other Competitions & Call for pieces
|MIGRATION submission for listening|
|Summary:||Site specific call|
|Date Posted:||26 April 2017|
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.
|"Golova Bolit" Arrangement|
|Summary:||Call for arrangments|
|Deadline:||10 June 2017|
|Date Posted:||26 April 2017|
We are the seeking for best arrangements of a Russian folk song named "Golova Bolit" for string quartet or string orchestra. Applicants can find dropbox link to the recording of Golova Bolit by Peter Nalitch. They should listen carefully to a wonderful music coming from beautiful culture and nature of Russia and try to write it down with their own orchestration preferences and intend to transcribe a never-arranged folk song for classical instruments in the best possible way to save the originality.|
Note 1: Composers may feel free to be creative but the melody and structure of the piece must follow the original song.
Note 2: While the call is intended for string arrangement but other classical instrumentation also will be considered (even solo piano!).
Note 3: Tonality and articulations could vary comparing to the recording if the arranger suggests a more expressive articulation that fits the song better than recording.
All composers and arrangers are welcome!
1st prize: $400
2nd prize: $200
3rd prize: $100
Award announcement: July 1, 2017, all applicants will be notified by email.
Winning scores will be considered for performance in part of an opera based on Russian novelist, Anton Chekhov's short stories.
For submission or questions please email: firstname.lastname@example.org
Golova Bolit by Peter Nalitch:
Deadline for submissions: June 10, 2017, 12:00pm EST
Deadline: 10 Jun 2017
|SYDNEY INTERNATIONAL COMPOSERS CONCERTS 2018|
|Summary:||Three Category call|
|Deadline:||31 August 2017|
|Date Posted:||26 April 2017|
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:
|REGISTRATIONS ARE OPEN FOR THE INTERNATIONAL COMPOSITION CONTEST “MAURICE RAVEL”|
|Summary:||Competition with 3 categories|
|Deadline:||27 October 2017|
|Date Posted:||12 April 2017|
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”
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
Clarinet in Bb-Eb-A
Bass Clarinet in Bb
Horn in F/Bb
Trumpet in C- Bb-Eb
Trombone in Bb/F
Bass Tuba in Bb
Lute (13 stringed)
Organ (32 Pedals)
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).
|League of Composers/ISCM 2017 Composers' Competition|
|Summary:||Call for Scores (flexible size ensemble)|
|Date Posted:||04 April 2017|
$25 per work
August 1, 2017
$1000 and a New York City performance*, possible nomination to the next World Music Days
All composers are eligible to enter. Only US composers can be selected to represent ISCM at the World Music Days.
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.
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 email@example.com.
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 firstname.lastname@example.org.
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).
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.
|Composition Competition for schools|
|Summary:||Schools' Composition Competition|
|Date Posted:||20 March 2017|
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:
|5th Annual Jazz Composition Contest for Women Composers|
|Summary:||Competition for female composers|
|Deadline:||18 June 2017|
|Date Posted:||20 March 2017|
• Entries must be original, unpublished compositions by women composers for large jazz ensemble featuring a drum solo. Entrants must submit a transposed score and parts for full jazz ensemble in PDF format utilizing the following instrumentation:
5 saxophones, AATTB. Any/all woodwind doubling or soprano saxophone parts are fine, but must be optional. The chart must be playable without the doubles. Non-doubling parts must also be provided.
4 trombones (3 tenor + 1 bass trombone). Tuba may be used in place of bass trombone, but the chart must be playable with bass trombone instead of tuba.
4 Bb trumpets or flugelhorns. Common mutes (plunger, straight, cup, or harmon) are usable. The 1st trumpet range should go no higher than a written D above the staff (indicate optional higher notes) to maximize playability for younger bands.
Rhythm section of piano, acoustic bass and drum set. Any auxiliary percussion part must be optional.
Although the drummer is the primary soloist, other members of the jazz ensemble may be given solos.
The featured drum part/portions may be orchestrated to be in unison, counterpoint, or "trading" with other soloists or groups within in the ensemble. Creativity in this regard is encouraged.
• No transcriptions or arrangements (except arrangements of the composer's own works) will be eligible.
• The composition may already have been performed, but shall have been written in the past three years of the contest deadline and must be unpublished.
• Entries shall be no longer than 10 minutes in length.
