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 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
Web Site:shortsounds.co.uk

 University of Tennessee Contemporary Music Festival 2017 Call for Scores
Summary:Call with two categories
Deadline: 15 July 2017
Date Posted: 21 June 2017
Details: THE UNIVERSITY OF TENNESSEE
CONTEMPORARY MUSIC FESTIVAL

OCTOBER 18-20, 2017

CALL FOR SCORES AND PAPERS

The School of Music at The University of Tennessee, Knoxville announces its third annual Contemporary Music Festival to be held October 18-20, 2017 at the Natalie L. Haslam Music Center. We are implementing a call for scores as well as a call for papers/presentations.

We have two concerts planned for our call; one for UTK Players and one for composers who plan to bring their own performers.
Composers may submit up to two scores for consideration for the UTK Players call, and one score for consideration for the Composer/Performer call. There is no time limit, but works under 10 minutes are more likely to be programmed to allow for a wide selection. Only one score per composer may be selected for inclusion at the conference.

Our UTK Players instrumentation includes: Flute, Trumpet, Trombone (2), Tuba, Cello (multiple), and 2-6 percussionists. Scores may utilize as few as two instruments or as many as the entire ensemble. Electroacoustic works (stereo playback) are also welcome. Fixed media electronic works are acceptable provided that they are stereo playback.

The Composer/Performer call includes all acoustic possibilities, fixed media, and electroacoustic with fixed media, stereo playback.

All score submissions should be made via THIS LINK or by pasting the following link into your browser:

https://docs.google.com/forms/d/1bDL06jHNJV7IdVHeYaifovlRp32vbZ4bpSpHdS7...

Please fill out the form and include a Dropbox link (or similar filesharing link, no attachments will be accepted) to a folder with the following two files:

• FOR THE UTK PLAYERS CALL, please place the following files in a folder named:
UTCMF2017 Players Call - Last Name, First Name
If submitting multiple works, please put all materials into ONE folder.

1. A .pdf file of the score.
Please label as: UTCMF 2017_PlayersCall_lastname_firstname_title
2. An .mp3 recording if available; MIDI realizations are acceptable.
Please label as: UTCMF2017_PlayersCall_lastname_firstname_title

• FOR THE COMPOSER/PERFORMER CALL, please place the following files in a folder named:
UTCMF 2017 Composer/Performer Call - Last Name, First Name

1. A .pdf file of the score.
Please label as: UTCMF2017_ComposerCall_lastname_firstname_title
2. An .mp3 recording if available; MIDI realizations are acceptable.
Please label as: UTCMF2017_ComposerCall_lastname_firstname_title

• FOR THE PAPER/PRESENTATION CALL, please send proposal abstracts to Brendan McConville (bmcconvi@utk.edu). Paper presentations will last approximately 20 minutes with 5-10 minutes for questions. Please limit your abstract to 250 words. Supplemental materials may be sent as .pdfs.

Individuals may submit for the UTK Players Call, the Composer/Performer Call, and the paper presentations, but a separate submission must be completed for each.
The deadline for submission is Saturday, July 15, 2017, and applicants will be notified via email in late August.
There is no fee to apply for these calls. There is a $25 registration for all festival participants. If selected for participation, information for payment will be sent to you via email.

For more information regarding the call for scores, please contact Dr. Andrew Sigler at asigler@utk.edu.

For more information regarding the call for papers, please contact Dr. Brendan McConville at bmcconvi@utk.edu.

Deadline: 15 Jul 2017
Web Site:docs.google.com/forms/d/1bDL06jHNJV7IdVHeYaifovlRp32vbZ4bpSpHdS7tlbI/viewform?edit_requested=true

 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!
Web Site:youngcomposerscompetition.com

 Christopher Brooks Composition Prize
Summary:Competition for Young Composers
Deadline: 14 July 2017
Date Posted: 21 June 2017
Details: We are delighted to announce the third year of the Christopher Brooks Composition Prize in association with the Rushworth Foundation. The prize provides a unique opportunity for a young artist/composer who writes original music to develop their talent and access guidance and support from a wide range of people working in the music profession.

£1,000 will be awarded to the winner of the competition. The prize-winning composer will write a new work for an ensemble from the Royal Liverpool Philharmonic Orchestra for performance in Autumn 2018, and will be supported with an individual programme of workshops, masterclasses and mentoring sessions from composers, performers, conductors and other industry professionals associated with Liverpool Philharmonic.

Previous prize winners have: written new work for Ensemble 10/10 (Liverpool Philharmonic’s new music ensemble) and Liverpool Philharmonic Youth Choir; met with international composers, artists and conductors; attended orchestra rehearsals and masterclasses; have had hands-on experience of orchestra management, recording production, librarianship and education work; have met with Liverpool Philharmonic’s contacts across the music industry.

