|JEROME FUND FOR NEW MUSIC, 2017|
|Deadline:||21 August 2017|
|Date Posted:||26 April 2017|
JFUND for New Music|
JEROME FUND FOR NEW MUSIC, 2017
DEADLINE: Monday, August 21, 2017 4:30 PM (Central)
The American Composers Forum (ACF) champions composers and other creative musicmakers, and boosts their careers with professional opportunities. Our Jerome Fund for New Music (Jfund) supports the creation, presentation, and subsequent life of a new work. About 10 grants are available: up to $7,000 for the composer or primary artist’s time to create the work, and up to $1,500 to help make it happen and further its potential.
Jfund welcomes applicants from the whole range of musical paths and is committed to supporting a diverse pool of artists.
The American Composers Forum encourages applicants from the full range of musical styles, and is committed to supporting a diverse pool of artists whose work demonstrates strong artistic merit. Accordingly, awards for our programs will represent, as far as possible, artists and projects that are diverse in genre, gender, race, ethnicity and geography.
The primary artist (not limited to those who self-identify as a “composer” but eligible to all kinds of artists who create original music such as improvisers) applies with a third party (such as a performing group or a presenter who commits to producing the finished work). The primary artist needs to be at an “emerging” level in her/his career: neither a student (except in certain circumstances) nor an established professional. The proposed project should be a significant artistic and professional leap: a risky but logical next step that will mark a new level of accomplishment. The Jerome Foundation’s definition of an emerging artist can be found here: https://www.jeromefdn.org/apply/composer-soundartist/definition-emerging....
Awards – judged by a panel of artists – are competitive and based on outstanding quality of work, personal musical voice, and exceptional potential to make a career difference. Since its founding in 1979 the program, funded by the Jerome Foundation, has made hundreds of awards and helped launch many careers.
• Open to emerging artists who are just starting out in their career, under-recognized, with no national reputation, few professional accolades, and no more than a handful of paid commissions.
• Primary artist (creator of original music) must reside in Minnesota or the five boroughs of New York City at the time of application. Project partners may be based anywhere in the world.
• Applicants (primary or partners) may only be a part of one application.
• Previous winners of JFund (formerly JCCP) awards may apply as long as they were more than two years ago and final reports have been submitted.
· The composer applicant can’t be a current recipient of a Jerome Foundation Composer/Sound Artist Fellowship. A composer or sound artist may not receive a fellowship and other Jerome Foundation support for the same work(s).
• Students may apply if their samples and proposal are beyond the scope of accredited course work.
• Projects may take place in a worship setting but not be premiered during a religious service.
• JFund administrative staff members are ineligible.
• ACF membership is not required for JFund applicants, but is strongly encouraged in order to keep informed about future opportunities.
• Proposed works should be at an early stage in their development, and must not be finished by the time of application. Works must be scheduled to premiere after December 31, 2017. Supported projects must be completed within five years of the award date.
• Quality of musical materials, showing singular artistic voice and vision.
• Significance of the project to the primary artist’s career.
• Well articulated compositional planning and overall thoroughness of project.
• Level of commitment by project partners to performing, presenting and furthering the work.
• Relevance of the Enhancement Funds to deepen the work and further the artist’s career.
• The final pool will reflect a range of artists and projects, diverse in genre, gender, and racial origin.
ACF staff reviews all applications for eligibility and completeness. A diverse panel of artists familiar with a range of contemporary music will have access to all materials submitted. Each applicant’s complete recordings are listened to by at least one panelist. Panelists convene in St. Paul to make final determinations. Panelists remain anonymous until after the results are announced in late November.
William J. Lackey
|Women Composers Festival of Hartford|
|Summary:||Composer in Residence|
|Deadline:||15 May 2017|
|Date Posted:||26 April 2017|
The Women Composers Festival of Hartford is now accepting submissions from potential Composers-in-Residence and Featured Performers for 2018 and future years. The Composer-in-Residence will have her music showcased on the Festival, will give talks and masterclasses to area schools, participate in other outreach and publicity activities, compose a new work to be premiered at the Festival, and more. The Featured Performer(s) will present a concert of work by women composers including a new commission by the Composer-in-Residence and works chosen from a competitive score call, participate in a reading session for student composers, and more.|
Please complete the forms linked below to apply for these opportunities. Applications will be accepted year-round but only those received by 5/15/17 will be considered for 2018.
