| CREATIVE COMPOSERS 2018 | |
| Summary: | Competition with 4 categories |
| Deadline: | 29 June 2018 |
| Date Posted: | 08 February 2018 |
| Details: |
REGISTRATIONS ARE OPEN FOR THE INTERNATIONAL COMPOSITION COMPETITION "CREATIVE COMPOSERS 2018" * We kindly ask the composers to carefully read the whole regulation, which contains detailed information. As already happened with our previous competitions, many composers write us to ask for the same things, which are clearly explained in this regulation. This is probably due to the unwillingness to read such a long regulation, which refers to 4 different competitions. However, if you read it carefully, you will find the answers to all your questions. "Participation in this contest implies acceptance of these Rules" CONTEST RULES 1 – In this contest any music style is allowed, however it stands out from the previous editions in particular for the first two categories (A and B) which test the creativity of the composers and urge them to create new compositions, within a short time, using only the instruments indicated. 2 - This regulation is very similar to the previous one, but contains the obligation to use the instruments specified for the first two Live categories. In the third category, the composers will be able to choose the instruments that they prefer based on a list (like in the previous competitions.) Conversely, for the fourth category- which is completely different from the other three sections – the choice of the instruments is utterly free. 3 - All the music genres shall be admitted in all the contest categories, provided that the score is written in a clear way. In particular, the third and fourth category are open to: compositions for symphonic orchestra, bands, jazz orchestras, movie soundtracks, different music styles from everywhere in the world (classic, contemporary, choir and solo singers etc. etc.). The competition is open to any musical expression. From compositions written for a single instrument, to those for large orchestra. 4 - As the contest is open to all forms of musical expression, it is allowed to participate with any kind of compositions. According to latest research, there are at least 1264 music genres all over he world. All genres are admitted, and compositions may be registered for any of the 3 categories of this third edition. Special prizes, in addition to those specified in the rules, will be awarded to the most unusual and interesting music genres, with complete freedom of musical experimentation. 5 – The first three categories shall be judged live; which means that they shall be played directly before the jury by one of our orchestras. The compositions of the fourth category called "Instruments of the world" will not be played by the orchestra, but will be rather judged after the reproduction of the audio files and the display of the musical score, by evaluating the files sent by the composers, as happens in the majority of the competitions worldwide. We have added this fourth category to allow the composers to include any existing instrument, including the ethnic ones and those which are rarely used in Western orchestras. Each orchestra, even the larger ones, has its own limitations from an instrumental point of view, therefore it would be impossible to find musicians able to play any instrument, considering the countless instruments in the world. 6 – Most of the articles included in this regulation provide rules applicable to all the categories, except for some points dealing specifically with one of the four categories, which differ from one another in some aspects, such as the participation fee costs (much lower for the fourth category). 7 - EACH CATEGORY is an independent international contest, with no connection to other categories. Composers who register in 3-4 different categories are basically participating in 3-4 separate contests. There is a relation among the various competitions, but only for the numerous prizes and those who sign up for multiple categories. This novelty is interesting and has been introduced in these contests. There will be also a special prize for those who obtain the highest score, adding up the scores reached in the Live categories for which the composer has signed up. Therefore, if a composer takes part in two or three Live categories, in addition to the specific prizes of each category, he/she can win the special prizes relating to the highest score obtained by adding up the “A+B”, “A+C”, “B+C”, “A+B+C” categories (as will be better explained further on.) 8 - Each composer may also take part in different categories with the same composition, provided that it is compatible with the instruments specified; since these competitions are independent and will be judged in a different way. 9 - WHO CAN TAKE PART IN THE CONTEST 10 – All composers of the world may take part in the contest, from any Country of any continent. 11 – No is required a music diploma. 12 - There are no age limits. Young music students as well as elderly composers are admitted. As always, the jury will not know the name or age of composers, so that all musicians may have equal chances, even the youngest. We cannot exclude the possibility that somewhere in the world there may be a child prodigy, composing great music at a very young age, like Mozart did. All composers younger than 18 years must have a written and signed authorisation by their parents, or legal tutor. 13 - Compositions may have been already played in public and may appear on YouTube or other websites; they may also be recorded on CDs/DVDs. Compositions will not be admitted if they won the first prize in other contests. 14 – THE NUMBER OF PLACES IS LIMITED to max 30 composers of each registered Nation (for each category), or Independent State. No additional registrations will be accepted from Nations which already reached this number of contestants. This rule aims to allow enough time to evaluate all compositions in the best possible way, which would be impossible to do in the time frame available, if contestants are too many. This way, the Contest will be better manageable and will represent many different Nations. 30 composers of each registered Nation is the maximum number allowed for each category of the contest. 15 – THE CONTEST IS DIVIDED INTO 4 CATEGORIES, four different composition contests: CATEGORY “A”: “LIVE CHAMBER ORCHESTRA” CATEGORY “B”: “LIVE STRING ORCHESTRA” CATEGORY “C”: “LIVE FREE ORCHESTRA” CATEGORY “D”: “INSTRUMENTS OF THE WORLD” Now, let us see the characteristics of each category: 16 – CATEGORY "A": “LIVE CHAMBER ORCHESTRA” (14 mandatory parts). In this category only compositions with the following 14 instrumental parts shall be admitted: violin 1, violin 2, viola, cello, double bass (4 strings), oboe 1, oboe 2, horn 1, horn 2, bassoon 1, bassoon 2, flute, clarinet, timpani (4). The orchestra playing the songs before the jury shall be made up of about 20 string instruments which play the same parts in unison, in addition to the other instruments indicated, thus creating an orchestra consisting of at least 30 musicians. However, the composition must include only 14 parts. 17 – CATEGORY "B": “LIVE STRING ORCHESTRA” (5 mandatory parts). In this category only compositions for string instruments are allowed, precisely with these 5 instrumental parts: violin 1, violin 2, viola, cello, double bass (4-string). The orchestra playing the song before the jury shall be made up of several instruments, which play the same parts in unison, thus creating an orchestra of at least 20 musicians. However the composition must include only 5 parts. 18 – CATEGORY “C”: “LIVE FREE ORCHESTRA” (from 1 to 50 parts of your choice). 19 - Compositions of this category may include maximum 50 different instrumental or vocal parts, with all possible mixed combinations. The expression “instrumental parts” especially refers to the number of musicians, considering that the same musician may sometimes play several instruments at the same time, such as percussionists. For example, if the same musician plays 4 different percussion instruments, which alternate during the song, these 4 instruments will count for one (instead of 4 different parts). Similarly, if the same musician plays the flute and the piccolo, and these instruments alternate in the track, they will count for one, instead of two. In this category is possible to partecipate also with the compositions for solo instrument (1 part), for example solo compositions for piano, harp, guitar, violin, cello, accordion etc. 20 – In case of doubts, or if you wish to add instruments that are not included in the list, please send us an email. 21 - It will be up to conductors to decide how many identical instruments will play the same part together, for example 12 violins – 6 cellos – 4 double basses, etc. Composers may also give their own suggestions about which orchestra formation they consider to be the most suitable. 22 – CATEGORY: “INSTRUMENTS OF THE WORLD”: Compositions of this category may include from 1 to 50 different instrumental or vocal parts, with all possible mixed combinations, from one single instrument or voice up to big orchestra. 23 - This category is extremely different from the other three "LIVE" categories. The main differences are: *The compositions of this category will not be played by our orchestras; *To evaluate the compositions, the judges will listen to the audio files previously sent and examine the musical score; *All the existing musical instruments can be used; *The participation cost is much lower than the other categories, because the orchestra is not included and the single parts must not be printed. 24 - Almost every point included in this Regulation also applies to the third category, except for two important aspects: 1) It is mandatory to send the audio file (which is optional for the first three categories); 2) Only themusical score must be sent, i.e. the one generally used by orchestra conductors, which includes all the instruments on the same page "without sending the single parts" of each instrument (which is, conversely, mandatory for the other categories). For further information: |
