|BASCA presents: Film/TV Composer Masterclass|
|Summary:||Film Music Masterclass|
|Date Posted:||19 April 2017|
We are pleased that Emmy award-winning composer Richard Bellis will once again come to London to share his insights in the world of composing for film and tv. The theme of this lecture is:|
“TEMP SCORE: FIGHT OR SURRENDER?”
“Is a career doing cue emulations enough for you? Why is there a temp score? Who created it (can it make a big difference)? What are the chances for modifying or mitigating the temp? Defining the “Essence” of the temp score. If you want to be original, you must first get permission. “And just how do I do that?”
The background of Richard Bellis is distinguished by its surprising diversity: child actor, touring rock ‘n roll music director, arranger/conductor for Las Vegas headliners, university lecturer and now, Emmy award-winning Hollywood composer.
Richard has composed scores for film and tv from Steven King’s psychological horror/drama ‘It’ to tv’s Star Trek Deep Space Nine. He regularly lectures around the world to media composers discussing such subjects as how to work to deadlines and the tricks and tips of how to navigate through a score or tv composition.
6.30pm – 8.00pm, masterclass
8.00pm – 9.30pm, networking
Richard Bellis is an Emmy award-winning composer; author of “The Emerging Film Composer: An Introduction to the People, Problems and Psychology of the Film Music Business”; is a past president of the Society of Composers & Lyricists; served on the faculty of the University of Southern California’s Scoring for Motion Pictures and Television course and UCLA Extension’s Film Scoring Certificate program: served on the Board of Governors for the Academy of Television Arts and Sciences and is the director and mentor of the “ASCAP Television and Film Scoring Workshop with Richard Bellis”. He currently serves on the Board of Directors of ASCAP and lectures internationally on film and media music.
” Creating music that sounds like film music is different from being a film composer.”
|Walled City Music Festival, 1–4 June|
|Deadline:||08 May 2017|
|Date Posted:||19 April 2017|
Saturday 3 June 2017
Foyle Arts Building, Ulster University, Magee Campus, Derry
2pm – 6pm
The Walled City Music Festival presents an outstanding opportunity for composers to work with the NonZeroSum Ensemble, combining players from Acoustronic Ensemble and the Benyounes String Quartet with composer Frank Lyons to create new work for this unique group.
Inclusive Creativity, a concept devised by Professor Frank Lyons at Ulster University, aims to provide a level playing field for disabled and non-disabled musicians to make music together by developing new technologies and methodologies for their use. WCMF 2017 features four days of seminars, workshops and performances that explore the concept further and showcase new work.
Acoustronic, formed in 2015, is a performing ensemble of musicians with a learning or physical disability, based in Derry/Londonderry, rehearsing regularly at Ulster University Magee with support from Professor Frank Lyons, Denise White and Brendan McCloskey. More details of their work, and of Inclusive Creativity can be found at www.inclusivecreativity.com.
Benyounes String Quartet is one of the UK’s finest young string ensembles. Founded at the Royal Northern College of Music in 2007, the Quartet have won numerous prizes and performed at prestigious venues across the UK and Europe. More information: www.benyounesquartet.com.
Up to 4 places are available for composers to create compositions for the NonZeroSum inclusive ensemble. The new compositions, which should be no more than 2 minutes in duration, will be workshopped by the artists, followed by an informal public performance of all the works on the afternoon of Saturday 3 June. The workshop will be led by Professor Frank Lyons. Workshopped pieces may be considered for inclusion in future performances by the ensemble, as part of a tour to Dublin/London later in 2017.
Expressions of interest in participating should be submitted no later than 5pm Monday 8th May. Composers should include a short CV along with a paragraph (250 words maximum) on concept and ideas for their piece and why they would like to take part in this workshop. Please send information to email@example.com. Selection decisions will be announced by Friday 12th May.
Resources available to composers:
Amplified string quartet
Two workstations running Ableton Live with Push controllers
Two iPads running Launchpad, Thumbjam, Curtis and Density apps.
Accommodation for one night is available for each composer, upon request, and travel bursaries are available upon application for travel to and from Derry with thanks to the Contemporary Music Centre Ireland. Email firstname.lastname@example.org for further details.
|SaM Summer School 2017|
|Summary:||Summer School for Young Composers|
|Date Posted:||04 April 2017|
DISCOVER A WORLD OF CREATIVITY |
We are delighted to announce that applications to the SaM Summer School are now open!
The SaM Summer School is a unique weeklong course for 14-18 year olds who want to create new and original music.
DATES: 30 JULY - 5 AUGUST 2017
WHAT TO EXPECT?
"Without this course I would never have realised that I could be a composer."
Now in its ninth year, the celebrated SaM Summer School, is the only residential course of its kind in the UK for young creators and composers aged 14-18, devised by Sound and Music the national charity for new music, in partnership with The Purcell School of Music.
Our Summer School gives you an opportunity to explore and develop your musical ideas, be inspired by your peers and try new areas of musical creation; from composing for film to writing for voices – you can stretch your imagination and ours too.
You will spend a week at the world renowned Purcell School of Music with 75 other young composers, working with the most talented tutors and professional musicians in the UK today; from new media to jazz and everything in between, you will be surrounded by a wealth of experience and expertise.
EXPLORE YOUR UNIQUE STYLE
"I was around such talented individuals that I felt more inspired to create something great."
At SaM we aim to challenge perceptions and encourage creativity – we love to hear and share new music, and innovative approaches and thinking.
During the residential, you will be able to work in your own style of music-making, whilst also working with other composers and musicians to explore new and different ways of making music; from experimental vocal to conventionally notated.
At the end of the week, your new musical creation will be performed at a live, preview event, plus you will receive a recording of the piece of work you have created!
CHANGE YOUR LIFE FOREVER
“The tutors were all so professional and treated us with so much respect. They were so inspirational”
SaM Summer School takes place (30 July – 5 August) at The Purcell School for Young Musicians, the oldest specialist Music School in the UK based in Bushey, Hertfordshire; where you will eat, sleep and create alongside your new friends.
You can get to the Purcell School by train or car and we will send full details and directions to everyone who is participating. A minibus shuttle service will also be operating during the week between Watford Junction station and the school.
On Friday evening and Saturday, preview performances will take place for friends, family and guests – to hear what you have created and celebrate your experiences.
JOIN US THIS SUMMER
“One of the best things I’ve ever done in my life”
If you are a talented young composer, enthusiastic about learning and interested in joining us, we would love to hear from you!
|Irish Composition Summer School 2017|
|Deadline:||09 June 2017|
|Date Posted:||04 April 2017|
COMPOSITION COURSE July 5th - 14th €350|
Observer: €30 per day
This entitles participants to attend lectures and workshops only. Observers should fill in the form on this brochure and write a cover note marked ‘observer’ indicating the number of days they wish to attend.