• The purpose of the prize is to encourage the composition and performance of the highest possible quality jazz ensemble literature written by women. Therefore, the composition should be conceived and constructed to ensure an effective performance by high school honors jazz ensembles.
• Compositions will be judged on:
Overall musical quality
Playability/appropriateness for high school, college and professional bands alike
Attention to detail on all rules and guidelines
• The winning composition will be selected by a panel of three judges. Composers will be notified by July 31, 2017.
• The Seattle Women's Jazz Orchestra has the option of withholding the awards if no entries are found to be suitable.
• The winning composer will receive a $400 honorarium. The honorable mention composer will receive a $100 honorarium. Winner and Honoralbe Mention composers will receive a live concert recording of her composition performed by SWOJO with a guest artist as part of the 2017 Earshot Jazz Festival in Seattle, Washington. The winner is strongly encouraged to attend the performance. Travel is at the composer's own expense.
• The winning composer must provide print-ready parts in PDF form for SWOJO in order for us to publish the piece by September 5, 2017. The composer agrees that the piece shall bear the subtitle "Winner of the Seattle Women's Jazz Orchestra 2017 Composition Contest."
• Seattle Women's Jazz Orchestra will either publish the winning composition or secure another publishing company to publish the winning piece at SWOJO's sole discretion.
• The composer must permit Seattle Women's Jazz Orchestra to keep the submitted composition for consideration of future performance, recording, and publishing.
• In the unlikely event that an unforeseen situation prevents the guest artist from performing, the piece will still be recorded, but with a different soloist.
How To Apply
• All materials should be submitted electronically.
• The submission must be anonymous. Therefore, the composer's name must not appear on score, parts, or mp3 recording, nor be audible on the mp3 recording. If the composer's name is announced at the recorded performance, that portion should be edited out.
• Upon submission of the application form and payment, please send a zip file or link to a folder with your score, parts, and recording to email@example.com. You are strongly encouraged to use Dropbox, Google Drive, or other free cloud storage for your contest materials as they may be too large to send as attachments in email.
• Complete the composition contest application online and pay the entry fee through PayPal as provided below. Entry fees will not be returned for any reason.
• Composers may submit as many pieces as she wishes, but each chart must be submitted separately with its own application form, entry fee, and email with link to all composition materials.
• If you must send contest materials by mail, send a single package containing score, parts, CD recording, printout of the entry form, and entry fee of $20 USD check or money order payable to SWOJO.
Seattle Women's Jazz Orchestra
Jazz Composition Contest
PO Box 31611
Seattle, WA 98103 USA
• Seattle Women's Jazz Orchestra's Board of Directors, Executive Director, Musical Directors, and band members are not eligible to enter the contest.
Composers must not attempt to contact any of the members of the Seattle Women's Jazz Orchestra or SWOJO Board to exert influence over the outcome of the contest. Any attempt to do so will immediately disqualify the composer and all her submissions from the contest.
|FilmScore Competition 2017|
|Summary:||Film Music Competition|
|Deadline:||01 May 2017|
|Date Posted:||22 February 2017|
The eagerly anticipated FilmScore Competition is LIVE and this year. we're animated.|
This competition is for 14 - 19 year olds to write a score for a short film. We have selected 4 shot, animated films (2 are available now, 2 more will be online soon).
Simply sign up for the competition here and follow the instructions in the email.
New this year - we are thrilled to be working with Wiltshire Music Centre, to offer new expertise and exposure to the competition.
Do please share this with 14 - 19 year olds, secondary schools, teachers, music teachers, parents, we would love your help in spreading the word.
FilmScore 2017 opens on 6th February 2017
The deadline for submissions is 1st May 2017
The shortlist will be announced on 22nd May 2017
Grand final will be held in mid-June 2017
|113 Composers' Collective|
|Summary:||Competition with 3 Categories|
|Deadline:||30 April 2017|
|Date Posted:||22 February 2017|
CALL FOR SCORES |
DEADLINE: APRIL 30, 2017
SUBMISSION FEE: $ 5.00 PER SCORE
113 is accepting scores for their 2017-18 concert season. Selected scores may be programmed at any point during the season. Composers who are accepted are encouraged (but not required) to attend. Composers of any age or nationality may apply. We are accepting scores in three categories:
1. Solo works for any instrument or voice type
2. Duos for saxophone with piano
3. Works for 1-4 Female Vocalists (2 Soprani and 2 Mezzo-Soprani)
Submissions may include electronics or improvisation.