"The Christopher Brooks Composition Prize provides a young composer with a unique opportunity to absorb themselves in the day to day life of the Royal Liverpool Philharmonic Orchestra. The Orchestra is the most friendly and welcoming organisation, with everyone I've come into contact with there wanting to do anything and everything they can to help me on my way. I have been able to meet with and pick the brains of many of the players, and develop relationships with musicians and non-musicians alike. I even had the opportunity to meet childhood hero Andrew Manze!

I received two days of rehearsal on the piece I wrote for Ensemble 10/10 (the most I've had on a piece to this date!), and was blown away by the players' enthusiasm and the resulting performance. I will endeavour to maintain my relationship with the orchestra and would strongly recommend this opportunity to others."

Previous Christopher Brooks Composition Prize Winner

Eligibility

You should:
• be between 18 and 30 years of age on 1 October 2017
• live, work, study or have been born in the North West of England (Merseyside, Cheshire, Greater Manchester, Lancashire, Cumbria)
• not be represented by a publisher (self-published composers will be eligible)
• previous winners of the Christopher Brooks Prize are not eligible to apply

How to apply

Please submit:
• two scores of examples of original works for orchestral instruments. Scores must be submitted electronically in PDF format only. Recordings of your works can be submitted in addition to, but not instead of, scores.
• A short explanation of why you have chosen to submit these works and how you would describe your personal composition style and approaches
• a CV and list of works
• a letter of application, outlining what you would hope to gain from working with Liverpool Philharmonic.

In your covering letter, you must include the following:
• confirmation that the enclosed works are your own original compositions
• confirmation that you meet the eligibility criteria
• declaration of any personal relationship with any members of the panel

Email your application to learning@liverpoolphil.com. Please ensure that all your application documents are sent in one email.

The closing date for receipt of applications is 5pm on Friday 14 July 2017.

Late applications will not be accepted. Liverpool Philharmonic accepts no responsibility for applications not received
Web Site:www.liverpoolphil.com/christopher-brooks-composition-prize

 NODUS Ensemble
Summary:Visual art themed composition competition
Deadline: 01 August 2017
Date Posted: 21 June 2017
Details: ***Call for Works: 2017 NODUS Ensemble Fall Concert Series***

The Miami Section of the International Society for Contemporary Music (ISCM) at Florida International University (FIU) is pleased to announce a call for scores for possible performance as part of the NODUS Ensemble’s 3 concert Fall Series being held September 6, October 25, and November 29 in the main gallery of the FIU Miami Beach Urban Studios. Attendance at the concerts by composers whose works are selected is not required. The call is open to all composers without restrictions.

Only works that have a thematic related to visual art and/or architecture and design and that employ the following instrumentations will be considered:

~ NODUS Ensemble works for 1 to 4 performers in any combination 1 on a part for Violin, Viola, Cello, and Piano with or without electronics and video

~ Fixed Media Works and/or Live-Electronics with or without Video

~ Installations

Due to programming considerations works over 15 minutes will not be considered. Up to two works may be submitted for consideration.

Selected pieces will be announced through the New Music Miami web site and the NODUS Ensemble Facebook page.

Application Procedure

***Submission Deadline is August 1 (12:00 a.m. EST)***

Application Fee: $22.00 for the submission of one work, and a total of $32.50 for the submission of two works.

The application procedure consists of the following steps:

1. Submitting online payment through ticket solutions.
Select 2017 NODUS Ensemble Fall Concert Series Submission. After completing payment, you will be provided an “order number”. This is necessary for the next step. (Please note: because the submissions payment is being handled through an online ticketing system, it may be necessary to “load more events” on the web page.)

2. Filling out the online informational form.
All materials (PDFs of scores and audio files as well as a brief description of the works relation to visual art and/or architecture and design) must be submitted electronically and made available for download by supplying links to download files and/or stream audio files. Please make sure all links stay active through August 31. Please enter the “order number” obtained through the above process at the bottom of the form. This will provide proof of payment.
Web Site:www.newmusicmiami.org/?page_id=477

 KALEIDOSCOPE - call for scores
Summary:Chamber and orchestral call
Deadline: 15 July 2017
Date Posted: 07 June 2017
Details: Kaleidoscope is happy to announce a call for scores for unaccompanied, chamber music, and orchestral works to be premiered in our 4th season (2017-2018).

Over half of the music we performed in our 3rd season was by living composers, which included 16 premieres (12 of which were chosen from last year's call for scores).

Applications are due July 15.

This call is open to composers of all ages and nationalities.

Submitted works need to be a west coast premiere (California and neighboring states), if not also a US or world premiere.

Works with one or more soloists (including voice), focusing on one section (like string orchestra), or less traditional instruments or performance practice are also welcome.

Selected pieces will be professionally recorded and composers will be reimbursed for international travel to and from Los Angeles and be offered 1 week of housing accommodations leading up to performances.