| Web Site: | creativecomposers2018.weebly.c... |
| RMN Classical's Call for Piano Recordings | |
| Summary: | Call for Piano Recordings |
| Deadline: | 25 March 2018 |
| Date Posted: | 08 February 2018 |
| Details: |
Through our past editions we discovered more than 300 innovative works and many talented composers. This new Call for Piano Recordings has been launched to discover piano recordings of new contemporary music and this is a great opportunity if you own piano recordings of your own compositions and would like to see it published. We are looking for innovative ideas, original compositions, outstanding productions and anything able to shake tomorrow's music. We hope to discover, promote and nurture the next wave of contemporary and current composers and performers who are going to forge and fashion tomorrow’s music world. THE CALL This Call for Piano Recordings competition is addressed to anyone regardless of age and country of residency, who owns piano recordings of her/his works and is interested in being featured in a release specially compiled to professionally and commercially promote new music, composers and performers. The best-selected works will be featured in a top quality release and added to RMN Music catalogue. The fresh new album will be produced by RMN Classical and released worldwide through RMN Music. The release will be distributed on a high-quality edition on iTunes, Apple Music, Google Play Music, Amazon Music, Spotify and many other stores and digital platforms. Optionally and based on demand there will be the possibility for physical distribution too. The release and the winning works will be also added to the Sound and Music Archive of the British Library which already hosts all RMN Music catalog. The prize for the selected winners will also include high-quality design of the cover artwork, chart registration in the USA, the Uk, and Canada, licensing and copyright clearance and the composers will retain 100% of the copyright. Additionally, there will be the opportunity for synchronisation and licensing (tv and media) and optionally physical distribution and manufacturing of the album will be available (depending on demand). THE PRIZE Professional Production Commercial release & worldwide distribution British Library, Sound and Music Archive registration High-quality design of the cover artwork (check our catalogue for an overview of our editorial style) Preparation of the promotional text Share of the sales of the album Keep 100% of the copyright All of the following will be also part of the prize: Option for synchronisation and licensing opportunities (tv and media) Option for physical distribution and manufacturing of the album (depending on demand) Licensing and Copyright Clearance Full contracts and agreements with the winning composers and artists Barcodes and ISRC codes Chart registration (US, UK e Canada) Promotion, Advertising and Press release coverage GUIDELINES Application is via the Application Form. Please read the following instructions to prepare the material. ACCEPTED WORKS: Works for Piano only. A link to a recording of your piano copmosition should be submitted together with the Music Score (in pdf file). Both Live and Studio recordings are accepted. Recordings of works for Duo, Trio etc… (chamber music) will not be accepted. Please consider submitting your recording of chamber music to our Call for Chamber Music Recordings. If in doubt please Contact Us. PLEASE SEND ONLY YOUR BEST WORK The quality of the track submitted should be of the highest standard possible Maximum duration: OPEN There is no maximum duration. We recommend you submit short and medium length tracks (3 to 6 min in length). ACCEPTED GENRE: Contemporary music for piano solo only. Piano duos or 4 hands can be accepted too. Other combinations of duo and trio with piano (like for eg. violin and piano, cello and piano, etc...) will not be accepted. Computer realizations can be considered only if of the highest quality possible. Age / Nationality: There are no formal restrictions and anyone regardless of age and country of residency or citizenship can participate. Other Limits: There is no limit to the number of recordings that you can submit. Please note that we will tend to select only one work per composer. In some circumstances, we can decide to select more than one work (depending on quality of works and talent(s) ) Multi.movement Works: Multi-movement works (sonata and similar forms) can be submitted and will count as 1 work. Eg: A three-movement sonata will count as 1 work. Collection of works will not count as one work and application fee should be paid accordingly. For eg. a collection of 3 works will count as 3 separate works and application fee should be paid three times. Deadline: March 25, 2018 (BST 11.59pm) Application fee: EARLY BIRD [Ends 04 March 2018 at midnight BST]: £44 - per work submitted FULL PRICE: £64 - per work submitted The application fee will be the only cost. No other fees or costs will be due if the composer is selected. WHAT TO SUBMIT: Link to recording Score Notes about the work Notes about the composer Notes about performers |
| Web Site: | rmnmusic.com/call-for-piano-re... |
| Riot Ensemble | |
| Summary: | Riot Ensemble Commission Opportunity |
| Deadline: | 04 March 2018 |
| Date Posted: | 08 February 2018 |
| Details: |
We are thrilled to announce our 2018 Call for Scores! On October 31st, we will perform Jonathan Harvey’s Song Offerings alongside the world premiere of a new viola concerto by Benjamin Graves. Two chosen composers will be commissioned to write sextets of: Flute(s), Clarinet(s), Saxophone(s), Violin, Cello and Doublebass The chosen composers will receive: • Rehearsals and public premiere of their new work in London on 31 October 2018 • A professional, live AV recording of their piece. (This is a minimum. All our commissions are considered for our ongoing recording sessions, and both of our 2016 commissions are about to be released on our second commercial CD). • The AV recording will be sync’d and placed onto our Vimeo Channel. Fee Each composer will receive a £750 commission fee for their work. Eligibility Any composer not currently represented on our 2018 Season is eligible to apply. What to Submit Using the form below, please submit: • Your name, E-mail address & Country of Residence • Your current Resume/CV • PDF files of two recent scores (within the last 5 years). These pieces may be for any instrumentation – we simply want your best work! (NB: scroll down within the form upload your second score!) • Links to Soundcloud or YouTube recordings of these pieces. Entry Fee We are charging an entry fee of £10. All funds raised from this Call go directly to musicians involved in the concert in which these works will be premiered. We will receive your e-mail along with your payment so please let us know if your paypal account is not registered to your preferred e-mail address. Any composer who has attended two or more of our 2017 concerts will have this fee waived. Simply let us know if this applies to you by sending us an e-mail listing the concerts you attended in 2017. Deadline All entries – including entrance fee – must be received by 11:59pm GMT on Sunday 4th March. Process Entries will firstly be judged against eligibility and the winning composers will then be chosen by members of our Artistic Board. The winning composers will be announced no later than 9th April with the final pieces due on 9th September. Questions If you have any questions, or have trouble using the uploader below, e-mail us with your details and we will get back to you as soon as possible! Thank you! |
| Web Site: | riotensemble.com/cfs-2018/ |
| Cory Band Announces 2018 Composition | |
| Summary: | Brass band competition |
| Deadline: | 26 April 2018 |
| Date Posted: | 08 February 2018 |
| Details: |
