details being released on August 20th. In the meanwhile, head over to our ‘About’ page for more information on the competition.

We’ve got some spectacular judges this year, and over $10,000 in prizes. So keep an eye out for the registration form on August 2nd!

 The Solo and Chamber Timpanist's Initiative
Summary:Compositions featuring timpani
Deadline: 10 September 2017
Date Posted: 07 June 2017
Details: The Solo and Chamber Timpanist's Initiative is thrilled to announce our first-ever call for new solo and chamber timpani music. SCTI recognizes a shortage in timpani repertoire best attributed to the many challenges faced by composers when writing for this instrument.

One Grand Prize Winner will receive:
$200 cash prize
Live broadcasted performance of composition
Studio recording of composition

Four Runner-Ups will receive:
$200 cash prize
Live broadcasted performance of composition
Studio recording of composition

Submissions MUST …

Feature the timpani in a prominent and soloistic role.
Have been composed in the last ten years.
Utilize no more than six musicians.
Not exceed fifteen minutes. May be apart of a larger work.
Not exceed the use of one grand piano.

Submission Deadline: September 10th, 2017 11:59 PM EST

Submissions may consist of one or more movements from a larger work.
Multi percussion setups are allowed and encouraged, provided that the timpani serve as a primary voice in the ensemble.
Exceeding the typical range of the timpani or using more than four drums renders your piece less accessible for public performance.
Pieces that utilize instruments that are accessible in conservatory setting are preferred. These include but are not limited to: winds, brass, strings, percussion, piano, celeste, and voice.
Please make every effort to use unconventional sounds tastefully. These include preparing the timpani with cymbals, temple bowls, and crotales, striking timpani bowls and rims, and striking the timpani heads with brushes and/or other unconventional beaters.

Submission Instructions:
Please submit all relevant materials by emailing If files exceed standard sizes, please share a Google-Drive folder instead. This will require the use of a Google affiliated email account.

Submission files may include:

Program Notes/Concept
Musical Score
Setup Diagram(s)
Synthetic or Acoustic Recording


 The Tenth Annual Texas Tech Trombone Ensemble Composition Contest
Summary:Trombone competition
Deadline: 01 November 2017
Date Posted: 24 May 2017
Details: The TTU Trombone Ensemble Composition Contest Committee is requesting an original musical work with the following characteristics:

Duration 6 - 8 minutes in length

Instrumentation: Bass Trombone Soloist and Trombone Ensemble. The ensemble may consist of 4 – 8 parts, at the discretion of the composer.

Type of Work: Stand Alone Concert Piece, to be performed at the Fifteenth Annual Big 12 Trombone Conference, January 12 – 14, 2018 at Texas Tech University, Lubbock, TX. Charles Vernon, Bass Trombonist of the Chicago Symphony, is the scheduled feature artist for the conference.

A $1,000.00 Cash Prize will be awarded to the winning composition.

Additional awards may be granted at the discretion of the contest adjudication panel.


 MIGRATION submission for listening
Summary:Site specific call
Deadline: None
Date Posted: 26 April 2017
Details: A listening room is a place where we listen and talk about what we hear. All submissions should be sent to alisteningroom (at) and be clearly titled MIGRATION SUBMISSION.

Migration is something it seems we have all been forced to think about today. In some ways I feel reluctant to grapple such a hot public topic, and I feel even more reluctant to write about it. Yet the incentive is exactly that, how do we grapple with an issue that is not only in the news but also very important? A topic that is effecting or which more then likely will effect everyone in the world. Migration brings about images of other things too, immigration, and being a refugee are in a sense all different levels of human movement around the globe. But so is the migration of animals and non-human entities. While we often present animal migration as normal, and we understand that human hunter gatherers must migrate, how is it that most humans find it so hard to move that we describe such activities as uprooting, as if we are taken away from the very soil that nourishes and keeps us alive, when in fact looking at animal migration, it is precisely this movement that allows for survival.

These are not neutral movements, but stem from various reasons some good, some bad, some very bad. The reason for movement is often survival. This is not an easy subject, but I wish to deal with it as openly and diversely as possible.

The call is open to everyone. Sessions last a day, and everyone is free to come and go as they please. If you wish to submit sounds or music please email us clearly stating as your subject MIGRATION to alisteningroom (at) if you wish to submit something which is not online please wetransfer it to the same address, again clearly stating the subject and your name in the message box. If you wish to write something about your submission please feel free to so do. All works will be published on our site and the sounds which are online will be linked.

The date and location of the session will be announced soon.

Summary:Three Category call
Deadline: 31 August 2017
Date Posted: 26 April 2017
Details: Supported by the SCO Foundation and the composers themselves, the Sydney Contemporary Orchestra (SCO) proudly presents the Sydney International Composers Concerts 2018.

It consists of three concerts:

Contemporary String Quartets (in April 2018)
Contemporary Chamber Music (in July 2018)
Contemporary Orchestral Music. (in October 2018)
Composers of all nationalities and all ages who wishing their orchestral works to be video recorded in concerts, and willing to contribute sharing fees, may submit their works.

Score Submission Form

6 compositions will be selected for each concert to be video recorded in a magnificent concert hall in Sydney Australia.

For more details please visit Opportunities for Composers

Or contact us:

Summary:Competition with 3 categories
Deadline: 27 October 2017
Date Posted: 12 April 2017
Details: Compared to the previous editions, many rules have been changed or modified, also in cooperation with our Spanish partners. We believe that many aspects have been improved, thanks to the experience that we have gained over the years. These new rules, in fact, cover any situation and improve the management of the competition, avoiding any error or delay.