Composer-in-Residence Application – Due 5/15/17 for 2018
Featured Performer Application – Due 5/15/17 for 2018
Additional opportunities for composers, performers, and scholars can be found in our annual calls for participation. These are typically announced in the summer, so check back soon!
|Writing the Future|
|Deadline:||26 May 2017|
|Date Posted:||26 April 2017|
The London Sinfonietta is pleased to announce the next round of Writing the Future, an open-call programme that supports the careers of composers and music creators through the process of making new work with the ensemble.|
This new Writing the Future programme lasts for approximately two years, allowing for longer and innovative new works to be made and performed. Previous Writing the Future composers have gone on to release music on labels such as NMC, have had their music performed in the London Sinfonietta’s season and received further commissions from the ensemble.
Those selected to be part of the programme will be offered:
• At least one chamber commission to be performed by the London Sinfonietta in a future main season event.
• A close working relationship with members of the ensemble to develop ideas.
• An introduction to music industry professionals who can advise on different aspects of career development.
• Opportunities to work on different aspects of the ensemble’s programme – including digital projects, schools and community work and the London Sinfonietta Academy.
• Open access to visit London Sinfonietta rehearsals and concerts.
• Opportunities for coaching and mentoring from world-leading composers and conductors as part of the London Sinfonietta’s season, and in partnership with the Southbank Centre where the ensemble is a Resident Orchestra.
The London Sinfonietta is at the forefront of developing new music, and we are seeking to include composers and music creators from different social, cultural and musical backgrounds. We are keen to work with artists who will bring new ideas to the ensemble, and explore with us innovative approaches.
For more information please see the Writing the Future 2017 Guidelines.
To apply please complete the application form below, and send along with relevant supporting materials to email@example.com by Friday 26 May 2017.
|The Wyoming Festival - New Music in the Mountains|
|Summary:||Festival Call for Fellows|
|Deadline:||01 May 2017|
|Date Posted:||28 March 2017|
The call for composer participation is out today! Please share with your composer friends:|
The Wyoming Festival Call for Composer Fellows
Deadline for receipt of application: Monday May 1, 2017
Festival duration: August 2 – 11, 2017
Festival location: Grand Teton National Park, UW-National Park Service Research Station, Wyoming, USA
Application Fee: $15 administrative fee
Festival attendance fee: $800 ($300 of this fee is a non-refundable portion to be paid upon acceptance to reserve your space.)
The Wyoming Festival is a 10-day new music festival devoted to the creation of concert music in a wild and natural setting at the AMK Ranch (UW-NPS Research Station http://uwnpsresearch.org) in Grand Teton National Park. Six Music Composition Fellows of all levels (minimum age 22) from across the globe will be invited to work with world-class musicians to create new music in celebration of the National Park. The theme for 2017 is the Solar Eclipse—we encourage composers to get inspired by the eclipse, astronomy, science/nature/ecology of the Parks, especially Grand Teton NP.
1. The Composition Fellows will be invited to discuss the field of new concert music and composition, practice listening in a natural setting, compose using science and nature as source materials for new music, meet musical guests, and share their music with listening seminars. The Fellows will work with accomplished composers Forrest Pierce (http://www.forrestpierce.com), Anne M. Guzzo (anneguzzo.com), and professional chamber musicians from the Grand Teton Music Festival Orchestra, led by Chamber-Artist-in-Residence Holly Mulcahy, (hollymulcahy.com). The resident ensemble is a string quintet: 2 vl,vla,vc, and cb. Composers will be writing for any combination from that ensemble from solo to quintet. The Wyoming Festival will host a concert of Fellows’ music at Grand Teton National Park and in the community of Jackson, WY.
Applicants should be interested in developing a shared new music community for future collaborations and making lifelong connections. Those with interest in nature and ecology are especially encouraged to apply.
Composition fellows will be co-housed (dormitory style) at the historic AMK Ranch in the Lawrence House and will prepare their own food or go to nearby park restaurants. Shared living amenities include a living room, meeting space, bathrooms, and kitchens. Laundry, groceries, and other Park amenities are a short distance away and Fellows will have access to these services.