The Cory Band, in collaboration with The Royal Welsh College of Music and Drama (RWCMD), is delighted to announce details of the Composition Prize for 2018. Now a well-established event in the band’s calendar, entries are sought by composers of any age or experience of works which have not already been performed. Three of the submitted works will be selected by composer and Musical Director of Cory Philip Harper, to be performed by Cory Band at a gala evening in the prestigious Dora Stoutzker Hall at RWCMD on Saturday 26th May 2018. A panel of experts consisting this year of trumpet player John Wallace, conductor Nigel Seaman, and Cory Band’s Musical Director Philip Harper will decide the winner on the night, which will immediately receive a second performance from the band before going on to be published and recorded. Speaking about this year’s competition Philip Harper said: “This has developed into a really successful event now, and since its inception has created over 60 new works for brass band. Cory has really enjoyed performing and recording the previous three winning works by composers Lewis Furber, Richard Haydn Taylor and Andy Wareham. At this year’s concert we are delighted to be joined also by The Wallace Collection with which the band will be joining to present Scottish composer Jay Capperauld’s new work, which will only add to the spirit of celebration of new brass music of the evening.” Continuing, Philip commented: “One of the new features to the competition this year is a video which the band and I have created, which aims to give first-time composers an idea of where to start when scoring for the brass band. In previous years I have felt that some entries struggled to grasp the idiosyncrasies involved here, and so hopefully our user-friendly guide will encourage more composers to feel confident in their creating!” Brief: • Entrants are invited to compose a piece for brass band of no more than five minutes duration. Pieces already performed will not be considered. • Instrumentation should be standard brass band* with no more than four percussion parts. Advice on the basics of brass band scoring can be found by watching Philip Harper’s video: https://www.youtube.com/watch?v=lGyuehvBFbE&feature;=youtu.be • There are no restrictions on the style or type of music, but the winning entry will have an appeal to a normal brass band audience at a standard concert, therefore it is advised that entrants consider at least one of these elements of familiarity: o conventional use of tonality or tonal centres o Rhythmically-drivenmusic o A programme or narrative • The closing date for entries is Thursday 26 April 2018, and the addresses to send entries are included on the entry form. On or before this date candidates should submit the following: o Theentryform(hardcopy) o A proof-read, completed full score in Sibelius 6 format o A hard copy set consisting of four scores, professionally bound, and a full set of band parts (one part per player) of professional quality o The entry fee of £15, with a cheque made payable to ‘The Cory Band’ • A shortlist of three compositions will be selected for performance at a Gala Concert held in the Dora Stoutzker Hall at RWCMD on Saturday 26 May 2016, where a winning entry will be decided by a panel of judges – Liz Lane, John Wallace, Nigel Seaman and Philip Harper. • The winning entrant will receive a trophy, a cheque for £300 sponsored by Kapitol Promotions, and the title of 'Winner of the RWCMD Cory Band Composition Prize 2018' for their curriculum vitae. • The winning entry will be published by Wright and Round Music Publishers, for which the winner will receive a contract of publication, benefitting from royalties annually. The winning entry should therefore be marketable, not just in terms of appeal, but also in terms of level of technical difficulty. • The winning entry will be recorded commercially by the Cory Band. * 1 x Eb soprano cornet, 9 x Bb cornets, 1 x Bb flugel horn, 3 x Eb tenor horns, 2 x Bb baritones, 2 x Bb euphoniums, 2 x Bb trombones, 1 x bass trombone, 2 x Eb basses, 2 x Bb basses |
| Web Site: | coryband.com/composition-prize... |
| Knapp Award | |
| Summary: | Choral Competition |
| Deadline: | 03 March 2018 |
| Date Posted: | 08 February 2018 |
| Details: |
Postmark Deadline: March 3, 2018 Prize: • $500.00 • At least one performance by Meistersingers • Archival recording for use toward publishing There is a $25 entry fee Submission Guidelines: • Complete Competition Submission Form (can be downloaded from www.meistersingers.org) • • Original Composition for 4-8 part SATB choir (further divisi possible and range is not an issue) • Texts should have a clear connection to the elements (earth, air, fire, water) as this is for inclusion in a concert following that theme. • For a cappella choir or choir with piano accompaniment. • 4-8 minutes long • Must be a world premiere performance (rehearsal read-throughs are acceptable) • Anonymous Submission - Remove all names (except poet, if necessary) and identifying marks; - Provide a sealed envelope containing your name, address, email, the title and performance history of the piece (if applicable), and phone number. • Submit a legible, photo-copy ready, score with piano reduction for rehearsal purposes - including a recording (MIDI, piano, etc.) is strongly encouraged but not required. Selection Process: • The Music Director/Conductor, Brian Dehn, shall review all scores received. • A Selection Committee, consisting of members chosen by the Music Director/Conductor and Board, shall review many of the scores received. • The decision of the Music Director/Conductor and Selection Committee will be final. Winning Composer will be notified by March 25, 2018 Other Items of Interest: • This will be included in a concert of all elemental texts. Highlights include Laurdsen’s ‘Fire Madrigals’, Water Night of Eric Whitacre and Earth Song by Frank Ticheli. • The winning composition is scheduled to be performed in June of 2018 in the Southern California area. Meistersingers encourages the composer’s attendance and cooperation in media publicity and press coverage. • The winning composer must provide a final performance score by April 1, 2018. • Meistersingers shall make 35 copies for the chorus, director, and rehearsal accompanist. • There are no restrictions according to race, sex, or age or any other criteria. • A composer may submit more than one piece. • Meistersingers reserves the right not to select a winning composition and/or award a prize. • A brief description of Meistersingers, including Mission Statement and type of literature performed, can be found on their website: www.meistersingers.org Send all Submissions, along with form to: Meistersingers, Inc. Knapp Award 8941 Atlanta Avenue #187 Huntington Beach, CA 92646 For further information, visit the website or email bdehn@meistersingers.org |
| Web Site: | meistersingers.org/index.php?c... |
| BBC Proms Inspire | |
| Summary: | Competition for Young Composers |
| Deadline: | 24 May 2018 |
| Date Posted: | 08 February 2018 |
| Details: |
Now in its twentieth year, the BBC Proms Inspire scheme provides 12-18 year olds with a friendly environment to share ideas, meet like-minded composers and develop their musical creativity, while working alongside some of the UK’s top composers and musicians. If you are 12-18 years old and want to make your own music, read on to find out how to join the BBC Proms Inspire scheme and enter the BBC Proms Inspire Competition. The 2018 Inspire Competition is now open for entries until 5pm, Thursday 24 May 2018. What is the BBC Proms Inspire Competition 2018? “BBC Inspire is a brilliant scheme which invites young composers of all ages and abilities to get involved, no matter what genre or genres you write in. There are great workshop days with professional musicians at the top of their game, as well as the BBC Proms Inspire Competition. In my two years' judging the competition, I've been hugely impressed by the range and excellent standard of the entries.” Kerry Andrew, Inspire Competition judge 2018 Now in its twentieth year, the BBC Proms Inspire Competition continues to provide what most composers only dream of; the chance to have your music performed by professional musicians at the BBC Proms and broadcast on BBC Radio 3. Not only this, winners also receive a BBC commission for a high-profile performance and are mentored throughout the process by a professional composer. We are looking for music that is original, unique and inspiring. It can be completely innovative or can use the music and ideas of the past to inspire new and exciting pieces of music. There are no restrictions on the type of music you can enter – whatever your style and inspiration, we want to hear it! What are the prizes? • Winners are given the opportunity to have their work performed at the BBC Proms by professional musicians and broadcast on Radio 3. • Winners also receive a BBC commission and are mentored by a professional composer. Previous winners have written for members of Aurora Orchestra, the BBC Symphony Orchestra and the BBC Singers for performances at the Last Night of the Proms, BBC Maida Vale Studios and Radio 3 live broadcasts. • Highly commended and shortlisted composers have access to exclusive Inspire projects. • All entrants receive priority booking to Inspire workshops during the Proms season. More info: |
| Web Site: | www.bbc.co.uk/programmes/artic... |
| International Animated Film Music Competition | |
| Summary: | Film Music Competition |
| Deadline: | 05 March 2018 |
| Date Posted: | 08 February 2018 |
| Details: |