The Irish Composition Summer School started as the Ennis Composition Summer School, founded in 1983 by John Buckley, and has been responsible for over thirty years of excellence in composition teaching by Irish and international composers. Previous directors have included James Wilson, John Buckley, Grainne Mulvey and Michael Alcorn. A majority of the most successful Irish composers of the last three decades have attended the Summer School. It has provided them the opportunity to work with leading names in composition—including Bent Sorensen, Poul Ruders, Christopher Fox, Liza Lim, Kevin Volans, Simon Bainbridge, Michael Finnissy, Jo Kondo, Clarence Barlow and Laura Schwendinger—and in performance, including Collette McGahon, Sylvia O’Brien, the Prey Trio, Jane Manning, the Fidelio Trio, the ConTempo Quartet, the Clarion Horn Trio and the Robinson Panoramic Quartet.
The ICSS would like to thank the DIT Conservatory of Music and Drama for the generous hosting of the Summer School in 2017.
ICSS is on Facebook: www.facebook.com/Irish-Composition-Summer-School-62368665950/?ref=hl
Please enclose the following with your application:
1. A brief summary of your experience in composition and a list of any works composed
2. The name and contact details of one referee who may be contacted to report on your composition or experience
Completed applications should be sent to the address below by Friday, June 9th 2017. Applications can also be sent by email.
Dr John McLachlan, Irish Composition Summer School, Ballyargus, Redcastle, Lifford, Co. Donegal email email@example.com,
Ph/fax 074 9383734
Course directors will assess applications, and applicants will be contacted within one week of closing date. 50% of fee will be due by June 23th 2017.
This year’s school will offer a range of lectures, presentations and demonstrations on all aspects of contemporary composition, focusing on contemporary writing for any combination of the available forces (trumpet, cello, percussion and piano) with optional electronics.
At the end of the course, the students’ works will be presented in workshop, rehearsed and digitally recorded by the performers. Throughout the course, students will receive guidance from experienced course directors and nationally and internationally renowned composers. This year, the ICSS is delighted to welcome two Guest Directors, Simon Mawhinney and Ann Cleare, who will present seminars on their own work, as well as giving individual tutorials to the students.
Due to the short duration of the course students are expected to come with some sketches/ideas prepared.
Please note the course does not provide accommodation.
The course involves a great deal of individual tuition and so is suitable for a range of students from postgraduate, to graduate, to Leaving Certificate students (aged 17+) taking contemporary composition as an elective.
The course involves a combination of one-to-one tutorials with the participating composers, and group seminars. These will cover the major aspects of contemporary composition such as harmony, rhythm, formal structure, the use of music technology and instrumental writing.
|GUITAR WORKSHOP FOR COMPOSERS|
|Deadline:||15 July 2017|
|Date Posted:||28 March 2017|
Instructors: Felipe de Almeida Ribeiro (Composition) and Eric Moreira (Guitar) Date: between November 2nd and 4th, 2017 (from 9am to 12pm)|
Course credit hours: 9 hours
The Guitar Workshop for Composers will be lead by composer Felipe de Almeida Ribeiro4 and guitar performer Eric Moreira5, both members of the Ensemble Móbile6. The workshop features the examination of several issues on composition and interpretation, with a special emphasis on musical notation and extended techniques for classical guitar within the perspective of 20th and 21st centuries composers. Selected composers will have the opportunity to take lessons with both instructors (in English or Portuguese), and at the end of the workshop all compositions will be performer and recorded (audio and video) for the Symposium’s Proceedings.
1. Each selected composer will write one miniature for guitar. There will be 09 seats for active participants and 11 seats for passive participants.
2. Requirements: currently enrolled as undergraduate or graduate composition student.
3. There are no fees.
4. Applications must include:
a. Application form (at the end of this document);
b. Scores (pdf) and recordings (mp3 or video) of two recent pieces that better describe your current poetic and technical level. Note: the application process does not require the submission of the guitar miniature. We understand that this is a requirement only for selected composers.
5. Submissions that do not follow these instructions will be disqualified.
6. Please send your application to: firstname.lastname@example.org
6. Miniatures must be written for classical nylon guitar (6 strings), with duration up to 2 minutes.
7. Workshop attendance is required.
8. The Symposium’s organization has no scholarships or traveling grants. However, we will be glad to send you an acceptance letter for grant applications in your country. We can also help finding student or homeshare accommodations.
9. After the workshop, audio and video recordings will be available at the Symposium’s Proceedings.
10. Please send the score of your miniature to: email@example.com
July 15: Deadline for application (active and passive participants).
August 15: Selected participants notification.
August 15-20: Period to confirm attendance.
October 01: Deadline to send score (selected composers).
November 01-04 Begin of the IX Academic Guitar Symposium.
|American Opera Projects|
|Deadline:||28 April 2017|
|Date Posted:||28 March 2017|
American Opera Projects (AOP) is proud to announce the return of its popular Composers & the Voice program for its 2017-2019 season. We will select 6 composers and up to 2 librettists for a two-year fellowship. The primary focus of Composers & the Voice is to give composers and librettists extensive experience working collaboratively with singers on writing for the voice and contemporary opera stage.|
There will be a total of 15 workshop sessions between October 2017 and May 2018, working with the company’s Resident Ensemble of Singers and Artistic Team. The 2017-18 sessions also include courses for composers and librettists in acting, improv games, and libretto development.
There will be two public performances of work created during the series. In May 2018 there will be a concert performance of solo works written during the course of the workshop. In September 2018 there will be a culminating public performance of new scenes written during the summer.
During the 2018-19 season, AOP will provide continued mentorship and career guidance for its C&V fellows. Select C&V operas-in-progress will potentially receive continued development workshops, such as staged readings at The Manhattan School of Music (part of a fourteen-year AOP partnership), as well as with other partners.
The second year of the cycle will also include a new partnership with The Hermitage Artist Retreat that nurtures creativity in mid-career writers, painters, poets, playwrights, composers, translators, sculptors, and artists. A C&V Fellow (or Fellowship team) will be selected to receive a 6-week residency to continue opera development at the Hermitage’s Florida estate.
2017: October 11, October 25, November 8, November 15, December 6, December 20
2018: January 3, January 17, February 7, February 21, March 7, March 14, April 4, April 18, May 2.
All workshop sessions will begin at 2:00 and end at 10:00. All sessions will be in New York City.
All participants must be present for all of the workshop sessions.
First Glimpse Concert: May 18 & 19, 2018
Six Scenes First Chance Concert: September 28 & 29, 2018
PROGRAM AND APPLICATION DETAILS
AOP is encouraging applications from both composers and librettists working alone, and from composer/librettist teams. Composers and librettists applying jointly need not have prior collaborative projects. Please note: if a composer and librettist apply as a team, the panel reserves the right to select only one of the applicants for an individual fellowship.
Applications are reviewed and fellowships are selected by the C&V Artistic Director, the Director of Drama and Director of Music, and a panel of industry professionals.
There is no age limit for participation.
The fee for application is $50; there is no fee for participation.
There is no stipend for selected composers or librettists.
All participants must be in New York City for all workshop dates.