To Apply: please e-mail the following to: firstname.lastname@example.org
1. Your name, address, e-mail, and phone number.
2. Either a .pdf of the score for an existing piece you would like to have performed for any combination culled from a string quintet (2 vl, vla, vc, cb) OR a .pdf of a piece that represents your string writing, should you wish to compose a new work. If you choose the second option, upon acceptance, your deadline for a new piece will be June 26, 2017. Duration of work sample audio and pieces should be no longer than 7 minutes for either option. Excerpts of individual movements from a piece are acceptable.
3. A link to a recording of the piece you have submitted (A MIDI .mp3 is acceptable if no performance .mp3 is available.)
4. A brief bio (please note, we are accepting ALL levels of composers, including students and professionals.)
5. $15 administrative fee to AMK Ranch.
6. The name and contact information for a personal/professional reference we may call or e-mail.
7. Optional – tell us about your interest in nature/science/ecology or your interest in the Wyoming Festival’s unique location.
Checks can be made out to:
UW – NPS Research Station (put “Wyo Fest” in the memo line) and send to
UW-NPS Research Station
1000 E. University Ave. Dept 3166
Laramie, WY 82071
Online payments: To pay the administrative fee online, go to the UW National Park Service Research station:
1. Use the Wyoming Festival tab
2. For Description: Use “WY Fest Administrative Fee ” followed by your full name.
Example: WY Fest Administrative Fee - Jane Deer
3. For Amount Due: Use “15.00”
For questions or more information, e-mail email@example.com
|Summary:||New Music Project|
|Date Posted:||13 March 2017|
A new summer course for contemporary music is born!|
Join world renowned experts from each group of instruments and make music in beautiful San Marino.
In addition to the usual lessons, there will be a focus on improvisation, music theater and composer-performers in daily afternoon classes taught by faculty. Students will not only work with the expert in their chosen discipline, but will have the opportunity to study with ALL of our faculty. Cash prize in performance and composition will give the winner a chance to perform a solo recital and write a piece for faculty to be presented in the 2017 New Music Project. Instead of sight read performances, student and faculty will present carefully prepared pieces in quality evenings.
The narrow aesthetic preferences defended by some will be replaced by an open minded perspective embracing all forward looking tendencies in new music.
M° Nicholas Isherwood
Artistic Director of New Music Project
|Azrieli Commissioning Competition|
|Summary:||Call for proposals|
|Deadline:||07 May 2017|
|Date Posted:||08 March 2017|
Submission deadline: May 7, 2017|
The Azrieli Commission is open to Canadian composers of all faiths, backgrounds and affiliations, with the aim of encouraging creative and critical engagement with the question ‘What is Jewish Music?’*
A commissioning prize of $50,000 CAD is awarded biennially to the Canadian composer who proposes a response to this question that displays the utmost creativity, artistry and musical excellence.
The musical work resulting from the Prize will be premiered by a major Canadian orchestra as part of the AMP Gala Concert, scheduled for the fall of 2018, and subsequently audio recorded to commercial quality.
The winning composer will be invited to attend the rehearsals and the world premiere of their prize-winning work, and be publicly honoured at the AMP Gala Concert.
Please see the Foundation’s definition of ‘What is Jewish Music’ below to ensure that the proposed work complies with the selection criteria.
• Proposals will be accepted from Canadian citizens and permanent residents of all ages and levels of experience.
• Canadian citizens and permanent residents of all faiths, backgrounds and affiliations are eligible to submit a proposal.
• Eligible composers must prove within the body of their submission the relevancy of their proposed composition to the Prize theme – a celebration of excellence in new Jewish Music
The Proposal Package
Please note: all documents and media must be submitted electronically via the online application form.
All Proposal Packages must include:
-a completed application form;
-proof of Canadian citizenship or permanent residency;
-a current curriculum vitae (CV) highlighting relevant training, experience, performances and awards;
-a works list detailing all relevant completed works, their premiere dates and recordings, where applicable;
-a written proposal (not to exceed 1 000 words) describing the proposed work, including pertinent technical and aesthetic details, as well as an explanation of the work’s relevance to Jewish Music;
-where a proposed work contains text not written by the composer, then proof of the right to use the selected text; and
-two musical excerpts of the composer’s music – both score and audio recording – not to exceed three (3) minutes each.