The Bridges Cycle inaugurated last year the competition with over 150 participants giving space for expression and promotion to the creative connection between music and screen. The multi awarded film animation EL EMPLEO by the Argentinian director Santiaga Bou Grasso has been chosen for this year as the one which every composer will approach with his own view. The members of the jury are: composer Samuel Pegg (England), director Anton Octavian (Romania), singer and composer Dimitra Galani (Greece), Lawyer Vasilis Karamitsanis (Greece), President of the AnimaSyros International Animation Festival and composer Dimitris Maragopulos, head of the Bridges Cycle- Megaron The Athens Concert Hall (Greece). The panel will preselect a limited number of around 10 composers. The films will be screened in front of an audience on the 16th of April 2018 when the final winners will be announced. You can see the film and find all necessary information, terms and application form, at the link http://omma.megaron.gr/cinemusic/MainEN.aspx Dead line for submissions 5th of March 2018, (17:00 Greece time) |
| Web Site: | www.megaron.gr/default.asp?la=... |
| 2018 CHORAL COMPOSITION COMPETITION | |
| Summary: | Choral Competition (US) |
| Deadline: | 15 March 2018 |
| Date Posted: | 08 February 2018 |
| Details: |
The 18th Street Singers are excited to announce our second Choral Composition Competition. The winner will receive a grand prize of $1,500 as well as travel and lodging for our June 2018 concert at which the winning composition will be performed. All composers are welcome and submissions will be judged anonymously; however we especially encourage entries from composers who identify as female, LGBTQIA+, a Person of Color, or a member of any other under-represented group. Overview of Contest Rules: • Composers of any age and nationality who currently live in the United States are invited to submit an original, unperformed work composed in any style, for SATB a cappella mixed choir, not exceeding 6 minutes. • Submissions will be judged anonymously; works submitted with identifying marks will not be considered. • Works must not have been published or previously performed in public • Works submitted should have been composed within the last 7 years. • Works may be in any language. Interested in throwing your hat into the ring? Electronic submissions are due by March 15, 2018. The winner will be announced on or around April 4, 2018! Download the submission form HERE. |
| Web Site: | www.18thstreetsingers.com/comp... |
| UKYA CORNISH WEEKENDER - CALL FOR ARTISTS | |
| Summary: | Collaborative residency |
| Deadline: | 26 February 2018 |
| Date Posted: | 08 February 2018 |
| Details: |
We are seeking up to 10 outstanding creatives of all persuasions, from visual arts to dance, music to photography, architecture to geographers, urbanists and anthropologists… UKYA Cornish Weekender 13-16th April at Porthmeor Studios is the second of a suite of micro residencies run in partnership with artist spaces across the UK, the first being held in Blackpool in 2017 with Abingdon Studios. Working with Curator Claudio Zecchi, selected artists can immerse themselves in the stunning town of St Ives and participate in dialogues, activities and projections to explore the rich artistic and historic community. The prestigious Grade II listed Porthmeor Studios has previously been home to artists such as Patrick Heron, Julius Olsson, Ben Nicholson and Francis Bacon. What are we looking for: Artists with a commitment to developing their practice, and who seek dialogue and engagement with the wider international contemporary arts and cultural sector Artists with an interest in how collaborative working can inform the development of their work and how this residency will benefit their practice This is a fully funded residency - travel, accommodation and food will be provided by UKYA. Artists must be aged between 18-30 on the deadline for submissions (Monday 26 February). To apply, please download the callout pack and complete the mandatory application form and equal opportunities form. You are also required to submit a CV and documentation of your work. See the pack for full details. |
| Web Site: | www.ukyoungartists.co.uk/corni... |
| Listen Image Compose | |
| Summary: | Training course for teachers |
| Deadline: | 28 June 2018 |
| Date Posted: | 08 February 2018 |
| Details: |
Register for the Listen Imagine Compose CPD course 2018/19 >> We are looking for our next cohort of secondary school teachers to join this unique, accredited CPD course. Listen Image Compose supports teachers in developing their skills and confidence in teaching composing though research and training. "The best CPD I’ve ever had in terms of catering for my needs as a teacher and a musician." - Sarah Henton, Head of Music, Heart of England School It is a partnership project between Sound and Music, Birmingham Contemporary Music Group and Birmingham City University which investigates how composing is taught and learned in secondary schools and draws on the expertise of teachers and their pupils, composers, music education academics and arts organisations. Run as Continuing Professional Development course (with optional accredidation to Master's level) Listen Imagine Compose is designed to develop teacher's skills and confidence in teaching composition. We are now accepting applications from teachers who are interested in doing the course in the next academic year. If you have any questions please email judith.robinson@soundandmusic.org. The course in short The CPD is designed to offer secondary music teachers the opportunity to develop skills in teaching composing with KS3, GCSE and A level students. • The course can be delivered across the UK in partnership with local hosts; • The course delivery team includes Professor Martin Fautley, Professor Pam Burnard, Gary Spruce and Dr. Jonathan Savage, supoprted by professional composers and musicians; • The course can be accredited by Birmingham City University at Level 7 (Certificate/ Diploma/ Masters); • Students can be a mix of those who do and do not wish to be accredited, subject to a minimum of 4 being accredited; • The year-long programme comprises 6 x 3 hour sessions plus additional time spent undertaking action research in the classroom and reflection on professional practice. • During the course teachers will: • Reflect on what composing with young people entails; • Learn new creative strategies for teaching composing; • Develop pedagogic strategies for teaching composing; • Develop existing schemes of work; • Undertake Action Research; • Are mentored by a leading academic and teacher trainer; • Work with professional composers; • Network and learn from other secondary music teachers participating in the CPD Fill in the Application Form or contact Judith Robinson to discuss how Listen Imagine Compose can be delivered in your area. "I have been the lead academic on Listen Imagine Compose since its inception in 2010, and have been researching how composing is taught and learned in secondary schools for many years, and LIC is a logical development from this. It offers sound research-based principles, coupled with a clear and logical CPD offer for teachers. I have enjoyed working on the pilot of the Listen Imagine Compose CPD with teachers, and am delighted that it is now being offered by Sound and Music as a Masters in Teaching and Learning, accredited by BCU."- Professor Martin Fautley, Professor of Education, Birmingham City University |
| Web Site: | www.soundandmusic.org/projects... |
| I-Park Accepting Applications for Composers + Musicians Collaborative Residency | |
| Summary: | Residency Programme |
| Deadline: | 19 February 2018 |
| Date Posted: | 01 February 2018 |
| Details: |
I-Park is now accepting applications for its 2018 Composers + Musicians Collaborative Residency, taking place July 24 – August 6 at I-Park’s East Haddam, Connecticut, campus. Composers interested in creating new chamber ensemble works are encouraged to apply for this program, which teams five composers with an established ensemble. Each composer spends two weeks in intensive daily rehearsals with the musicians, shaping and polishing a substantially complete composition to a state of concert readiness. The residency culminates in a pair of public performances in Connecticut and New York City. This year’s composers will be collaborating with the Akropolis Reed Quintet. Founded in 2009 at the University of Michigan, Akropolis has toured internationally and is the recipient of six national chamber music prizes. Akropolis has recorded three albums, including its 2017 release, The Space Between Us. Residencies are fully funded, and include a private room, a meal program, and a $1,000 stipend. Applications are due February 19, 2018; details and application forms are available at i-park.org. |
| Web Site: | campaign.r20.constantcontact.c... |
| Florida Southern College String Camp | |
| Summary: | String Orchestra Competition |
| Deadline: | 01 May 2018 |
| Date Posted: | 01 February 2018 |
| Details: |