The application deadline is April 28, 2017. Notification of participants will be made by July 1, 2017.
|COMPOSING FOR PERCUSSION 2017|
|Date Posted:||08 March 2017|
As an ensemble, Cisum shares a goal of expanding and developing the styles and capabilities within modern day percussion literature. The vast wealth of backgrounds the ensemble possesses span a plethora of musical styles and creates a unique environment in which anything is possible. The group revels in the performance of a crossbreed of styles such as contemporary classical music, rock, minimalism, funk, jazz, combined with the use of visual arts and theater. Constantly seeking out new works and composers, Cisum Percussion continues to explore this genre-melding sound world.|
In an effort to further expand their educational outreach, and to more easily give composers the tools they need for success, Cisum Percussion presents a three (3) day workshop with a focus on writing for percussion. Twelve (12) composers will be selected as fellows for the program to receive one-on-one access to rehearsals/instruction as well as free admissions to concerts and masterclasses. Each of the composer fellows will receive a world premiere and a recording of a new work written for percussion. Cisum Percussion views this opportunity not only as a learning experience for composers, but rather an opportunity to create career-long relationships between musicians and composers.
The workshop is being hosted in Brooklyn, NY from October 6-8, 2017
The first day consists of six (6) rehearsal slots for the composer fellows. These rehearsals are closed to the public in order to give full attention to the detail of each piece of music. Composer fellows are welcome to take notes, make rehearsal recordings and become hands-on with the instruments. We are there to bring your creation to life.
After rehearsals, Cisum Percussion will host the first masterclass of the weekend. The first masterclass is open to the public and will feature varied repertoire from the standards to brand new works. They will tackle problems and solutions when writing for percussion in varied ensemble settings. (guest speakers to be announced)
The second day consists of the six (6) remaining rehearsal slots for the composer fellows. These rehearsals are closed to the public in order to give full attention to the detail of each piece of music. Composer fellows are welcome to take notes, make rehearsal recordings and become hands-on with the instruments. We are there to bring your creation to life.
After rehearsals, Cisum Percussion will host the first concert of the weekend. The first concert is open to the public and will feature six (6) world premieres by the visiting composer fellows. The concert will be recorded on video and audio as well as live streamed through Facebook.
Cisum Percussion will host the second masterclass of the weekend. The second masterclass is open to the public and will feature varied repertoire from the standards to brand new works. They will tackle problems and solutions when writing for percussion in varied ensemble settings. (guest speakers to be announced)
After the masterclass, Cisum Percussion will host the second concert of the weekend. The second concert is open to the public and will feature the remaining six (6) world premieres by the visiting composer fellows. The concert will be recorded on video and audio as well as live streamed through Facebook.
|Orlando Garcia Composition Seminar at the Suono Sacro Festival in Assis, Italy July 31 – August 6|
|Deadline:||31 May 2017|
|Date Posted:||08 March 2017|
Orlando Jacinto Garcia will be presenting a composition course at the Suono Sacro Festival in Assisi, Italy this summer open to students and young professional composers. The course taking place from July 31 to August 6 will include group meetings where the concept of sacred music/spirituality in the 21st century will be discussed including a review of works by Part, Messiaen, Gubaidulina, among others. In addition, students will meet individually in private composition class sessions with maestro Garcia as they create a new work to be rehearsed and performed and recorded in concert by the Suono Sacro Chamber Ensemble during the festival. More information about the cost, housing etc., can be found on the Suono Sacro Festival web page; Information regarding the course and how to apply is here http://assisisuonosacro.eu/en/composition-orlando-garcia/ more information regarding the courses and the festival is located here http://assisisuonosacro.eu/wp-content/uploads/2017/03/2017regulations.pdf and here http://assisisuonosacro.eu/en/courses-2017/ application forms are available here http://assisisuonosacro.eu/wp-content/uploads/2015/06/registrationform20… The last day to apply and pay the fee is May 31 although only the first 10 applicants that are accepted and pay the festival fee will be guaranteed their place in the festival.|
For more information contact Orlando Jacinto Garcia at firstname.lastname@example.org
|Musicfest Aberystwyth Advanced Composition Course|
|Summary:||Advanced Composition Course|
|Date Posted:||01 March 2017|
Musicfest Aberystwyth Advanced Composition Course, for composers of postgraduate or early professional level, co-directed by Arlene Sierra (Cardiff University) and Kenneth Hesketh (Royal College of Music).|
The course will consist of regular sessions alternating with workshops, as well as performance opportunities with detailed feedback from resident and visiting composers and performers. Students will work on a new composition for the resident ensemble Solem Quartet, which will be rehearsed and performed as part of the Musicfest Aberystwyth main programme. Successful applicants will also receive additional workshop opportunities with festival ensembles and soloists suited to composers’ particular experience and approach. An orchestral reading session will be available for short original works (the exact instrumentation will be provided at the time of acceptance) with the Orion Orchestra.
• Presentation/discussion of participants’ music
• Workshops and talks with Musicfest guest soloists, and with the resident ensemble Solem Quartet
• Seminar on collaboration and promotion between Composers and Conductors
• Seminars and presentations with visiting composers
• A premiere performed in the Musicfest Aberystwyth main programme, Aberystwyth Arts Centre, by Solem Quartet
• Orchestral reading of a short work given by the Orion Orchestra and an assigned student conductor
Students will have access to pianos, keyboards, computers, printing facilities and audio equipment.
Details about specific projects will be provided at the time of acceptance into the programme.
For less experienced composers, enrolling as an observer is recommended, allowing active participation in classes and discussions, and the opportunity to learn from observing all classes and rehearsals.
Early application is advised as places are limited to seven students, selected by CV and portfolio comprised of two scores, with two audio recordings of recent works – at least one recording and score should be of the same material.
The cost of the course is £595 (Observers : £120) which includes a free pass to all concerts, recitals, masterclasses and talks during MusicFest during the 8 day course.
Bursaries of £240 are available for all students in full-time education in UK. (bursaries of international students are also available) There is limited availability to these bursaries so we would advise early booking.
Cost of accommodation is an additional £260 for standard rooms of £300 for ensuite accommodation for 8 days. All accommodation is in student halls. Guidance price for cost of course and accommodation (dependent on bursary allocation) is £595.
MusicFest Aberystwyth is a unique festival and international summer school which takes place annually in Aberystwyth with a main concert programme of popular and rarely heard works which take place in the Great Hall concert auditorium at Aberystwyth Arts Centre and a Fringe festival which takes place throughout the town allowing opportunities for musicians to engage with new audiences through concerts and recitals in shops, in museums, on trains, on street corners, in the National Library of Wales, in galleries and hotels. The MusicFest experience is eight days when all guest artists, summer school students and audiences can fully immerse themselves in music within a unique community atmosphere with the inspirational backdrop of the Cardigan coastline and the Snowdonia National Park.
Important: booking notes
To apply for a place on this course, you will need to provide access to some additional information which will be used to assess your application. Ideally this information should be saved as files on a shared drive (such as google drive, dropbox, soundcloud), and the links to the files provided in this form. If this is not possible, then you should fill in the form as best you can and then contact email@example.com to arrange access to the information.