-Selected excerpts should demonstrate the composer’s aptitude for writing orchestral compositions and/or Jewish Music.
-Scores must be submitted in PDF format, audio recordings in MP3 format.
-MIDI or piano reduction recordings may be submitted where live audio recordings are unavailable.
-Optional: Applications may be accompanied by no more than three letters of recommendation or reference.
Guidelines for Proposals
All proposed works must meet the following guidelines to be given consideration by the Jury. Any work that does not meet these guidelines will be disqualified.
-Proposals must be for new works yet-to-be-written (i.e. the work may not be completed at the time of application.)
-Proposed works are to be a minimum of fifteen (15) minutes and a maximum of twenty-five (25) minutes in duration.
-Proposed works must be scored for a minimum of seventeen (17) string musicians (i.e. string orchestra) and a maximum of forty-five (45) musicians of mixed instrumentation (i.e. Mozart orchestra)
Maximum Instrumentation for nominated works is as follows:
-Brass: 2 trumpets / 2 trombones / 4 horns / 1 tuba
-Winds: 2 flutes / 2 oboes / 2 clarinets / 2 bassoons
-Strings: 8 1st violins/ 8 2nd violins/ 6 violas / 4 cellos / 4 double basses
Works may feature:
-a soloist (vocal or instrumental); and/or
-pre-recorded digital media.
The Composer of the winning work agrees to:
-engage in the composition of their proposed work during the time allotted between the announcement of them as the Prize Winner and the deadline for submitting the score and parts to the performance partner for the AMP Gala Concert;
-report to the Manager, Azrieli Music Initiatives any major deviations from the original proposal over the course of composition, so that such deviations may be adequately discussed and negotiated;
-have their work performed as part of the AMP Gala Concert and subsequently audio recorded;
-be available in person for the rehearsals and performance of their work;
-grant the Azrieli Foundation the right to serve as primary commissioner, thereby retaining performance rights for the premiere as well as first recording rights. (The winning composer may apply for supplemental funding from other sources, as necessary.); and
-participate in outreach events, workshops, press conferences, media interviews and other such promotion and education activities as they relate to the Prize and its objectives to educate the general public about the universal appeal and artistic importance of the works that result from engaging with the topic of Jewish Music.
Letters of Reference (optional)
No more than three referees may submit letters of reference on behalf of the applicant.
All letters should clearly indicate the applicant’s name at the top of the page, as follows:
“(Candidate’s Name) Letter of Reference, Azrieli Commission for Jewish Music”
All letters of reference should be received via postal mail at the following address:
Attn: Jason van Eyk
Azrieli Music Prizes
22 St. Clair Ave. East, Suite 202
Toronto, ON M4T 2S3
|2017 Student Composer Readings|
|Deadline:||15 May 2017|
|Date Posted:||22 February 2017|
Synchromy and Music @ Boston Court announce a Master Class/Reading Session for High School and Undergraduate student composers as part of DuoFest, LA’s Most Fearless Fusions.|
As part of Music @ Boston Court’s DuoFest: LA’s Most Fearless Fusions, a weeklong festival of performing duos, Synchromy will be hosting a master class/reading session for student composers in Southern California. Selected composers will have their works read by some of the top professional musicians in Los Angeles and will receive feedback from both the performers and the professional composers of Synchromy. This will be a public session at the Boston Court Performing Arts Center in Pasadena, California on Monday, July 10, 2016, 7:00 PM.
Applicants can apply in one of two categories:
• Category A: young composers currently enrolled in high schools;
• Category B: undergraduate students currently enrolled in composition programs in the U.S.
Send us your new or previously composed original compositions (unpublished or self-published) up to 5 minutes in length, for one of the following instrumental combinations:
• Cello and Piano;
• Flute and Piano;
• Flute and Cello;
• Piano 4-hands.
In Category A (high school-level) applicants may also submit solos for any of the instruments included above.
How to enter
Please submit the following materials by Monday, May 15, 2017 at 6:00pm Pacific Time:
• Application fee of $25, paid via PayPal to firstname.lastname@example.org (include “call for scores” and the name of the composer as a “note” when you process this payment). Please copy PayPal transaction ID and add it to the application form (This application fee is non-refundable)
• The application form (click here to download .pdf, fill it out, and send as an attachment with your submission)
• Computer-engraved score (.pdf file) with program notes (if available)
• Recording, if available (attach mp3 file or include a permanent link to a larger .wav or .aif file; MIDI realizations converted to an audio file are acceptable)
• Short bio (.pdf file)
Hand-written manuscripts, arrangements of the works of other composers, or compositions with electronics will not be considered. Composers can submit only one piece for consideration. We only accept electronic submissions.