Scores should be submitted electronically to firstname.lastname@example.org with the subject heading, “113 Call for Scores.” Please attach a PDF of the score and include the link to an mp3 recording (if available). Composers may submit multiple scores, but please note that there is a $ 5.00 fee for each score submission. Submission fees will be accepted through Paypal.
|BBC Proms Inspire|
|Summary:||Young Composers' Competition|
|Deadline:||25 May 2017|
|Date Posted:||10 January 2017|
Now in its nineteenth year, the BBC Proms Inspire scheme provides 12-18 year olds with a friendly environment to share ideas, meet like-minded composers and develop their musical creativity, while working alongside some of the UK’s top composers and musicians. If you are 12-18 years old and want to make your own music, read on to find out how to join the BBC Proms Inspire scheme and enter the BBC Proms Inspire Competition.|
"BBC Proms Inspire shines a light on new and emerging talent among our youngest composers. Last year, I and my fellow-judges were amazed and inspired by the quality of work by young teenagers, and I can’t wait to hear what the next competition reveals!" Jonathan Dove, Inspire Competition judge 2016
What is the BBC Proms Inspire Competition 2017?
"The BBC's long-established and justly celebrated Inspire Competition is the UK's leading event for young composers – and a wonderful opportunity for musically curious people aged 12 to 18.” Judith Weir, Inspire Competition judge 2016
The BBC Proms Inspire Competition continues to provide what most composers only dream of; the chance to have your music performed by professional musicians at the BBC Proms and broadcast on BBC Radio 3. Not only this, winners also receive a BBC commission for a high-profile performance and are mentored throughout the process by a professional composer.
We are looking for music that is original, unique and inspiring. It can be completely innovative or can use the music and ideas of the past to inspire new and exciting pieces of music. There are no restrictions on the type of music you can enter – whatever your style and inspiration, we want to hear it!
What is the prize?
Winners will be given the opportunity to have their work performed at the BBC Proms by professional musicians and broadcast on Radio 3.
Winners will also receive a BBC commission.
Please read the terms and conditions for full details.
Who are the judges?
Entries will be judged by a panel of leading composers and music industry professionals who are passionate about finding and developing young talent. This year’s judges include composers Mark-Anthony Turnage, Charlotte Bray, Fraser Trainer, Kerry Andrew, Hannah Kendall and Director of the BBC Proms, David Pickard.
What are the rules?
It's very important that you read the full terms and conditions for the competition, for full rules and details on how to submit your entry. You are advised to read these carefully as invalid entries will be disqualified. If you’re aged 12 to 16, ask a parent or guardian to read these too as they will need to give their consent for you to enter. The closing date for entries is Thursday 25 May 2017.
How to enter
Please refer to the terms and conditions for full details on how to submit a valid entry. If you need any further information or require clarification of the meaning of any of the terms and conditions, please contact a member of the Proms Learning team by emailing email@example.com.
Download, print and complete an Entry Form. If you’re aged 12 to 16 make sure a parent or guardian reads and completes the bottom section of the form to give their consent for you to enter.
Send your complete entry by post only to: BBC Proms Inspire Young Composers’ Competition, PO Box 7905, London, W1A 1UL. (Please note that this facility cannot accept any mail from carriers other than Royal Mail. The PO Box facility will terminate at close of business on 25 May 2017 and any late entries will not be accepted. In the event of a prolonged postal strike, the period for submission will be extended as appropriate. Entries delivered in person will not be accepted.)
The closing date for entries is Thursday 25 May 2017. Any entries received after this date will not be entered in the competition.
|Bowling Green State University’s College of Musical Arts|
|Deadline:||01 May 2017|
|Date Posted:||10 January 2017|
The MidAmerican Center for Contemporary Music at Bowling Green State University’s College of Musical Arts announces a call for works to be considered for performance on the 38th Annual Bowling Green New Music Festival, to be held October 18-21, 2017. The festival will feature the music of guest composers Steven Mackey and Sarah Kirkland Snider and others, performed by BGSU faculty, students and featured guest ensemble Latitude 49. |
This year, we are seeking works for the following instrumentation:
Works for solo flute, unaccompanied or with piano
Works for solo trumpet unaccompanied or with piano
Works for solo piano
Works for flute and percussion duo
Works for brass quintet (2 trumpets, trombone, horn, tuba)
1.) Composers of any age, nationality or institutional affiliation, except those currently enrolled at or employed by Bowling Green State University, are eligible to submit scores.