For more info and to apply, go to:
www.kco.la
Web Site:www.kco.la/

 Composition competition - Season of music #3
Summary:Themed Call for Scores
Deadline: 26 June 2017
Date Posted: 07 June 2017
Details: How to participate

1. Compose your own music for FALL!
2. Click “Enter Now” on the Challenge page to upload your sound source!
You must insert tags that will best feature your composition!
(#AutumnMusic #CalmSong #RomanticSong #BreakupSong)

3. Sell the sound source uploaded for the Challenge on Grafolio market

※ Uploaded sound source must be sold on the Grafolio market in order to complete application.
※ Please download the "Detailed Guide" below.

Schedule

* UTC+09 (Korean Standard Time)
Submission Period May 15, 2017 ~ June 26, 2017
Voting Period May 15, 2017 ~ July 06, 2017
Winner Announcement July 12, 2017

FAQ

Copyright and the neighboring rights of each entry belongs to the creator.
All entries on Grafolio may be exposed within the limits set in the Grafolio terms of use and if chosen, may be further utilized as directed in this notice.
The following entries will be excluded from the evaluation. Even in the event that such a work wins, the award will be canceled and any support funds will be revoked.
- Works which have already won in either national or overseas competitions.
- Works which have plagiarized other works or are acknowledged to violate the intellectual property right of others.
- Works which disrupt public order or are offensive.
- Any problems including the above related to entries are the legal responsibility of the applicant.
1. Does it have to be music without lyrics?
No. You can submit either instrumental music without lyrics or vocals, or music with vocals.
2. Can I apply with music that I have already published on Grafolio.
Yes, you can. You don’t need to re-upload them. Just click on the uploaded song and click “edit”, and choose the challenge of interest. Your submission will be complete when you sell the song. Please make sure you read carefully the guidelines to enter the challenge!
3. Market Seller Registration is difficult.
Please refer to the “Detailed Guide” at the top of the Challenge.
4. If I do not sell the sound source to market, can I not apply the challenge?
You must complete the sales of music on market to complete application.
5. It is difficult to set price by license.
Please refer to the Detailed Guide item 3-4.
6. Are there any restrictions on the running time (duration, length)
There are no restrictions on the length, but we recommend a length between one to four minutes.
7. Are tags required?
Yes. Please don’t forget to insert tags that best feature your song. With tags, more people can search your song. e.g.) SadSong, BedtimeSong, HealingSong, JoyfulSong, CalmSong.
8. I want to know whether I participated in the challenge properly.
If your work has been properly submitted to the Challenge, a banner of “Entry work of Grafolio BGM Composition Challenge vol. Autumn” will be shown on top of the page.
9. I completed the registration at Market. Am I done participating?
No. After the review is done, you should click ”Start the sale” for a complete participation. Review will take 2-5 days or more. * Product Registration (by you) -> Completion of review (by Grafolio) -> Start the Sale (by you)
10. The challenge ends on June 26th. Does that mean that the sales should start or be registered until then?
Sales can be registered or started by July 6th, the end date for voting. * For more inquiries, please contact cs@grafolio.net.
Award and Benefits

Winner : 20 people x 1 million KRW prize money each
Cheer Up award : 5 people x Spectrasonics Keyscape (Product delivery, worth of 560,000 KRW )

※ You will be paid USD by applying the exchange rate on the announcement day (July 12th).
Web Site:www.grafolio.com/challenge/130

 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

Suggestions
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 sctimps@gmail.com. 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

Web Site:www.sctimps.org

 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.

FIRST PRIZE WINNERS CANNOT SUBMIT IN CONSECUTIVE YEARS.
Web Site:ttu.orgsync.com/org/texastechtrombones/14_1_Composition_Contest

 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) gmail.com 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) gmail.com 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.
Web Site:aroomwherewelisten.blogspot.be/2017/04/migration-submission-for-listening.html

 SYDNEY INTERNATIONAL COMPOSERS CONCERTS 2018
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:

office@sydneycontemporaryorchestra.org.au
Web Site:www.sydneycontemporaryorchestra.org.au/index.php/concerts/event/52-sydney-international-composers-concert-2018

 REGISTRATIONS ARE OPEN FOR THE INTERNATIONAL COMPOSITION CONTEST “MAURICE RAVEL”
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.

CONTEST RULES

“Participation in this contest implies acceptance of these rules”

INTERNATIONAL COMPOSITION CONTEST “MAURICE RAVEL” (Third Edition)

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.

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, 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.