Please mark your score and bio clearly with your full name and the title of the piece. Please label all electronic files with your last name, title of the piece and name of the file (for example: Smith_Trio_score.pdf).
Email all application materials to email@example.com . [IMPORTANT this is not the same email address as the one used to submit your application fee.]
Participation in the reading session is free for students selected through this call for scores. Attendance of the reading session at Boston Court Performing Arts Center (Pasadena, California, USA) on Monday, July 10, 2016, at 7:00 PM is Mandatory. Please note that no compensation will be offered to composers for the reading session participation or for travel and other expenses. Recordings of the session may be made, but may not be released publicly.
The selected composers will be notified via email by June 1, 2017. Composers must supply instrumental part for duets with piano (as an electronic .pdf file) via email by June 10, 2017.
|KEEP COMPOSER'S WEIRD 2017|
|Deadline:||19 June 2017|
|Date Posted:||14 February 2017|
A residency for emerging composers worldwide, to be held in Melbourne on 5th to 11th of November 2017.|
Keep Composer's Weird provides an opportunity for selected composers from around the world, ages 21+, to submit a newly composed work that is to be rehearsed, recorded and performed at a concert in Melbourne. Each composer will work with an established Melbourne ensemble to workshop their composition and the performance will take place on Saturday 11th of November.
The performance will be promoted to showcase each composer and conferences, panels, and mixers will be held at various venues across Melbourne to provide networking opportunities. In addition, for 5-6 days, each composer will participate in lectures, networking events and establish professional relationships with colleagues in the Australian music and arts industry. Participants will be provided with housing (house includes full kitchen, living room, Wi-fi, TV, A/C etc), catered breakfasts, lunches.
The residency is held in between Melbourne Festival and Melbourne Music Week, a great time to discover the live music capital of Australia.
Participants (tuition + housing + two meals per day): $2,000 AUD
Application should be sent by email to firstname.lastname@example.org by 19th of June 2017
Please send the following information:
b. Birth date
e. Short paragraph talking about yourself (i.e – interests, goals, etc)
f. Two letters of recommendation
g. website or other online material (soundcloud/youtube/blog)
2) PDF files of two of your works with recordings or midi (if available)
3) $20 (AUD) application fee payable by paypal to email@example.com
19th of June 2017 - Application deadline
3rd of July 2017 - Announcement of results
17th of July 2017 - Notification to reserve spot in program
5th of August 2017 - Selected participants will receive instrumentation for their works
5th of October 2017 - Deadline for sending finished composition
5th of November 2017 - Arrival and accommodation in Melbourne
11th of November 2017 - Performance
12th of November 2017 - End of residency and check out of accommodation in Melbourne
The first Keep Composer's Weird was hosted by U.S composer Nathan Felix in Austin, Texas and was a huge success - below is a recap of the residency.
2016 Recap of Keep Composers Weird
The first official Keep Composers Weird in 2016 was a huge success. KCW was officially sponsored by the Texas Music Office, Backspace Pizza, Heineken, Chameleon Cold Brew, Visit Austin & The Austin Music Video Festival. The official composers were Kitty Xiao (AU), Gabriel Bolanos (NI), and Scott Shell (US). Their recorded works will be posted when the final mix and masters are completed. Here are some photos that include the live performance, recording at Cacophony, interview at KOOP radio, meet and greet with Graham Reynolds and a lunch at Backspace Pizza. Stay tuned for information on how to apply for Keep Composers Weird 2017.
|Date Posted:||08 February 2017|
From Beethoven to Carter, forging relationships with composers and commissioning new music has been at the heart of the Royal Philharmonic Society’s work since 1813.|
We believe that encouraging creativity is an essential part of live music making. Since 1813 our commissions have included masterworks such as Beethoven’s 9th Symphony, Mendelssohn’s Italian Symphony and Dvorak’s 7th Symphony. Today we continue to thrill and challenge audiences with the new and have commissioned over 60 composers in the last 10 years.