The Florida Southern College String Camp is pleased to invite middle school, high school, and college/university students to submit string orchestra compositions for the 2018 FSC Call for String Scores contest. The winning composer, three finalists, and all applicants will be invited to participate in a FREE composition workshop of the pieces on FSC campus on Friday, June 22, with distinguished composers from the area. The winning composition will be performed on the final camp concert on June 22, at 7:30pm in FSC’s Branscomb Auditorium. All submissions must be received by May 1, 2018 at 11:59pm There is NO Fee to Apply! Eligibility Students currently enrolled in middle school, high school, college or university in the United States Works should be of educational nature (using clear key, time signature, melody & harmony) Difficulty level: works suitable to be played by middle school/high school students (no harder than level 5) Duration: No longer than 5 minutes Instrumentation: standard string orchestra (violin 1, violin 2, viola, cello, double bass) The work must be original and may not have previously been performed Only one work per composer will be considered Incomplete works, handwritten scores, or unreadable/messy scores will not be considered Application Process • Email your completed application (download at www.flsouthern.edu/stringcamp • Audio recording (MIDI playback) of the pieces are encouraged but not required. If available, please email the audio files with your score and application. • Winning composer will be asked to mail hardcopies of instrumental parts to the address below and a short bio by June 1, 2018. Selection Process • Submitted compositions will be evaluated for their creativity, quality, idiomatic writing, and difficulty level, as well as for clarity, accuracy, and cleanliness of the submitted score. • Judges panel will consist of Dr. Kira Omelchenko (Director of FSC Orchestra and Strings), Dr. Stas Omelchenko (FSC Professor of Composition), and Todd Parrish (Orchestra Director, Winter Park High School, and Former Orchestra Editor with J. W. Pepper Sheet Music and Wingert-Jones Publications) • The winner will be announced no later than May 15, 2018 and will be invited (along with three finalists) to attend a FREE composition workshop of their pieces with Dr. Stas Omelchenko during the last day of camp on June 22. All contest applicants are also invited to attend the workshop. • The winning composition will be premiered on the final camp concert on June 22, at 7:30pm at Branscomb Auditorium, on FSC campus. Winning composer, finalists, and all applicants are encouraged to attend the concert. • Judges’ decision is final. Contact Information: Dr. Kira Omelchenko CALL FOR STRING SCORES CONTEST Director of Orchestra and Strings Florida Southern College 111 Lake Hollingsworth Drive Lakeland, FL 33809 Email: komelchenko@flsouthern.edu Phone: (863) 680-4216 |
| Web Site: | www.flsouthern.edu/stringcamp |
| Email: | komelchenko@flsouthern.edu |
| 2018 – 2019 BRAZOSPORT SYMPHONY ORCHESTRA COMPOSITION CONTEST | |
| Summary: | COMPOSITION CONTEST FOR STUDENT & AMATEUR COMPOSERS |
| Deadline: | 30 August 2018 |
| Date Posted: | 01 February 2018 |
| Details: |
The Brazosport Symphony Orchestra (BSO), located in Lake Jackson, Texas, is sponsoring a competition for student and amateur composers. PRIZE The winner of the competition shall receive a cash prize of $500.00. Furthermore, the BSO will feature the winning composition in a public performance. RULES • Entries shall be original compositions between six and ten minutes duration. • Each entry shall be accompanied by a nonrefundable payment of $10.00, payable to the Brazosport Symphony Orchestra. Payment via Paypal is acceptable. • Entries must be postmarked, or sent via email, no later than August 30, 2018. • Each application must include a completed entry form. The entry form is available upon request from : philip_walker2682@sbcglobal.net • The composition shall be orchestrated for performance by a full symphony orchestra. • The composition shall not have been previously published. Additionally, the composition shall not have been performed at a concert where admission is charged. Previous performance at student recitals, faculty recitals, or other free events will not disqualify the composition. • The winning composer shall provide a hardcopy of the score of the winning composition and the constituent parts to the BSO following notification of the judges’ decision, but before the actual award is made to the composer. Individual parts should also be sent to the BSO in pdf format. • The winning composer shall grant a non-exclusive, non-transferable, non-expiring royalty-free copyright license to the BSO for use of the winning composition. The BSO reserves the right to use the winning composition to promote the BSO including live and recorded performances. • For the purposes of this competition: - A student composer is defined as one currently enrolled in an educational institution. - An amateur composer is defined as one who is not employed solely as a composer. Music teachers, band or orchestra directors, performers, copyists, etc. are considered amateur composers. - A symphony orchestra is defined as having the normal complement of strings, with full woodwinds (flute, clarinet, oboe, bassoon), full brass (French horn, trumpet, trombone, tuba), percussion, and others as needed. JUDGING Criteria for judging are musicianship and suitability for performance. ENTRY FORMAT • Submit the score in pdf format. • Submit the recording in mp3 format. • The composer’s name must not appear on the score. To ensure impartiality, use only a pseudonym. Send all materials to: Brazosport Symphony Orchestra Composition Competition 65 Bayberry Court Lake Jackson, TX 77566 If there are any questions, please contact Philip Walker at: |
| Email: | philip_walker2682@sbcglobal.net |
| CONCOURS INTERNATIONAL DE COMPOSITION DE LA REVUE NUNC | |
| Summary: | Piano Competition |
| Deadline: | 31 May 2018 |
| Date Posted: | 01 February 2018 |
| Details: |
Piano miniature No entry fee Les éditions Nunc et le festival Présences à Frontenay 2018 (Poésie et piano) sont heureux d'annoncer le premier concours de composition Nunc en 2018. Les compositeurs sont appelés à soumettre une miniature pour piano inédite avec ou sans électronique, inspirée par un des poèmes de la sélection ci-dessous. Les oeuvres primées seront crées lors du festival Présences à Frontenay cet été au Château lors du récital de poésie et de piano par Trami Nguyen ou par Laurent Durupt. Un grand prix de composition doté de 500,00 euros sera offert à l'un des lauréats. La remise des prix aura lieu en même temps que le concours de poésie Nunc. Il n'y a pas de limitations d'âge et le concours est ouvert à toutes les nationalités. A défaut d'une oeuvre inédite, pourront exceptionnellement être considérées des oeuvres non créées en France avec inspiration poétique proche du thème de l'année 2018 "l'Exil". La durée de l'oeuvre ne peut excéder 4 minutes. Le jury sera composé du comité artistique du festival et des écrivains et éditeurs de poésie associés à la revue Nunc ainsi que les pianistes Trami Nguyen et Laurent Durupt. [The Nunc editions and the Presences festival at Frontenay 2018 (Poetry and piano) are pleased to announce the first Nunc Composition Competition in 2018. Composers are asked to submit an unpublished piano miniature with or without electronics, inspired by one of the poems in the selection below. The winning works will be created during the Présences festival in Frontenay this summer at the Château during the poetry and piano recital by Trami Nguyen or Laurent Durupt. A grand prize of composition with 500.00 euros will be offered to one of the laureates. The awards ceremony will take place at the same time as the Nunc Poetry Contest. There are no age restrictions and the competition is open to all nationalities. In the absence of an unpublished work, may exceptionally be considered works not created in France with poetic inspiration close to the theme of the year 2018 "Exile". The duration of the work can not exceed 4 minutes. The jury will be composed of the artistic committee of the festival and the writers and editors of poetry associated with the journal Nunc as well as the pianists Trami Nguyen and Laurent Durupt.] Adresses à laquelle envoyer les partitions [address to mail scores]: Date limite d'envoi 31 mai 2018 (pour format pdf) duruptlaurent@gmail.com et miageynturn@icloud.com Adresse postale (pour format papier) [snailmail address]: 3 avenue de Stalingrad 92220 Bagneux France ANNEXE Sélection de poèmes : - Erri de luca, Aller simple (extrait) - Beckett, Soubresauts (extrait) - Wang Wei, Vous qui venez de mon pays natal - Adonis, Terre d’exil - Mahmoud Darwich, Passeport - Liminaire du Festival par Pierricjk de Chermont Erri DE LUCA, Chœur De toute distance nous arriverons, à millions de pas ceux qui vont à pied ne peuvent être arrêtés. De nos flancs naît votre nouveau monde, elle est nôtre la rupture des eaux, la montée du lait. Vous êtes le cou de la planète, la tête coiffée, le nez délicat, sommet de sable de l’humanité. Nous sommes les pieds en marche pour vous rejoindre, nous soutiendrons votre corps, tout frais de nos forces. Nous déblaierons la neige, nous lisserons les prés, nous battrons les tapis Nous sommes les pieds et nous connaissons le sol pas à pas. L’un de nous a dit au nom de tous : « D’accord, je meurs, mais dans trois jours je ressuscite et je reviens. » Source : Aller simple, traduction de l’italien par Daniel Valin, éditions Gallimard, 