1 current CV including compositional experience, courses attended and performances
2 Two recent scores
3 Corresponding sound files for these two scores
|Anatolia College Composition Course|
|Deadline:||12 May 2017|
|Date Posted:||01 March 2017|
Thessaloniki, Greece 29 June-9 July 2017|
The Composition Course is an intense summer session in composing contemporary music, geared toward intermediate to advanced student composers and consists of:
(I) Daily Composition seminar meetings with Prof. Vassilandonakis and Prof. Nickitas Demos
(II) Private composition lessons with Prof. Vassilandonakis and Prof. Nickitas Demos
(III) Concert performance of new works by course participants
(IV) Attendance of all Anatolia Summer Performance Program events and activities.
(I) Daily Composition seminar meetings:
(1) Composing for the New Music Ensemble:
Participants will have composed complete pieces in advance of the course for either the entire ensemble or for a subset of the available instrumentation. The pieces will be rehearsed and evaluated in a group setting by Prof. Vassilandonakis and Prof. Nickitas Demos and by the performers in residence, in pursuit of optimal compositional craft and idiomatic writing for the ensemble. There will be time for revision and refinement of the compositions, which will be rehearsed and performed by the ensemble in concert.
(2) Techniques and Stylistic Nuances in Contemporary Music:
Organized presentation and discussion around important topics in contemporary music, to include: orchestration, notation practices and innovation, pitch and rhythm systems and organization, stylistic trends and tendencies, contemporary performance practice, composing music in visual environments (film), and others.
(3) Composing for a living; building a career out of writing music:
How to set and achieve realistic long-term goals, how to build lasting industry relationships, how to produce and market concerts, how to pursue academic and non academic composing opportunities.
(4) Presentation and discussion of student work:
Participants will give group presentations of their music, which will be discussed in a collegial atmosphere, allowing seminar members to exchange valuable peer advice and build composer esprit de corps.
(II) Private Composition Lessons:
In addition to group work, each participant will have a minimum of 3 hour-long private lessons with Prof. Vassilandonakis and Prof. Nickitas Demos . Additional lessons will be given as time allows and individual student needs are evaluated.
(III) Concert performance of new works by course participants:
A concert of new works by course participants will be presented following the completion of the seminar. Each accepted participant will compose a new work prior to arriving to Thessaloniki, which will be workshopped, rehearsed and performed by the New Music Ensemble, consisting of Anatolia Summer Music Performance Program Professors and advanced instrumental students. Composers will receive a professional quality recording of their piece. These works should be treated as commissions by the Summer Music Performance Program at Anatolia College. Accepted participants will be contacted with details in regards to instrumentation, duration, required materials and deadline for submission.
(IV) Attendance of all Anatolia Summer Performance Program events and activities:
Composition participants will have access to all masterclasses, concerts, and lectures given during the Program, as well as cultural and outdoor group activities in Thessaloniki and nearby areas.
Composition course is designed for student composers of intermediate to advanced level, age 16 or older.
2nd year College level theory skills (or equivalent)
Prior instrumental compositional experience (College level equivalent)
Working knowledge of notation software (Sibelius/Finale)
(I) Via email to: firstname.lastname@example.org email@example.com and firstname.lastname@example.org :
1. CV/resume. Please make sure to include the following:
-date of birth, citizenship, mailing address, email address and phone number
- schools attended with dates of degrees earned as composer
- names of composition teachers
- list of works composed with detailed instrumentation and year of composition
- list of performances of your works
2. A recommendation letter from your current or a former composition teacher.
(Letters should be sent directly by your teacher to: email@example.com firstname.lastname@example.org and email@example.com)
(II) As links via an internet delivery service:
3. TWO contrasting scores of recent representative works, one of which should be scored for an instrumental chamber ensemble.
4.Recordings of the same pieces are strongly encouraged but not required.
Use your preferred internet delivery service, such as yousendit.com or dropbox.com or soundcloud.com, making sure that you advise Prof. Vassilandonakis and Prof. Nickitas Demos by email where and how your materials are available online. Please Do NOT send items 3 and 4 by email.
(III). By Bank Wire/Transfer
5. Application Fee: 100 Euros.
Deadline for receipt of all materials is Friday, May 12th, 2017.
Participants accepted into the course will be notified by email no later than March 24th, 2017. At that point, they will also be given details for the commissioned piece, in regards to available instrumentation, duration and delivery materials and deadline. Requests for specific instrumentation from within the performing forces available will be honored to the greatest extent possible.
The principal language of the Anatolia Composition workshop is English.
|2017 Australian Composition Seminar - Plexus|
|Deadline:||23 June 2017|
|Date Posted:||01 March 2017|
Following a successful inaugural seminar in 2015 and a gigantic 2016 seminar, Richard Gill, Karen Carey and Andrew Batt-Rawden team up again to deliver another astounding compositional development experience for high school music 1 and music 2 students in years 8, 9, 10 and 11 with a choice of either Monday 24 July 2017, or Tuesday 25 July 2017. The workshop will run from 9am to 2:30pm. |
The day has three core components;
- workshop/analysis of students' works
- analysis of contemporary Australian work composed by Stefan Cassomenos
- a performance and discussion other repertoire commissioned by Plexus, by both international and local composers.
A kit will be distributed on the day that includes; all student scores being played through, an educational guide to Stefan Cassemenos' work, scores of other works being performed and a guide to approaching their analysis.
Students are invited to submit a work that is no longer than a minute of a piece for the trio, clarinet (including bass), violin and piano.
PDFs of scores may be emailed to firstname.lastname@example.org.
Scores must be received by June 23, 2017.
We will give broad analysis/pointers on as many works submitted as possible (there will by the necessity of time be a limit to how many works we can get through). All scores being played through in the workshop are published in a booklet that is handed out to all students attending on the day. This encourages students to learn from, and be inspired by, each others' scores.
In addition to workshopping the students' music, we will also give an in depth analysis of one of Stefan Cassemenos's works (details of exact repertoire will be sent prior to Term 1, 2017).
Any questions, please contact Andrew at email@example.com
|CCRMA SUMMER WORKSHOPS 2017|
|Date Posted:||14 February 2017|
6/19 - 6/23 Mobile Synth I - Mobile App Development for Sound Synthesis and Processing in Faust: Romain Michon|
6/19 - 6/23 Virtual Analog Models of Audio Circuitry: François Germain, Kurt Werner
6/26 - 6/30 Mobile Synth II - 3D Printing and Musical Interface Design for Smartphone Augmentation: Romain Michon and John Granzow
6/26 - 6/30 Programming Max/MSP: Structuring Interactive Software for Digital Arts: Matthew Wright, Christopher Jette
7/3 - 7/7 Algorithmic Composition with Max/MSP and Open Music: Andrew Watts, Davor Vincze
7/10 - 7/14 Electronic Arts Ensemble: Constantin Basica, Alex Chechile
7/17 - 7/21 TO BE SCHEDULED
7/24 - 7/28 Music Information Retrieval: Steve Tjoa and Jeff Scott, Gracenote
7/31 - 8/4 Deep Learning for Music Information Retrieval: Irán Román
8/7 - 8/11 Formalized Score Control: Using Python and Abjad in Music Composition: Jeff Treviño, Trevor Bača and Josiah Wolf Oberholtzer
8/13 - 8/17 SuperCollider: Fernando Lopez-Lezcano and Bruno Ruviaro
8/21 - 8/25 Designing Musical Games: Gaming Musical Design: Rob Hamilton and Chris Platz
TO BE SCHEDULED: Perceptual Audio Coding: Marina Bosi, Richard Goldberg
The Center for Computer Research in Music and Acoustics offers intensive programs where top educators and researchers from the fields of music, engineering, and computer science will present a detailed study of specialized subjects. Each workshop is one week long. The workshops are open to the public. Most workshops are 9-5pm with an hour for lunch on your own, but check each workshop page for specific schedule information.
