|Deadline:||31 March 2017|
|Date Posted:||22 February 2017|
YANNIS KYRIAKIDES AND DARIO CALDERONE MASTERCLASS|
The masterclass is aimed at composers and performers of any level or nationality who are interested in bettering their knowledge of contemporary music.
It is divided in two courses:
• the composition course, held by Yannis Kyriakides;
• the interpretation course, held by Dario Calderone.
The classes are structured in to four days, ending with a concert performed by the teachers, as well as a concert performed by the students in the interpretation course. By virtue of the strong artistic and professional collaboration between the two teachers, both courses will be interconnected; enrolling in one of the courses naturally determines the opportunity to follow the other.
|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Send us your new or previously composed original compositions (unpublished or self-published) up to 5 minutes in length, for one of the following instrumental combinations: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 email@example.com (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 firstname.lastname@example.org . [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 email@example.com 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 firstname.lastname@example.org
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:
|National Puppetry Conference at the Eugene O'Neill Theater Center|
|Deadline:||03 March 2017|
|Date Posted:||25 January 2017|
Artistic Director, Pam Arciero|
Music Director, Melissa Dunphy
Online Application Deadline: March 3, 2017
Conference Dates: June 10-18, 2017
Composer/performers are invited to apply as Music Participants for the Natonal Puppetry Conference in Waterford, CT, June 10-18, 2017. Music Participants are given the unique opportunity to collaborate with puppetry artists as they create new works for the stage. As a music participant you will work with the artists and directors to help tell their story with music. You will be challenged with evoking the mood of scenes and characters from multiple pieces, ranging from playful to dark and haunted themes. Ideal candidates are composers with a strong performance and improvisation background and familiarity with or willingness to experiment with different styles and genres of music.
What can you expect? Your schedule will change as you and the puppeteers prepare for two public performances at the end of the week, fully comprised of original work created at the conference. Roughly, each day you can expect about three to five hours directly collaborating with ensembles, three to five hours of private composition, and an hour or two in workshops and masterclasses. You may optionally end each day mingling and networking at the campus bar where participants entertain each other in boisterous nightly puppet slams.
Compositionally, you may optionally write for or collaborate with the other music participants to create rich scores for live performance. Although the emphasis will be on live music, you will also find opportunities to pre-record work, especially when using electronic music elements.
Music participants will be mentored by composer/performer Melissa Dunphy. You will also receive mentoring from the puppetry directors, including individuals who’ve performed with the Jim Henson Company, and been featured on stages across the world.
This role is part of the main conference, but you also may apply for the pre-conference. Please note that involvement in the pre-conference intensives may be subject to qualifications of the applicant.
Music participants are not charged tuition for the main conference, simply housing and meals at $500 USD. If you wish to also attend the pre-conference intensive, your cost for those three days is an additional $500 USD, which includes tuition, room, and board. There is a $75.00 discount if you attend both programs for a total of $925 USD. There is also a Music Participant Scholarship for which you may apply.
More information and online application ($35 application fee) at http://www.theoneill.org/summer-conferences/puppetry/
Melissa Dunphy, Music Director
|Summary:||Call for Participation|
|Deadline:||10 March 2017|
|Date Posted:||14 December 2016|
We are excited to announce the 5th International Workshop on Musical Metacreation (MUME 2017) to be held June 19-20, 2017, in conjunction with the Eighth International Conference on Computational Creativity, ICCC 2017.|
Metacreation involves using tools and techniques from artificial intelligence, artificial life, and machine learning, themselves often inspired by cognitive and life sciences, for creative tasks. Musical Metacreation explores the design and use of these tools for music making: discovery and exploration of novel musical styles and content, collaboration between human performers and creative software “partners”, and design of systems in gaming and entertainment that dynamically generate or modify music.
MUME aims to bring together artists, practitioners, and researchers interested in developing systems that autonomously (or interactively) recognize, learn, represent, compose, generate, complete, accompany, or interpret music. As such, we welcome contributions to the theory or practice of generative music systems and their applications in new media, digital art, and entertainment at large.
Workshop submission deadline: March 10, 2017
Notification date: April 20th, 2017
Camera-ready version: April 28th, 2017
Workshop dates: June 19-20, 2017
We encourage paper and demo submissions on MUME-related topics, including the following:
• Models, Representation and Algorithms for MUME
• Novel representations of musical information
• Advances or applications of AI, machine learning, and statistical techniques for generative music
• Advances of A-Life, evolutionary computing or agent and multi-agent based systems for generative music
• Computational models of human musical creativity
• Systems and Applications of MUME
• Systems for autonomous or interactive music composition
• Systems for automatic generation of expressive musical interpretation
• Systems for learning or modeling music style and structure
• Systems for intelligently remixing or recombining musical material
• Online musical systems (i.e. systems with a real-time element)
• Adaptive and generative music in video games
• Generative systems in sound synthesis, or automatic synthesizer design
• Techniques and systems for supporting human musical creativity
• Emerging musical styles and approaches to music production and performance involving the use of AI systems
• Applications of musical metacreation for digital entertainment: sound design, soundtracks, interactive art, etc.