2012. Samuel Beckett, Soubresauts (extrait) Ainsi allait avant de se figer à nouveau lorsqu’à ses oreilles depuis ses tréfonds oh qu’il serait et ici un mot perdu que de finir là où jamais avant. Puis long silence long tout court ou si long que peut-être plus rien et puis à nouveau depuis ses tréfonds à peine un murmure oh qu’il serait et ici le mot perdu que de finir là où jamais avant. En tout cas quoi que ça pût être que de finir et ainsi de suite n’y était-il pas déjà là même où il se trouvait figé sur place et plié en deux et sans cesse à ses oreilles depuis ses tréfonds à peine un murmure oh qu’il serait quoi et ainsi de suite ne se trouvait-il pas à en croire ses yeux déjà là où jamais avant ? Car même un tel que lui s’étant trouvé une fois dans un lieu pareil comment n’aurait-il pas frémi en s’y retrouvant ce qu’il n’avait pas fait et ayant frémi cherché du réconfort en songeant soi-disant qu’ayant trouvé le moyen d’en sortir alors il pouvait le retrouver pour en sortir encore ce qu’il n’avait pas fait non plus ? Là donc tout ce temps où jamais avant et quelque part qu’il cherchât des yeux nul danger ou espoir selon le cas d’en jamais sortir. Fallait-il donc comme si de rien n’était pousser de l’avant tantôt dans une direction tantôt dans une autre ou au contraire ne plus bouger selon le cas c’est-à-dire selon ce mot perdu lequel s’il s’avérait négatif tel que malheureux ou malvenu par exemple alors évidemment malgré tout l’un et au cas contraire alors évidemment l’autre à savoir ne plus bouger. Tel à titre d’échantillon le vacarme dans son esprit soi-disant jusqu’à plus rien depuis ses tréfonds qu’à peine de loin en loin oh finir. N’importe comment n’importe où. Temps et peine et soi soi-disant. Oh tout finir. Source : Soubresauts, Samuel Beckett, éditions de Minuit, 1989, p. 25. WANG Wei, Vous qui venez de mon pays natal vous qui venez de mon pays natal, vous devez en savoir mille choses. À votre départ, le prunier d’hiver, avait-il fleuri devant ma fenêtre ? Source : La poésie chinoise, de Patricia Guillermaz, éditions Seghers, 1957. ADONIS, Terre d’exil Terre d'exil. Prière : que la ruine soit prophète, que les pierres deviennent élégie pour ses pas, étoiles filantes pour ses démons. Terre d'exil – Nous saluons Manât et la face de ta 'Uzzâ, ô déserts. Nous t'invoquons : Ô Lât ! Tu es féminité. Poésie, que la terre soit lit et féminité. Mahmoud DARWICH, Passeport Ils ne m’ont pas connu dans les simulacres qui phagocytent mon teint sur le passeport, et ma blessure était pour eux une exposition pour touriste se passionnant pour les collections d’images. Ils ne m’ont pas connu, ah ! ne laisse pas mes mains sans soleil car les arbres me connaissent… Et me connaissent toutes les chansons de pluie. Ne me laisse pas aussi blême que la lune. Tous les oiseaux qui ont escorté mes paumes aux portes du lointain aéroport, tous les champs de blé, tous les pénitenciers tous les sépulcres blancs toutes les frontières, tous les mouchoirs jetés, tous les yeux, étaient pour moi, mais ils les ont expulsés du passeport ! Privé du nom, d’une appartenance dans une terre nourries de mes mains ? Jonas a hurlé aujourd’hui à remplir les cieux, ne faites pas deux fois de moi un exemple Messieurs, messieurs les hérauts, ne demandez pas aux arbres leurs noms, ne demandez pas aux rivières leurs mères, de mon front se fend l’épée de lumière, et de ma main jaillit l’eau du fleuve, tous les cœurs sont mes compatriotes, jetez donc loin de moi ce passeport ! Source : Actualité de l’émigration, traduction de l’arabe par Omar Merzoug, 1988. Liminaire: La maison aux volets fermés Pierrick de Chermont À Franz Kafka – […] J’aperçus une maison aux volets rouges fermés. – Aux volets rouges fermés ? reprit l’officier. Bien, bien. C'était la fin de l’interrogatoire, qui concluait une journée d’épreuves rendue obligatoire à tous les habitants de la colonie ; épreuve plutôt simple puisqu'elle consistait à rester six heures devant un paysage, sans rien faire, sans écran, sans personne ; et en fin de la journée, être interrogé par un officier sur ce qu'on avait vu. – Vous êtes donc un exilé, conclut l'officier en souriant. Nous allons devoir vous expulser. » – Je ne savais pas que j'étais en exil », lui répondit l’habitant en souriant à son tour. Un silence s’établi. « Quelle va être la suite de la procédure ? Pensez-vous qu’il y en a pour longtemps ? » – Non. Vous avez de la chance. L'appareil est disponible. Le commandant vous prendra en charge en début de soirée. L'appareil était maintenant devant leurs yeux après une bonne heure de marche. Ils avaient eu chaud. Les menottes avaient irrité l'épiderme du prisonnier, mais enfin ils étaient arrivés au but. L'appareil était celui-là qui avait servi des années durant, puis qu’on avait jeté aux oubliettes quand les autorités avaient changé. Mais, face aux problèmes que posait maintenant l'immortalité – cette apathie douloureuse qui régnait dans la colonie – l'arrière arrière petit-fils du commandant avait eu l'idée de réactiver l’appareil, et, en revoyant les réglages pour en faire un appareil à expulser en toute certitude. – Je ne vais pas vous faire l'affront de vous présenter l'appareil, objet de tous les rêves de notre colonie. Bien sûr, je ne vous cacherai pas que les premiers exilés ont essuyé les inévitables ratés des débuts. Mais enfin, nous avons connu aucun échec : tous ont pu mourir. – Mourir ? » Les yeux de l’habitant brillaient. – Oui nous pouvons nous vanter d’un taux de réussite de cent pour cent, jusqu'à ce jour ». Il portait, coincé entre son cou et le col de sa veste les deux mouchoirs emblématiques de son ancêtre. « Je ne vous cacherai pas que vous allez souffrir, hélas moins longtemps qu’autrefois. L'appareil n'y est pour rien, c'est notre résistance qui s'est affaiblie. Les plus solides tiennent une heure à peine. » Après une légère hésitation. « Toutefois, si vous n'y autorisez, je tenterai volontiers un nouveau réglage qui pourrait rallonger la durée de votre agonie à trois heures. – Trois heures ? hocha rêveusement l’habitant. La durée même du Christ sur la croix, je n'ose y croire… – Bien sûr, je ne vous garantis rien, ajouta aussitôt le commandant. Pour mettre le maximum de chances de notre côté, je vais vous décrire avec précision le déroulé de l'épreuve ; votre capacité de résistance s’en trouvera accru. « Le début, j'imagine, vous est familier : le robot, ici présent, découpe d'un coup vos vêtements en deux parts égales, puis il vous soulève et vous transporte jusqu’au le lit du supplice ; un lit recouvert d'une terre sélectionnée grâce à notre algorithme pour reproduire votre terre natale. Au début, bien sûr, vous la humerez, mais elle ne vous dira rien – peut-être même ressentirez-vous un léger écœurement. « Ensuite, vous entendez la herse s'agiter au-dessus de vous, avec les mêmes grincements d'origine (j’en suis très fier). Ils réveilleront en vous quelque chose qu'on pourrait appeler votre âme d'enfant et, en même temps, l'espérance d’un dénouement (enfin la mort vous direz-vous). Les aiguilles, après être descendues avec lenteur, viennent effleurer votre épiderme et commencent leur ouvrage scribe. Les premiers mouvements suscitent à peine un chatouillement, puis, les aiguilles pénètrent douloureusement dans la chair et de plus en plus profondément. Elles y tracent le nom de votre terre natale dans toutes les langues connues. Après chaque action, vous chercherez à lire pour découvrir l’énigme, mais aussitôt le nom lu, vous perdrez la connaissance de cette langue ; tout son vocabulaire, toute sa syntaxe et tous les souvenirs que vous avez accumulés seront brutalement effacés. En échange, si vous me permettez cette conception marchande de l’opération, les effluves de la terre se feront de plus en plus fortes et vous serez de plus en plus proche de la reconnaître. Moment poignant et délicieux, où se mêlent souffrance et proximité du dénouement. La dernière langue que la herse emploiera sera dans votre langue natale, enfin retrouvée. Imaginez un peu : le nom de votre terre natale dans votre langue natale ! Naturellement, vous voudrez la dire, et vous la direz dans votre dernier souffle ; et tandis que tout ce que vous avez perdu et que vous allez perdre à nouveau vous envahit et ravive votre conscience, vous illumine, vous éprouvez le mystère de votre dernier souffle, le mystère de votre sang abreuvant votre terre natale. Ainsi, non seulement vous allez mourir, mais lors votre dernier souffle, vous retrouvez comme neuve votre espérance natale par le froid baiser de la mort. » Hélas – si l'on en croit le rapport de l'officier de service – les choses ne se sont pas déroulées avec une telle réussite. Au milieu du supplice, des bandes armées ont débarqué et, grâce à leur armement sophistiqué, ont tué la totalité de la colonie (sauf l'officier bien caché), mettant fin à leur croyance en l’immortalité. Quand l’officier sortit de sa cachette et voulut rendre hommage au commandement et à son dernier supplicié, il se pencha sur le cadavre et eut la surprise de pouvoir lire le nom du pays natal : Terre promise. Depuis, l'officier erre d’une colonie à l’autre, en quête de la maison aux volets rouges fermés. |
| ARTEMP ACADEMY 2018 | |
| Summary: | Composer Academy |
| Deadline: | 18 February 2018 |