All workshops are subject to change or cancellation based on low enrollment. Any workshop with low enrollment will be cancelled at least 3 weeks before start date of workshop.
TUITION AND FEES
Most workshops are $450 for the week, plus a $50 non-refundable registration fee, however, tuition can vary from workshop to workshop, and in many cases includes materials fees. Several workshops are now offering scholarships - please check the individual workshop pages for details.
No academic credit is offered for participation in the workshops.
Housing costs are not included in the course fee. For housing options, please check SUPost.com and craigslist.
Directions to the CCRMA Workshop held at the Knoll, 660 Lomita Drive, Stanford, CA can be found here: ccrma.stanford.edu/about/directions
Parking costs are not included in the course fee. Parking information can be found at the Stanford Parking and Transportation website: https://transportation.stanford.edu/parking
660 Lomita Drive
Stanford, CA 94305-8180
All workshops held at CCRMA require a $50 non-refundable registration fee.
|Arts Letters & Numbers|
|Date Posted:||14 February 2017|
Arts Letters & Numbers is a place of creative urgency and intensity of purpose, a place to create new linkages, new thought processes, new path- ways of understanding that embody our best hopes and aspirations. It is a place where many elements come together to co-construct questions and works, of empathy, of ethics, of imagination; it is a place to explore the nuanced fragilities in our shared stories.|
We strive to cultivate a space that encourages collaborative and individual creation: to think, make and act alongside others within a community. With our Residency Program, artists from wide range of disciplines will be able to come together, ask and engage their questions, create and share their work. When people are free to act, interact with and support one another, new works and ideas emerge.
We are situated within an enthusiastic and supportive community that is highly active in the short term programming of Arts Letters & Numbers, including Events, Courses, and Workshops that run in parallel to and interweave with the Residency Program. To further expand the conversation and space of Arts Letters & Numbers – both within the Residency Program and the broader community – as an Artist in Residence you will be encouraged to participate in and host some of these features, as well as proposing your own events to foster and enrich this dialogue, i.e. lectures, exhibitions, performances, etc.
Arts Letters & Numbers is constructed by us: not just those who are directly involved in its day to day operation, not just the fellows, participants, visiting artists and local community members, it has and continues to be built by everyone who sets foot in this remarkable place. It is being constructed by and between us. This aspect of Arts Letters & Numbers is foundational.
At the Mill we have a full metal and wood-working shop, and spaces for building, cooking, filming, photographing, performance, and large-scale drawing, sculpture and painting. Our spaces are flexible and you are invited to create your own. Currently, the second floor of the Mill is under construction and is unfortunately not to be used for creative work. However, the shop is still available for everyone to use. In addition to the Mill we also have our barn, located next to the house. This flexible indoor - outdoor space serves as our main studio space, with additional more private spaces to be found in the house.
One of our traditions has been the sharing of ideas over a great meal, and this has become a vital part of Arts Letters & Numbers. We will all share one kitchen and though you are individually responsible for your food, it is often the case that everyone in the house gathers to cook and share dinners together.
You will be hosted in the House on the Hill, in one of our nine bedrooms; these vary in size and, we offer both private and shared arrangements. We will do our best and try to give everyone the privacy they need.
The duration of your stay can vary from one week to three months. The fee per 2016/2017, covering accommodation and access to the facilities, starts at $175 per week.
We are accepting applications continuously and will review them on a rolling basis.
If you have any questions regarding our residency program, please send us an email.
We are looking forward to welcoming you to
Arts Letters & Numbers!
|European American Musical Alliance|
|Date Posted:||14 February 2017|
The European American Musical Alliance’s Institute delivers our core philosophy by means of intense musical instruction. Our approach and philosophy is method-centric – transcending culture, aesthetic and time. Through a unique approach to contrapuntal principles, we observe the inherent function of sound across musical works and performances, formalize those functions and offer a method of analysis that becomes the bedrock for musical decision-making.|
Our Institute offers summer music programs in Composition, Conducting and Chamber Music at the historic Schola Cantorum in Paris, France. These programs offer intensive study of the crafts of counterpoint, harmony, analysis, and musicianship as well as personalized training in composition, conducting and chamber music performance taught by professors from The Juilliard School, the San Francisco Conservatory, Mannes College the New School for Music, Westminster Choir College, the Paris Conservatory, the Ecole Normale de Musique de Paris and La Schola Cantorum.
Classes are held at La Schola Cantorum in Paris, founded in 1895 by the French composers Vincent d’Indy, Charles Bordes and Alexandre Guilmant to counteract the stifling atmosphere of the Paris Conservatory.
Important musical figures from all over the world have studied and taught at La Schola Cantorum, including: Eric Satie, Darius Milhaud, Edgar Varèse, David Diamond, Bohuslav Martinu, and Isaac Albeniz. Organists such as Louis Vierne, Olivier Messiaen, Maurice Duruflé, and Jean Langlais also passed through its hallowed halls.
La Schola Cantorum itself is an historic 17th Century ‘Hôtel Particulier’, originally constructed as a Benedictine Convent, conveniently situated in Paris’ Latin Quarter, the artistic heart of Paris. The Schola Cantorum boasts a fully operational original 1902 Cavaillé-Coll organ, Steinway concert grand, and its own private gardens.
For composers, our Institute offers the opportunity to discover your inner ear by means of a unique contrapuntal approach applied to every parameter of music. An intensive month-long study of counterpoint, musicianship, harmony, and analysis is lead by our faculty of master teachers whose own evolving method informs the way they impart their musical insight.
At the conclusion of your month-long study, you will be equipped with a bedrock of musical method certain to make you grow as a musician and inform your every interaction with music throughout your career.
|Coma Summer School|
|Summary:||Summer School Opportunity|
|Date Posted:||25 January 2017|
With wind, string, orchestral, vocal ensembles and workshops in composition, contemporary piano, music theatre and on-location sound recording projects. Plus a programme of concerts and première performances in Stromness, Kirkwall, St Magnus Cathedral and the Orkney landscape.
... and exploration
In Scotland’s Year of History, Heritage and Archaeology and the 900th Anniversary of the Death of St Magnus. With guided tours and time to travel by land and sea through Orkney’s archipelago of wild landscapes, nature reserves and world heritage archaeological and historical sites.