• Evaluation of MUME
• Methodologies for qualitative or quantitative evaluation of MUME systems
• Studies reporting on the evaluation of MUME
• Socio-economical Impact of MUME
• Philosophical implication of MUME
• Authorship and legal implications of MUME
Submission Format and Requirements
Please make submissions via the EasyChair system at: https://easychair.org/conferences/?conf=mume2017
The workshop is a day and a half event that includes:
-Presentations of FULL TECHNICAL PAPERS (8 pages maximum)
-Presentations of POSITION PAPERS and WORK-IN-PROGRESS PAPERS (5 pages maximum)
-Presentations of DEMONSTRATIONS (3 pages maximum) which present outputs of systems (working live or offline).
All papers should be submitted as complete works. Demo systems should be tested and working by the time of submission, rather than be speculative. We encourage audio and video material to accompany and illustrate the papers (especially for demos). We ask that authors arrange for their web hosting of audio and video files, and give URL links to all such files within the text of the submitted paper.
Submissions do not have to be anonymized, as we use single-blind reviewing. Each submission will be reviewed by at least three program committee members.
Workshop papers will be published as MUME 2017 Proceedings and will be archived with an ISBN number. Please use the updated MuMe paper template to format your paper.
Also please feel free to edit the licence entry (at the bottom left of the first page of the new template). We created a new MUME 2017 template based on AAAI template. The MUME 2017 latex and Word template is available at:
Submission should be uploaded using MUME 2017 EasyChair portal: https://easychair.org/conferences/?conf=mume2017
For complete details on attendance, submissions and formatting, please visit the workshop website: http://musicalmetacreation.org
Presentation and Multimedia Equipment
We will provide a video projection system as well as a stereo audio system for use by presenters at the venue. Additional equipment required for presentations and demonstrations should be supplied by the presenters. Contact the Workshop Chair to discuss any special equipment and setup needs/concerns.
It is expected that at least one author of each accepted submission will attend the workshop to present their contribution. We also welcome those who would like to attend the workshop without presenting. Workshop registration will be available through the ICCC 2017 conference system.
MUME 2017 builds on the enthusiastic response and participation we received for the past occurrences of MUME series:
• MUME 2012 (held in conjunction with AIIDE 2012 at Stanford): http://musicalmetacreation.org/mume-2012/
• MUME 2013 (held in conjunction with AIIDE 2013 at NorthEastern): http://musicalmetacreation.org/mume-2013/
• MUME 2014 (held in conjunction with AIIDE 2014 at North Carolina): http://musicalmetacreation.org/mume-2014/
• MUME 2016 (held in conjunction with ICCC 2016 at Université Pierre et Marie Curie: http://musicalmetacreation.org/mume-2016/
Questions & Requests
Please direct any inquiries/suggestions/special requests to the Workshop Chair, Philippe Pasquier (email@example.com).
|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.
|Ablaze Records Mastertapes Series|
|Deadline:||01 April 2017|
|Date Posted:||25 August 2016|
Have you got a great recording of your original composition that you would like issued on a commercially released CD? Now is your chance with the ABLAZE Records call for Mastertapes.|
Send a CD of your mastertape (digital recordings only please) to us for your chance to win a place on our Millennial Masters, Vol. 8 CD. If our expert panel of composers and audio engineers chooses your work, you will win a spot on our EIGHTH Millennial Masters CD. This will entitle you to a partially subsidized commercial release of your work worldwide.
1. The works can be for any ACOUSTIC medium.
2. For any works involving texts the composer must also submit proof of copyright clearance and permission for use on a commercial recording.
3. The work should preferably be a studio (rather than a ‘live’) recording
4. Works must be fully edited/mixed to a version suitable for mastering to a CD publication
5. Works must be in digital format (to at least 44.1K sample rate and at 24 bit resolution)
6. Include notes about the performers, composer and work
What we are looking for:
1. Very high quality recordings
2. Very high quality compositions
3. Very high quality performances
Who is Eligible:
Any composer without restriction as to style of music, age or nationality may submit a mastertape for consideration.
APRIL 1, 2017
|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.|