| Date Posted: | 01 February 2018 |
| Details: |
Program Each composer-fellow will receive: • 2 hours of private lessons with each faculty member • lectures and talks about self-management and art collaboration • 2 hours of rehearsals with musicians on staff • performance of selected works in final showcase gala DEADLINES 18 February application deadline 20 February Letters of acceptance sent 4 March Registration opens 5 March first day of the academy 9 March Faculty composition showcase 10 March Final Gala concert of works composed during the academy Contacts: Mark Prihodko Director +1(201)257-2867 New York, USA Dasha Moroz Artistic Director +375(29)66-22-133 Minsk, Belarus Maria Kalesnikava Project Manager +49(176)832-61-506 Germany Email: Minsk@artempfest.com More info: |
| Web Site: | www.artempfest.com/academy |
| Call for Compositions: Global Soundscapes Festival 2018 | |
| Summary: | Chamber Call |
| Deadline: | 15 April 2018 |
| Date Posted: | 01 February 2018 |
| Details: |
The Vancouver Inter-Cultural Orchestra is pleased to announce a call for intercultural compositions in connection with our 2018 Global Soundscapes Festival. The Festival will celebrate the instruments and traditions of Azerbaijan and Iran, and explore the intersection of these with Canadian cultures in BC through the creation and performance of intercultural music. Composers are invited to submit chamber compositions within the following parameters: Length: max. 8 minutes Instrumentation: any subset of our resident ensemble (see below) Thematic connection to the Festival: featuring one of the Middle Eastern instruments available, and/or using compositional techniques and musical languages related to any of the different musics of the Araxes Basin region Five pieces will be selected by our jury to receive a professional performance during the Festival, which will be held in Vancouver, BC at the Waterfront Theatre from June 18-28, 2018. DETAILS Ensemble • Flutes (1 player) • Cello • Classical Guitar • Oud • Tar • Percussion (Marimba, 3 toms, 4 temple blocks; tam-tam; 3 gongs selected from the following pitches-G3, D4, A4; 2 cymbals and up to three small instruments in consultation with the player) Visit http://vi-co.org/resources-study/instrument-corner/ for backgrounders on traditional instruments. Dates Rehearsals and performances will be held in Vancouver at the Waterfront Theatre from mid-June through the end of the Festival (June 28, 2018). Composers are strongly encouraged to participate actively in the rehearsal process. Application Materials & Deadlines Composers are asked to submit the following to info@vi-co.org by April 15, 2018: • Full name, address, e-mail, phone number & requested instrumentation • PDF copy of score • Notes on the composition (150 words) • Short biography (150 words) • Application fee: $25, payable via Paypal: |
| Web Site: | vi-co.org/2018/01/12/call-for-... |
| Call for Projects: DANCE & MUSIC Workshop | |
| Summary: | Dance collaboration |
| Deadline: | 15 March 2018 |
| Date Posted: | 01 February 2018 |
| Details: |
Workshop with selection procedure Tutors: Stefan Prins (composer/performer) and Daniel Linehan (choreographer/dancer) For composers, musicians, dancers, performance artists (participants of the Darmstadt Summer Course 2018) Maximum capacity: 14 in total Deadline for applications: 15 March 2018 Announcement of selected participants: 30 March 2018 Duration: 15 - 28 July 2018 (with a showing on 28 July 2018) Topics: - transdisciplinary collaboration between dance performance and composition/musical performance Workshop proceedings: Looking for Composers, Musicians, Dancers, and Performance Artists who want to collaborate. For composers and/or instrumental performers who want to develop a project with dancers/performance artists and for dancers/performance artists who want to develop a project with composers and/or instrumental performers. You can apply as a group already consisting of composers, performers, or dancers, or you can apply individually, in which case we will try to partner you up according to your artistic needs. You can apply with a specific concept/project, or with a more abstract desire to develop a transdisciplinary collaboration, which then will take shape concretely during the workshops, working through conceptual approaches and practical strategies. We are especially interested in collaborations in which each of the different media inspires and generates a different approach for the other through close collaboration and experimentation. The focus is on the working process, rather than the finished product. At the end of the workshop in Darmstadt we will organise a public showing, in which the result or work-in-progress of your collaboration will be presented. The workshop consists of a working period during the Darmstadt Summer Course: 15 - 28 July 2018 (with a showing on 28 July 2018). At this stage, we are planning to offer 2-3 hours/day for each group to work independently on their project. Additionally, we would like to have a communal moment (2 hours) each day, where everyone is present to discuss each other's work and its evolution. This is subject to change and depends on the projects, size of groups, rooms etc. Partial scholarships for dancers For dancers, we’ll be granting up to 7 partial scholarships for this project that will consist of a 50% reduction of the participation fee for the Darmstadt Summer Course. Application Participants interested in this workshop are asked to submit 1 PDF, 3 pages long maximum. No other file format will be accepted. The PDF should consist of: – 1 page: tell us about yourself. Include at least 1 and maximum 3 link(s) to (a) representative online video(s) (for dancers) and/or online audio (for composers/performers) – 1-2 pages: brainstorm of ideas which you would like to try out during the workshop. The title of the file should contain your name and “DM” to indicate the call, i.e. “Rosaleen_Murphy_DM.pdf” etc. These don’t need to be concrete proposals for what you will present in the final performance (though they might end up in that piece); we’re simply looking to see how you think. Clearly mention if there is another participating composer/performer/dancer with whom you already agreed to work with for this project, or if you would want to develop collaboration with (a) participant(s) you haven’t met yet. Please, send the PDF with all necessary information to: danceandmusic@internationales-musikinstitut.de by 15 March 2018 the latest. The selection by Stefan Prins and Daniel Linehan will be announced by 30 March 2018. All selected artists must be registered participants of the Summer Course and will be given preference during registration. Before you apply, please take note of the Darmstadt Summer Course conditions. Once you’ve been accepted for the workshop and haven’t yet signed up for the Darmstadt Summer Course, you’ll get a request to do the online booking. If you want to take part in the Darmstadt Summer Course no matter if you’ll be accepted for this workshop, please sign up as early as possible. Registration and online booking has started and some studios are already booked up. For composers selected for the workshop, we've reserved a small amount of places. For the dancers/performance artists however: you first apply to the workshop with all the required material and you pay (50% of the normal fee) only after you've been accepted. |
| Web Site: | www.internationales-musikinsti... |
| International Internet competition of Young Composers «Junior Impreza» 2018 | |
| Summary: | Internet competition with three categories |
| Deadline: | 15 April 2018 |
| Date Posted: | 01 February 2018 |
| Details: |
General Provisions 1. International Internet competition of young composers «Junior Impreza» (hereafter – The Competition) is held under the International festival “Music Imprezas of Ukraine” of Cherkasy city 2018. 2. The Competition is founded by the Organizing committee of the festival “Music imprezas of Ukraine” Cherkasy city 2017 and the National Union of Composers of Ukraine. 