The Summer School offers instrumental and vocal ensembles together with a range of workshops, talks and walks, concerts and opportunities to experience, respond to and interact with the landscapes of Orkney, including:
• Interpreting and performing four Summer School commissions, Open Score works by composers Samantha Fernando, Drew Hammond, Vasiliki Legako and Bill Sweeney for contemporary music ensembles
• Joining with local musicians – in a Choral Ensemble directed by James Weeks and a Symphony Orchestra conducted by William Conway – to rehearse and perform works inspired by Orkney and the Scottish islands
• For the string orchestra, focussing on game-changers – composers who have contributed to the transformation of western music and the string repertoire , from CPE Bach and Beethoven to Webern and Arvo Pärt
• Also the chance to premiere Bee Haven, a new work written by James Weeks specially for the Summer School strings
• Chris Watson (www.chriswatson.net) introducing his work and location-based artistic practice in Acoustic Landscapes, with recorded examples, including works related to Orkney
• Exploring the sounds of the unique no man’s land between the tides of Orkney’s island shores in Turn of the Tide
• Using hydrophones Below Sea Level, revealing something of the songs and signals which occur under the surface of the largest and most sound rich environment on the planet
• Developing ideas artistically and technically through critical analysis of field recordings in post-production sessions
• Imagining the world of Stone Age Sounds and interpreting these within the Orkney landscape itself with James Weeks and Chris Watson
• Using the practice of Deep Listening in midweek walks with ornithologist Laurence Rose to respond creatively to the Orkney landscape in words, images and music
• Joining Lore Lixenberg’s Refugee Chorus in a choral and film driven project based on Brecht poems set by the Danish composers Niels Ronsholdt, works interspersed with Arabic, Sephardic and Croation songs – and plans for public performance on an island ferry crossing
• Making and interpreting graphic scores from maps and charts of Orkney and its surrounding seas in Mapping Voices
• Spells and Charms offering vocal works derived from Orcadian and other languages and with works by Peter Maxwell Davies
• One to one tutorials and composition options with Alasdair Nicolson, inviting string trios based on Orkney’s Ancient sites, flexibly (Open) scored works on the theme of Pilgrimage and its relationship to the martyrdom of St Magnus, and a composer’s ensemble creating a new work based on the Hymn to St Magnus
• Mindfulness and music-making as a means of addressing issues relating to creativity, nervousness, physical embodiment, music – function and place
• Piano Masterclasses with Rolf Hind and the opportunity to compose piano works that reflect Orkney’s natural world
• Attending concerts in Stromness, Orkney Theatre and St Magnus Cathedral, including programmes by Summer School resident string trio Sara Woltstenholme, Ruth Gibson and Robin Michael and pianist Rolf Hind
• Taking part of the final concert in St Magnus Cathedral with contributions by all Summer School participants
There are a range of options available.
• Papdale Halls of Residence is only a short walk past the playing fields to where we hold most of our music activities. This lovely modern building which has lifts to all floors, communal spaces and a library. Towels and bedding are provided in single and twin en suite rooms, all with walk-in showers. Several booking options are on offer, ranging from room only to half board. However, this option is now fully booked. A few places may become available and we will keep a reserve list. If you are interested in this option, please email firstname.lastname@example.org before sending your booking form.
• We have reserved 3 twin rooms in Peedie Hostel from Friday night, which are £17.50 per person per night.
• Otherwise there are plenty of local hotels, hostels and bed & breakfasts at a range of prices, which you can organise yourselves. There is a campsite in Kirkwall and another cost effective option would be for a group of people to hire a holiday cottage outside Kirkwall and also hire a car, which gives you additional opportunities to explore the islands. See the Visit Orkney web site for details.
We recommend getting to Orkney on the Friday if at all possible, or as early as possible on the Saturday.
Course fee – £560 Accommodation in Papdale Halls – Single occupancy £328, sharing in twin room £288. Meals are extra with details provided on the application form. A Friday arrival option is available.
Bookings are now open using the ‘advance’ application form below. Completing this will give you priority when it comes to choosing your options, a distinct advantage given the unprecedented interest shown in this course. The deposit is returnable at this stage and will only become binding once details of all the options have been published in full and you have had a chance to make your choices. If you have any questions, please contact email@example.com.
|CHORAL CHAMELEON SUMMER INSTITUTE|
|Date Posted:||28 December 2016|
For Composers and Conductors of Choral Music|
JUNE 23 - 30
Tuition: $950 +$70 non-refundable application fee
Applications Will be Processed From December 1st 2016 and places will be offered on a rolling basis
1 8-Day intensive workshop for emerging composers and conductors
2 Faculty of world-class composers and conductors with high teacher/pupil ratio
3 Work with highly-skilled and academically-fluent professional singers on repertoire & compositions
4 Masterclasses from experts in both practical and inspirational topics
5 Generous lab choir and podium time
6 Individualized attention from clinicians, singers & peers
7 Public concert of premieres and podium time for composers and conductors
8 Open to applicants from a diverse range of music backgrounds and study/career stages
Video & audio recordings from workshop sessions & performance
|Electroacoustic Composition Workshop|
|Date Posted:||30 November 2016|
June 18-July 1, 2017 | Ages 14–20|
The two-week Electroacoustic Composition Workshop (ECWS), under the direction of Justin Casinghino, will serve as a platform for students to dive into the world of fixed media and interactive electronic music.
This introductory level course in electronic music will consist of interactive classes, private lessons, and scheduled personal work time with the electronic music studio equipment and will explore the philosophy, history, and compositional procedure behind various genres of electronic music. Students will also receive individual feedback from the director, their peers, and in guest artist master classes. As a final project, students will compose a multi-channel fixed media work, and the workshop will culminate in a concert-exhibition featuring a surround-sound presentation of these final projects. Course topics to include:
Audio and recording manipulation
Surround sound mixing
Experimentation with digital instruments
Understanding the nature of sound
Creating and composing with computer manipulated sound
Recording and microphone techniques
Studio and live diffusion mixing techniques
Aesthetics in electronic music
Historically important works in the genre
2 hours of transferable Boston University course credit
Admitted students will be required to bring a personal laptop computer for working time and to complete assignments. Compositional techniques will be taught from a multi-platform bias, allowing students to continue work regardless of individual system types. Primary studio software includes Logic Pro and Max/MSP.
|Rarescale Summer School|
|Date Posted:||16 November 2016|
rarescale Summer School for composers and flute players|
Monday 31st July – Saturday 5th August 2017
Harlaxton Manor, near Grantham, Lincolnshire
For further information and to book, please contact us: firstname.lastname@example.org
rarescale’s Summer School returns in 2017 in the beautiful venue of Harlaxton Manor, just outside Grantham in Lincolnshire.
Featuring courses for flute players (including the opportunity to specialise on alto or bass flute) and composers, this promises to be an inspiring week with new repertoire, collaborations and the opportunity to work towards individual goals in a relaxed and supportive atmosphere. Flute Course
Tutors: Carla Rees
This course is aimed at undergraduate level performers and above, and is suitable for students, young professionals and advanced amateur players. Minimum recommended standard ABRSM Grade 8.