19 – LIST OF INSTRUMENTS ADMITTED IN THE FIRST TWO “LIVE” CATEGORIES
Flute
Piccolo
Alto Flute
Bass Flute
Oboe
Oboe d'Amore
English horn
Clarinet in Bb-Eb-A
Bass Clarinet in Bb
Soprano Saxophone
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
Bassoon
Contrabassoon
Harmonica
Bagpipes
Didgeridoo
Horn in F/Bb
Trumpet in C- Bb-Eb
Trombone in Bb/F
Bass Tuba in Bb
Violin
Viola
Cello
Double Bass
Harp
Classical Guitar
Acoustic Guitar
Lute (13 stringed)
Sitar
Pianoforte
Harpsichord
Celesta
Organ (32 Pedals)
Accordion
Bandoneon Timpani
Snare drum
Bass drum
Cymbals
Tambourine
Triangle
Xylophone
Glockenspiel
Tubular Bells
Marimba
Vibraphone
Orchestral Bells
Crotales
Large Gong
Medium Gong
Tam-tam
Sleigh Bells
Bongos
Congas
Timbales
Cabasa
Castanets
Hand claps
Maracas
Rain Stick


VOCAL PARTS
Soprano
Mezzo-soprano
Contralto
Countertenor
Tenor
Baritone
Bass
Choir
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:
Web Site:composercompetition.weebly.com/contest-rules.html

 League of Composers/ISCM 2017 Composers' Competition
Summary:Call for Scores (flexible size ensemble)
Deadline: None
Date Posted: 04 April 2017
Details: Entry fee
$25 per work

Submission Deadline
August 1, 2017

Prize
$1000 and a New York City performance*, possible nomination to the next World Music Days

Guidelines

Eligibility
All composers are eligible to enter. Only US composers can be selected to represent ISCM at the World Music Days.

Composition Requirements
Works for solo instrument, small ensemble, or any combination up to a chamber orchestra may be submitted. Works featuring voice, choir, and/or electronic media will also be accepted. Works should be no longer than 20 minutes in duration. There are no stylistic limitations. The instrumentation limit for a guaranteed performance is eight (8) players.

Submission Requirements
Our submission process is entirely electronic. Since judging is done anonymously, all traces of the composer's name should be removed from submitted score and audio. No pseudonym is needed. If the work you wish to submit cannot be submitted through our online submission process, please contact Luke Dahn for assistance at lukedahn@gmail.com.

Adjudication Process
The judging panel will judge the competition during the summer of 2017 and endeavor to complete the process no later than September 1, 2017. If the judges choose more than one winner, the monetary award will be divided evenly among the winners, and each composition will receive a performance in New York. Winners must be willing to provide conductor’s score and parts in a timely manner at his or her cost. Questions should be addressed to lukedahn@gmail.com.

Submission Information and Materials
Name; Email; PDF of score (composer's name removed); MP3 recording, if available (50MB limit; MIDI realizations will be accepted); Bio or CV; Entry fee payment (on subsequent page).

Payment method
Submission will not be complete until entry fee payment is submitted. You may submit payment on the submission form. Alternatively, a check may be mailed to the following address:

League of Composers/ISCM
c/o Friedrich Heinrich Kern
24 Waverly Place RM 268
New York, NY 10003

*The League will make every effort to perform the winning work. In the case of an instrumentation that is not available, the League will perform an alternate work of the composer.
Web Site:leagueofcomposers.org/competiton-submission/

 Composition Competition for schools
Summary:Schools' Composition Competition
Deadline: None
Date Posted: 20 March 2017
Details: We’re excited to launch a Shakespeare-inspired Composition Competition for all registered schools, and the good news is that you don’t have to be a musical maestro to take part!

Pupils can create a soundscape for the Forest of Arden, a lullaby inspired by the fairies from A Midsummer Night’s Dream or a magical melody for Macbeth’s witches – in any musical style or genre. Specially commissioned resources from Birmingham Conservatoire will get you started on your musical masterpieces.

Five winning entries will be chosen to work with vocal leader Daniel Galbreath and will have the opportunity to perform a specially arranged version of their composition alongside musicians from Birmingham Conservatoire at a Celebration Concert in June.

For more information:

Web Site:www.shakespeareweek.org.uk/news/composition-competition-schools/

 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.
NYComposersCircle
Contact: Hubert Howe
Email: Hubert.Howe@qc.cuny.edu
Web Site:newyorkcomposerscircle.org

 NBA Young Composers Jazz Composition Contest
Summary:Jazz Competition
Deadline: 01 July 2017
Date Posted: 27 September 2016
Details: The contest seeks to recognize and encourage young jazz composers to submit their works for the prize. Composers must be 39 years of age or younger by July 1 of each year. In addition, the work submitted must be for jazz ensemble with no restrictions as to style, form or length.

Deadline for submissions is July 1, 2017. For additional information, visit https://www.nationalbandassociation.org/contests
Web Site:nationalbandassociation.org/nba-young-composers-jazz-composition-contest/

 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:http://www.apumusiccontest.com/?page_id=32

 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