“Participation in this contest implies acceptance of these rules”


1 – This Contest is dedicated to the great French composer, but it's open to every musical style, also very far from Ravel's.

2 – This name was chosen because the Contest is organised by the Ravel Association of Novara (Northern Italy). The Association is also responsible for the Ravel Philharmonic Orchestra and Music Academy Maurice Ravel: the choice of the name Ravel, for this Composition Contest, is therefore easily understandable.

3 - The Contest is 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 – PLEASE NOTE that, unlike the previous editions, only two categories will be judged live, i.e. the compositions of only two categories will be performed directly before the panel of judges by one of our orchestras. The compositions of the third category called "All Existing Instruments" 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 third 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 three categories, which differ from one another in some aspects, such as the participation fee costs (much lower for the third category).

7 - EACH CATEGORY is an independent international contest, with no connection to other categories. Composers who register in 2-3 different categories are basically participating in 2-3 separate contests.

8 - Each composer can register the same compositions both in one of the first two categories and in the third one, since these competitions are independent and will be judged in a different way.

9 - The experience that we have gained after many competitions has helped us understand that some composers find it difficult to accept the exclusion from the semi-final/ final step of the competition, or from the award ceremony. There is no point in remembering that not everyone can win, or sometimes the compositions of an inexperienced student may be preferred over those of skilled artist. Or stressing that, among hundreds of participants from all over the world, only few composers will be able to achieve the desired goal. Therefore, let us remember that, by taking part in the competition, you will automatically accept every point of this Regulation, being aware that you might be excluded even from the first selection.


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, including first-place winners in any category of the first or second edition of this contest. The semifinal first-place winners of every Nation from the last contests may participate with the same compositions, as well as all other finalists who did not win the first prize.

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 3 CATEGORIES (three different composition contests)

16 – CATEGORY: “LIVE FULL ORCHESTRA”: Compositions with at least 8 different instrumental or vocal parts, with the possibility to use identical or different instruments for each part. Example: violin 1, violin 2, cello, double bass, flute, horn 1, horn 2, oboe. In this case, the minimum number of 8 instrumental parts is reached, although there are only 6 types of different instruments (violin, cello, double bass, flute, horn, oboe). Of course, composers are free to choose any combination of instruments to reach the minimum number of 8 parts. All vocal, choral and soloist parts are also valid. These 8 (or more) parts may also be played by an orchestra of 100 or more elements, with many instruments or choral voices playing the same part. Example: 18 first violins, 20 second violins, 8 cellos, 30 choristers, several percussion instruments etc.

17 - 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.

18 – CATEGORY: “LIVE SMALL GROUPS”: Compositions from 1 to 7 different instrumental or vocal parts, with the possibility to use identical or different instruments for each part (as in the example of the first category). 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.

Alto Flute
Bass Flute
Oboe d'Amore
English horn
Clarinet in Bb-Eb-A
Bass Clarinet in Bb
Soprano Saxophone
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
Horn in F/Bb
Trumpet in C- Bb-Eb
Trombone in Bb/F
Bass Tuba in Bb
Double Bass
Classical Guitar
Acoustic Guitar
Lute (13 stringed)
Organ (32 Pedals)
Bandoneon Timpani
Snare drum
Bass drum
Tubular Bells
Orchestral Bells
Large Gong
Medium Gong
Sleigh Bells
Hand claps
Rain Stick

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: “ALL EXISTING INSTRUMENTS”: 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 two "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 two categories); 2) Only the musical 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).

More information:

 New York Composers Circle
Summary:Call wth no deadline
Deadline: None
Date Posted: 12 October 2016
Details: New York Composers Circle’s Monthly Salon Call for New Works No Deadline, No Fee

Invitation to NYCC Salons

The New York Composers Circle (NYCC) invites composers in the New York metropolitan area to its monthly salons to audition either completed works or works-in-progress for constructive commentary and attentive listening. This opportunity to share your works and commingle with your peers is especially valuable for composers recently out of school, working outside the music field and those simply hungry for a fresh perspective given in a warm, welcoming environment.

Guests are invited to bring their works, complete or not, to monthly salons. However, space and time are limited, so only those first five respondents who can arrange either a live performance or provide a recording (live performance preferable though a “good” MIDI realization is acceptable) and score (traditional, graphic, etc.) will be invited to one of the monthly salons. If invited, prepare a few introductory remarks and short commentary about your work to the assembled gathering. The remarks need only to be a quick summation of the impetus for the work or a short summary of its technical aspects. Guests who have presented at salons may be invited to join NYCC and have their works performed at one of its concerts.

Duration of presented works should not exceed 15 minutes and commentary on your work no longer than 5 minutes. We welcome printed handouts if you wish to share more about your work process and inspiration which members and guests can read at their leisure.

About Us
NYCC is a New York City composers’ collective founded in 2002 with over 60 members consisting of composers and performers. Members come from many walks of life and share a passion and deep knowledge about the complex process of composing a work and having it performed publicly. All are devoted to the core mission of promoting public awareness and appreciation of contemporary music through concerts, salons, and other events in the New York metropolitan area. As part of its fulfillment of this mission, the collective produces four concerts every year featuring its members' chamber works at such venues as Symphony Space, St. Peter’s Church and Leonard Nimoy Thalia Theater.

Submission Information
If you are interested, please write to Hubert Howe at the email
listed below with a description of the piece you will be bringing - its
title, instrumentation, duration, and the particulars of its
performance, and include some information about your musical background.

For general information about the New York Composers Circle, please
visit the website below.
Contact: Hubert Howe

 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 with a description of the ensemble to get approval of the ensemble for which you wish to compose.

Instrumentation for the other ensembles follows.


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
Web Site:

 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: Please do not send audio attachments.