-Learn the techniques of alto and bass flute playing, as well as piccolo and C flute
-Discussions on specific technical issues, including extended techniques
-Develop your performance skills
-Explore solo and ensemble repertoire for all members of the flute family
-Individual lessons, masterclasses and flute ensembles
-Opportunities for collaborations with composers and other flute players
-Introduction to playing music with electronics
-Opportunity to perform in an end of course concert
NEW FOR 2017: Flute Retreat
An opportunity for a maximum of two advanced students or early career flute players to prepare for a recorded recital during the course in a personally devised programme of study. Opportunities for composer collaborations and individual tuition. Download the Application Form
Composition Taught Course: Electroacoustic and/or acoustic composition
Tutor: Michael Oliva
Suitable for all standards, including those with no prior experience of EAM composition
Both courses are taught together, allowing composers the flexibility to choose their preferred pathway. To an extent, the course content will be tailor made to suit the needs of the participants, but areas which may be covered include:
-Group classes and individual tuition
-Compose a piece during the week and perform it in the final concert
-Potential to collaborate with flute players and other composers
-Learn the basics of Electroacoustic composition, or refine your skills
-Learn field recording techniques, software skills and develop your understanding of EAM compositional techniques
-Learn techniques of synthesis, sampling and real-time computer transformations in the context of creating new work
-Explore current approaches to working with computer sound and the performance of electroacoustic music
-Collecting and working with environmental sound
-Developing and writing your own interactive performance software with Max/MSP
-Composers should bring a laptop running a standard sequencer programme (e.g. Cubase, Logic or Performer), headphones and any other items required for their compositional activity.
-Develop your skills in composition, including aspects of structure, instrumentation, harmonic language etc
-Opportunity to develop specific knowledge of writing for solo flute and/or flute ensemble (including extended techniques) in collaboration with performers
-Opportunity to explore the basics of electroacoustic composition (optional)
-Composers should bring a laptop running Sibelius (preferred) or other music notation software, headphones and any other items required for their compositional activity.
The Composition Retreat offers experienced composers the opportunity to work in the wonderful surroundings of Harlaxton Manor, with support from rarescale course tutors, while maintaining the freedom to work on independent compositional projects.
-Open to composers of all disciplines
-Come and enjoy the wonderful surroundings of Harlaxton while working on -independent compositional projects
-Consultations available with rarescale members Carla Rees and Michael Oliva
Potential for collaborations with rarescale and participants of the flute course
BOOK NOW: http://amazon.clikpic.com/rarescaleonskye/clik_media/BOOKING_FORM_rarescale_Summer_School_2017.pdf
Read about the 2015 course here: http://weareoca.com/music/rarescale/
The course will feature a public concert by rarescale, in addition to a concert by course participants on the final evening.
Dates, Accommodation and Fees
Dates: Monday 31st July to Saturday 5th August (Arrive by 11am on Monday and depart on Saturday after breakfast)
Accommodation is in study bedrooms in the student-style accommodation at Harlaxton Manor. Rooms are allocated on a best available basis and course participants may be asked to share. A surcharge of £75 is payable for anyone wishing to guarantee a single room. All bathroom facilities are shared, and accommodation fees also include all meals. Additional accommodation may be available for the Sunday before the course starts at an additional cost – please ask. If you prefer to stay in one of the local hotels, a non-residential rate is also available.
|Soundfly's new online course with Tim Hansen teaches you the fundamentals of Composition|
|Date Posted:||16 November 2016|
|Details:||SOUNDFLY'S NEW COURSE TEACHES YOU THE FUNDAMENTALS OF MUSIC COMPOSITION & DEEPENS YOUR UNDERSTANDING OF EMPLOYING THEORYhttps://soundfly.com/courses/introduction-to-the-composers-craftUse code: SOUNDANDMUSIC for 20% off!As a composer, there are many different tools in your tool belt that can bring interest and originality to your music. You can use time signatures to add complexity, tonality to add emotional pull, rhythm to add drive, or something else to create some other unique dynamic. This course will take you through the essential elements of modern composing. Led by Australian composer Tim Hansen, you'll explore the beat, time signatures, rhythm, tonality, timbre, texture, and structure, with key examples to demonstrate along the way. By the end of this course, you'll be able to employee these tools more effectively in your compositions.This one-of-a-kind month-long course combines fun instructional videos, step-by-step guides, downloadable resources, and professional support and feedback to help you unlock your vision for notated music. You'll have the opportunity to get personal mentorship and consulting from an industry expert, as well as access to a revolving-door community of fellow students and advisors. Now who's ready to get composing?|
|Composers’ Programme to the festival “Days of chamber music”|
|Deadline:||15 June 2017|
|Date Posted:||01 November 2016|
September 8 – 15, 2017 г.
(September 6 – 16 2017 for composers)
The Gabrovo Chamber Orchestra invites student composers in high-school and university (bachelor) level to participate with their compositions in the Composers’ Programme to the festival “Days of chamber music”, organized by the Gabrovo Chamber Orchestra.
The Composers’ programme targets student-composers at high-school and university level seeking opportunities to rehearse and hear their music performed by professional musicians, as well as to participate in workshops and lectures in different practical and theoretical disciplines.
The composers will have a work included in the programme of the festival, which will be rehearsed and performed by the Gabrovo Chamber Orchestra. The concert will be recorded and offered to the composers for non-commercial purposes. The work does not have to be written specifically for the festival.
During their work in the workshops the composers will write exercises in orchestration and arrangement, which will be rehearsed with the orchestra. They will participate in a conducting masterclass with the Gabrovo Chamber Orchestra. Some participants will be recommended to the festival performers for future commissions and collaborations.
The composers will benefit from activities outside the studies and the festival, including museum visits, a mountain hike, etc.
Personnel of the Gabrovo Chamber Orchestra: 9 violins, 3 violas, 2 violoncellos и 1 double bass
Individual composition lessons
Group masterclasses in composition
Groups lectures in history and theory of music Group lessons in conducting
Individual and group career consultations
Mag. Ivan Stoyanov (conducting), conductor of the Gabrovo Chamber Orchestra
Dr Alexandra Fol (composition and theoretical disciplines), guest-composers
Price for 10 days: accommodation, breakfast, tuition, organized external activities (including entrance tickets, transport, tour guide)
Price for citizens of the European Union € 500 Euros for 10 days
Price for citizens of countries from outside of the European Union € 800 for 10 days
Teaching language for individual lessons
Bulgarian, German, English, French, Italian
Teaching language for group classes
English. Other languages dependent on particular circumstances.
Deadline for applying, by e-mail only: June 15, 2017
Announcing the results: June 30, 2017
If you need to know your results earlier in order to apply for funding, etc., please, do write to us.
Deadline for fee payment: July 31, 2017
The accepted composers will receive the bank account information by e-mail.