1.) All submissions should be made electronically, and should include the following:
a.) Full score in PDF format
b.) If available, a recording (MP3 or WAV format) or link to a recording (via your own personal web site, SoundCloud, YouTube, etc) that can be streamed or downloaded online.
c.) Contact information including name, address, email, and a short bio or resume.
Submissions via email (firstname.lastname@example.org) are preferred. Submissions via DropBox, WeTransfer, or other file-sharing service will also be accepted.
Only one submission per composer will be considered for inclusion on the festival.
Exceptions to the electronic submission rule will be considered on a case-by-case basis. Please forward any questions or concerns to MACCM Director Kurt Doles (email@example.com).
2.) Entries must be received by Wednesday, March 15th 2017 to be considered for performance.
3.) Composers selected to participate must provide scores, parts and other performance materials at their own expense. Attendance at the festival is required; a small honorarium of $200 is offered to help offset travel costs.
4.) Composers whose pieces have been selected for performance will be notified via email before May 1, 2017.
|Liberal Judaism Music Composition Competition|
|Summary:||Competition with sacred theme|
|Deadline:||11 May 2017|
|Date Posted:||04 January 2017|
Are you a musician in a Liberal Jewish community? Have you ever composed music for use in your place of worship? If you have, then keep reading – if you haven’t, then this is your chance!|
We are extremely lucky to have a growing number of keen and dedicated musicians in our communities, and over the next six months we will be running the Liberal Judaism Music Composition Competition to showcase the best new, home-grown, music.
All entries will be judged by a cross-communal panel, with a select few awarded a prize and performed at next year’s Day of Celebration. Where possible, all other entries will be recorded and made available to Liberal Jewish congregations. The entry requirements are:
• Must have Jewish content, for example an adaptation of a current prayer or text, or be inspired by Jewish tradition.
• Must be between one and five minutes.
• Must be submitted in full musical notation, with a recording if possible (we can help with this).
• Must be accompanied by no more than 300 words describing the inspiration behind the composition.
• Does not necessarily have to use a voice, but please consider the practical ‘performability’ of the piece.
• The composer must be a member of a Liberal Jewish community.
Please send competition entries, along with any questions you may have, to firstname.lastname@example.org before 11 May 2017.
|International Composition Competition|
|Summary:||International Percussion Competition|
|Deadline:||15 May 2017|
|Date Posted:||02 November 2016|
Please find enclosed the official regulations and registration form of the Composition Competition for percussion duo organised by the International Percussion Competition Luxembourg.
You are kindly requested to read carefully the following paragraphs and in case of interest, to fill in the registration form and to send it to the Office of the Competition.
Please keep your correspondences in the official languages of the Competition: French, German or English.
The subject of the Composition Competition of the International Percussion Competition Luxembourg ( IPCL ) is a work for percussion duo.
Duration: 7-8 minutes
• Marimbas, xylophones, vibraphones, glockenspiels, timpani • Snare drums, bongos, tomtoms, bass drums
• Templeblocks, woodblocks, claves
• Suspended Cymbals, hihat, 1-2 tamtams/gongs, triangles
The use of electronics is not permitted.
In June 2017, the jury of the Competition will select the prize-winning work, which will be the setpiece for the 1st round of the Percussion-Duo Competition 2018 organised by the International Percussion Competition Luxembourg and taking place from 10th until 18th February 2018.
|New York Composers Circle|
|Summary:||Call wth no deadline|
|Date Posted:||12 October 2016|
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.
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.
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
|NBA Young Composers Jazz Composition Contest|
|Deadline:||01 July 2017|
|Date Posted:||27 September 2016|
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
|School of Music of Azusa Pacific University and J.W.Pepper Music|
|Summary:||High School Competition|
|Date Posted:||11 March 2015|
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 email@example.com with a description of the ensemble to get approval of the ensemble for which you wish to compose.
Instrumentation for the other ensembles follows.
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 firstname.lastname@example.org.
|Summary:||Journal seeks compositions|
|Date Posted:||13 August 2014|
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: email@example.com. Please do not send audio attachments. http://www.theflexiblepersona.com|