Our current commissioning programme includes:
An ongoing partnership with BBC Radio 3 has created a series of over 30 new chamber works for the outstanding talents of the BBC New Generation Artists.
RPS Composition Prizes
The RPS offers pportunities for emerging composers and composers age 18 and under to take part in workshops and to write for high profile professional performances, while the Elgar Bursary recognises that older composers may also benefit from support to write an orchestral work with a guaranteed performance and broadcast.
RPS Drummond Fund
Commissioning new music for dance.
RPS Bicentenary Commissions
Over 20 new commissions were at the heart of our Bicentenary celebrations in 2013, from major international figures to those just entering the profession. Read about our Bicentenary Commissions.
For more information:
|2017 Australian Composition Seminar - Plexus|
|Summary:||Workshop call for scores|
|Deadline:||23 June 2017|
|Date Posted:||16 November 2016|
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
DATE AND TIME
Mon., 24/07/2017, 9:00 am –
Tue., 25/07/2017, 2:30 pm AEST
Santa Sabina College
90 The Boulevarde
Strathfield, NSW 2135
|New Music Message Board|
|Summary:||Opportunity to connect with performers|
|Date Posted:||31 August 2016|
This is a new group dedicated to connecting composers of new works with performers of new music. Composers can post whatever they feel comfortable. Performers can search for the desired instrumentation with the search tool, and hopefully curate some performances. Please don't hesitate to post as many works as you would like.|
The group is in the formative stages, and will hopefully grow from a Facebook group to a professional website and online community. So, please share the group with anyone who may be interested from anywhere in the world!!
|Deadline:||31 August 2017|
|Date Posted:||25 August 2016|
Resonance Extra is a 24/7 broadcast platform based at Resonance FM’s London Bridge studios. Dedicated to supporting experimental musicians and sound artists, the station broadcasts online via its website and on Small Scale DAB Digital Radio in Brighton & Hove. Following Ofcom’s decision in 2016 to extend its DAB trial license by a further two years, the platform seeks new contributions with an Open Call for Broadcast Proposals.|
Radio Art, Experimental Music and Documentary
Resonance Extra seeks local and international artists, broadcasters, students, sound artists, musicians, producers, archivists, festivals, venues and arts organisations to submit proposals for ambitious broadcasts (or programmes of broadcasts) in the following broad categories:
• Sound and Radio Artworks
• Experimental and Global Music Radio
• Documentary - Sound and Music
Submit a Broadcast Proposal
To submit a proposal or programming idea, please email Peter Lanceley on firstname.lastname@example.org, including in your submission: your full name (in the subject line); a brief description of what you propose (no more than 250 words); a link to your website, artistic CV, or previous work.
Responses to the Open Call will be considered on an ongoing basis until September 2017. We regret that we cannot necessarily respond to nor commit to providing feedback for unsuccessful applicants. For more information on Strands, a separate round of paid artistic commissions for UK sound and radio artists under the age of 28, supported by the Jerwood Charitable Foundation, visit our Commissions webpage.
|Date Posted:||12 April 2016|
Whether you’re a performer or composer writing music under any classical style BBC Introducing is a fantastic platform to get involved with. Introducing has been supporting unsigned, undiscovered and under the radar since 2007, giving new UK artists a chance to get their music out to new fans. To date the Uploader has had from over 150,000 artists and have seen many of them go on to achieve fantastic milestones in their career from recording a session at Maida Vale to headlining Glastonbury!With BBC Introducing the process is simple; you go to www.bbc.co.uk/introducing and share your music via the BBC Introducing Uploader. A team of presenters and producers here at Radio 3 will then listen to your music and choose a selection of the best compositions and performances to play on the station.From performing at a BBC showcase to being approached by other composers and writers, there are lots of opportunities that could you could send your music to us via the BBC Uploader and, in some cases, be played on the radio just hours later. If you’re an emerging musician and looking for new opportunities then head over to the bbc.co.uk/introducing for opportunities on Radio 3 and beyond. |
|Summary:||Call for choral scores|
|Date Posted:||18 September 2012|
|Details:||The C4 ensemble invites composers to submit scores for chorus and electronics for possible future performances. More details can be obtained from the ensemble via the link listed above.|