Deadline for receiving the work and the parts: August 20, 2017 Day of arrival in Gabrovo: September 6, 2017
Possibility of pick-up from Sofia for an additional fee
Day of departure from Gabrovo: September 16, 2017
Composers wishing to apply must send the following documents
1) Short biography
2) 2-3 scores in PDF format
4) Link to a personal website, if such exists
E-mail for application and contact
Phone numbers for contact
+1-514-264-7777 (Bulgarian, German, English, French, Italian) +359 889 619 345 (Bulgarian)
Museum of humour and satire
Gabrovo Chamber Orchestra
Gabrovo Chamber Orchestra on facebook
Central Bus Station
Busses from Sofia to Gabrovo departing from the Central Bus Station
|MUSLAB 2014. International Electroacoustic Music Exposition|
|Summary:||Sound Art Workshops|
|Date Posted:||18 June 2014|
Asociación Camin-Art and MUSLAB Ensemble invite composers of electroacoustic music, sound artists and visual artists to participate in the|
Muestra Internacional de Música Electroacústica MUSLAB 2014
This exhibition will take place in October and November in Mexico City and the states of Tamaulipas, Nayarit and Veracruz in 11 different locations.
The International Electroacoustic Music Exposition / MUSLAB 2014 is a project that we do in order to help to recover public spaces as a way to promote social interaction and citizenship using artistic interventions with electroacoustic music and video projection on buildings (Video Mapping).
This exhibition is accompanied by a workshop in new technologies applied to art, open to students and artists interested in working with sound and image. This workshop will be adapted to the needs of each community where the exhibition is presented.
The event will be broadcast by Radio UNAM Mexico, Radio UAM, UAM TV nationwide and internationally via Internet. We also have the support of the Zero Records Productions label to record the event, that might end up publishing a selection of the submitted works in a CD-DVD.
|2014 Summer Choral Composers Forum|
|Summary:||Choral Composing Course|
|Date Posted:||07 January 2014|
The Lehigh Choral Composers Forum, in association with the ACDA, offers a unique opportunity to composers of all levels to explore and develop their compositional voices in a weeklong intensive seminar held at Lehigh University's beautiful Zoellner Arts Center. The emphasis of the Forum is on the compositional process. Composers accepted into the program are asked to come with ideas, not finished pieces. In the course of the week, these ideas are developed, discussed, and tried out in rehearsals with the professional a cappella ensemble, The Princeton Singers.|
Under the leadership of Steven Sametz and Tania León, composers are encouraged to be adventurous. This is an opportunity you may never have again: to hear a professional ensemble read through a portion of a work one day, get feedback, rework it, and hear it another way at rehearsal the next day.
Each morning, seminars led by Sametz and León help composers to develop their unique compositional voices. Afternoons, there is one-on-one time with each student sharing individual ideas with the mentor-composers. This is an environment that supports compositional risk-taking as well as building on what you already do well.
On Saturday, June 29th, an informal concert of the works created in the seminar will be held at Lehigh University's Baker Hall, a 900-seat state-of-the-art concert hall. Composers come away with a professional-quality recording of their works by The Princeton Singers.
The week also includes information and discussion on the ever-shifting world of music publication. How do we best get our works out there? How are publishers looking at new compositions? How can we best market our works to get as many performances as possible? Many works from past Lehigh Composers' Forums have been published by major publishing houses.
The seminar is co-sponsored by The American Choral Directors Association and is available for graduate credit through ACDA.
|Soundscape Festival 2013|
|Summary:||Festival call for scores|
|Date Posted:||31 December 2012|
|Details:||Composers are invited to apply for the 2013 Soundscape festival in Italy submitting one score and the application form which can be found on the festival's website listed above.|
|Walden School Creative Musicians Retreat|
|Summary:||Summer course for composers|
|Date Posted:||30 March 2011|
At the Creative Musicians Retreat (CMR), participants will take classes (including courses in The Walden School Musicianship Course), sing in chorus, write music, and improvise. Participants will be exposed to a variety of Walden musicianship materials, including acoustics, drills with intervals and triads, resolving structures, rhythms, solfege and harmonic analysis. Classes will also include topics in contemporary music, computer music and applied skills (conducting, improvisation and more). Composition lessons and tutorials will also be offered.|
The faculty for the Creative Musicians Retreat (CMR) are drawn from veteran faculty of Walden’s renowned Young Musicians Program and Teacher Training Institute. They have all had extensive training through Walden’s Teacher Training Institute and are a diverse mix of improvisers, composers, performers and music scholars. All are acclaimed members of The Walden School faculty. The 2011 CMR faculty include:
Dr. Caroline Mallonée
Dr. Loretta Notareschi
Members of The International Contemporary Ensemble (ICE) will be in residence at the Creative Musicians Retreat. A concert, open to the public, will bring a world-class performance ensemble to CMR and exciting music to participants’ ears. Participants will have the opportunity to write for and work with the ensemble. Everyone will participate in two Composers Forums, where they will have the opportunity to hear brand new music and discuss it with the performers, composers, visiting artists, faculty and Russell Pinkston, the workshop's Composer-in-Residence.
At the Creative Musicians Retreat, participants will have the opportunity for community singing and will train with solfège using Curwen handsigns. Acclaimed choral pedagogue Leo Wanenchak will lead daily choral rehearsals.
The proposed schedule of activities for the week is available by clicking on this link, which will open up a .PDF document. This schedule is subject to change.
The Creative Musicians Retreat will offer something for anyone wanting to invigorate their musical training, participate in a rich and diverse musical community, and to engage in creative music making, through musicianship, composition, improvisation, choral singing, computer musicianship and more. The program is not designed for the brand-new, novice musician, but it is also not designed exclusively for those with extensive training. The faculty and administration intend to offer a program appealing and worthwhile to a range of participants, across a variety of age groups, skill levels, and interests.
Participants will live in single rooms on the beautiful Smith College campus in one of their dormitory buildings. Meals will be taken in the Smith College dining facilities and will feature varied and delicious menus. Participants will have access to athletic and workout facilities, practice rooms in the music building for study, composition and practice, and enjoy the Smith College campus. We hope that all of the participants will join us for a hike on a nearby mountain on the final Saturday, and opportunities will be made available for participants to enjoy Northampton, a quintessential New England town.
The Walden School Creative Musicians Retreat offers more than just training. It will reinvigorate its participants on an academic and musical level, as well as invite them into a unique creative community. CMR offers a true experience, an exploration of self, of music – a connection with a vital creative community. Each participant will form meaningful musical and personal connections with others and with his/her own creative self.
|MFA in ICIT at UCI|
|Summary:||Courses in Integrated Composition|
|Date Posted:||26 November 2010|
|Details:||The Department of Music at the University of California, Irvine invites applications to its Master of Fine Arts program in Integrated Composition, Improvisation, and Technology (ICIT). The program is taught by a core faculty whose work embraces diverse forms, challenging conventional distinctions between classical composition, computer music, non-Western music, and jazz. Students receive close personal attention from faculty, and are encouraged to work on interdisciplinary projects. We seek students with a strong foundation who wish to develop creative work integrating a wide range of contemporary music and ideas.|