3. Composers of all countries who are born later than April 15, 1999 (in some cases – 1997) can participate in the Competition. About the International festival “Music imprezas of Ukraine”, Cherkasy city 2017 “Music imprezas of Ukraine” is a festival of academic music. The aim of the festival is to promote Ukrainian professional music culture, namely – the music of Ukrainian composers of different époques, as well as national modern performing art. The festival is intended to support contemporary academic music and find talented young people among both performers and composers. The festival will take place in Cherkasy in spring and summer 2018. Conditions of the Competition The Competition has three nominations: 1) an instrumental piece for up to three instruments, 2) a vocal piece for up to three performers (or three instruments) 3) a folk song development for up to three performers (or three instruments). The duration of a music piece cannot be over five minutes. One part of a cycle can be performed as a music piece. A participant may submit only one piece of music for one of the nominations according to his or her creative concept. It is obligatory to submit a piece that has never been performed in public or recorded and copied by any audio or video means, or has never been available to public access in the Internet. Participants should submit the notes of a piece in PDF format (either in Musical Editor or in good quality handwriting) as well as a video record of this piece performed by the young composer himself/herself (obligatory condition). A participant should submit to the jury at muzychniimprezy@ukr.net the following documents: • Application form (see the sample in the Appendix) • short performer’s CV (1 page A4 font 14 Times New Roman, interval 1,5 in doc format) • a digital copy of the applicant’s Certificate of birth or passport • a digital photo 3x4 • notes in PDF format • a video record placed at www.youtube.com with limited access or with a reference The emails should have a subject “International Internet competition of young composers”. After the procedure you shall be sent a confirmation letter All expenses attributable to organization and holding the Competition are raised from kind donations. SUBMISSION FEE 250 hr - for participants from Ukraine; 50$ - for participants from other countries with a digital winner’s or participant’s diploma .If desired, a diploma can be sent by post payable on delivery) Account for a kind donation will be sent to you by e mail after submission of the documents mentioned above. The payment receipt should be signed (participant’s name and surname) and its photo or a scan copy should be sent to the e-mail of the Competition: muzychniimprezy@ukr.net The deadline for application is April 15 2018, 11 p.m. AWARDS The jury’s decision is final and may not be appealed. Jury is at liberty not to award all the prizes, to announce the Grand Prize and Special nominations. The participants of the Competition get Winner’s Diploma or Participant’s Diploma within their age group as well as memorable gifts. Age groups: «Imprezyk» – up to 8 years old; «Beginner» – 9-10 years old; Iⅈ«Pre-junior» – 11-12, 13-14 years old; Iⅈ«Junior» – 15-16, 17-18 years old. If desired, the awarded pieces will be presented for public at https://www.youtube.com and at the Competition website in Facebook. A Special Competition “The First Impreza” will be held for the music works winners that will be selected by professional musicians to be performed at the III International festival “Music imprezas of Ukraine” Cherkasy 2018. All the participants of “Juniour Impreza – 2017” and “Juniour Impreza – 2018” will have a possibility to take part in live concerts of the festival, which will be arranged with the organizers in advance. JURY MEMBERS Yevhen Stankovych – Honorary member of the jury, the Hero of Ukraine, Honorary co-head of the National Union of Composers of Ukraine, the winner of Taras Shevchenko National Award of Ukraine, head of composition department of the National Music Academy of Ukraine, professor; Igor Scherbakov - head of the jury, composer, head of the National Union of composers of Ukraine, the winner of Taras Shevchenko National Award of Ukraine, corresponding member of the National Academy of arts of Ukraine, professor of the National Music Academy of Ukraine; Sviatoslav Krutikov – composer, a member of the National Union of Composers of Ukraine and the National Union of Filmmakers of Ukraine, artist, the winner of Lysenko National Award; Cesar Bello – opera singer, baritone (Toronto, Canada/ Mexico City, Mexico.) Teacher at Royal Conservatory of Music, Canada. Artistic director of "Toronto Vocal Studio"; Larisa Skrynska - opera singer, soprano (Toronto, Canada); Iryna Romaniuk – PhD in art criticism, works in Kharkiv National University of Arts; Tetiana Bachul - a composer, a member of the National Union of Composers of Ukraine, the winner of the yearly Award by Viktor Kosenko, a teacher of music (Kuiv); Dmytro Schyrytsa – a composer, a member of the National Union of Composers of Ukraine, works at the National Music Academy of Ukraine Yevhenia Marchuk – a composer, a member of the National Union of Composers of Ukraine, works in Cherkasy Music College. ORGANIZING COMMITTEE Yevhenia Marchuk – a composer, a member of the National Union of Composers of Ukraine, works in Cherkasy Music College; Olena Kuchma – PhD in art criticism , deputy director of Odesa specialized music boarding school; Olesia Rozhkova – soprano, a soloist of «ARTTERRA» band, works in Cherkasy Music College; Maryna Skrynyk – music critic, chief specialist of Music separtment of the Ministry of Culture of Ukraine; Tetiana Bachul – a secretary of the Competition, a member of the National Union of Composers of Ukraine, a winner of the yearly award by Viktor Kosenko, works in a music school in Kiev. For more details, please, e-mail to muzychniimprezy@ukr.net or call Yevhenia Marchuk 096-315-78-16, Tetiana Bachul 096-874-55-26. The names of the winners shall be announced after completion of jury’s work. If desired, the winning pieces will be presented for public at www.youtube.com and at the Competition website in Facebook. The winners shall also be informed by email. The results of the Competition shall be officially announced on May 15, 2018 APPENDIX APPLICATION FORM Of a participant of the International Internet competition of young composers «Junior Impreza-2018» NB: The application should be submitted in Times New Roman, font size 14, interval 1,5 lines 1. Participant’s name and surname _________________________________________________________________________ 2. Date of birth _________________________________________________________________________ 3. Age group _________________________________________________________________________ 4. Name and surname of participant’s teachers, accompanists, illustrators _________________________________________________________________________ 5. Full address of participant’s music school _________________________________________________________________________ 6. Competition program: name of the composition, duration _________________________________________________________________________ 7. Category _________________________________________________________________________ 8. Link to the video on www.youtube.com _________________________________________________________________________ 9. Participant’s address _________________________________________________________________________ 10. Participant’s mobile phone number and email _________________________________________________________________________ |
| Email: | muzychniimprezy@ukr.net |
| Women Composing in Balkans | |
| Summary: | Competition for female composers |
| Deadline: | 30 April 2018 |
| Date Posted: | 01 February 2018 |
| Details: |
Call for Scores for women composers of Bulgaria, Greece, Romania. MethExis Ensemble, (Artemis Vavatsika - concert accordion, Alexis Pogrevnois - clarinet, Dora Alexiadou - violin, Iro Menegou - piano) The non-profit organization “beartive” in collaboration with the Laboratory for Research on Contemporary Music, Composition, Performance and Improvisation (LaReCoM-DMSA) of the Department of Music Science and Art of the University of Macedonia, Thessaloniki announces a call for scores addressed to young female composers from Bulgaria, Greece and Romania. Five works will be selected and will be performed by the MethExis Ensemble in a concert in September 29th 2018 in Thessaloniki. The project is funded by the Project Fund of the Cultural Management Academy of the Goethe-Institutes in Sofia, Thessaloniki and Bucharest. Deadline 30th April 1. Women Composers must be Bulgarian, Greek or Romanian citizens. 2. The call is open for composers born after 1988. 3. The duration of submitted works is expected to be between 8 and 12 minutes. 4. Works can use either all the instruments mentioned above (concert accordion, clarinet in Bb, A and Eb, violin and piano) or smaller combination (duets & trios); solo works or works which exceed the ensemble (e.g. works including live electronics, recorded material etc.) will not be considered. 5. Any special performing instructions must be in English. 6. Five works will be selected by a jury consisting of beartive and La.Re.Co.M members. 7. The selected works will be performed in public at the 29th of September 2018 in Thessaloniki. 8. An open workshop including open rehearsals, lectures and round table will also take place in 27th and 28th of September 2018 in Thessaloniki. 9. Composers must submit a description of the work of maximum 150 words. 10. Each participant can submit no more than two compositions. The composition(s) could have been earlier performed but not published. 11. Transportation (from the country of origin) and accommodation costs for the composers of the selected works will be covered from the organization. |
| Web Site: | beartive.weebly.com/projects/c... |
| REGENSBURGER KOMPOSITIONSWETTBEWERB 2018 | |
| Summary: | Competition for vocal ensemble |
| Deadline: | 01 July 2018 |
| Date Posted: | 01 February 2018 |
| Details: |
(ENGLISH BELOW) Ein in Regensburg stattfindender Kompositionswettbewerb zum gegenwartsbezogenen Jahresthema des Kulturreferats 2018: „Stadt – Land – Fluss “. Der Wettbewerb richtet sich an Komponistinnen und Komponisten jeden Alters, die neue Werke komponieren und nach Regensburg zur Uraufführung bringen. Neben dem Jahresthema wird als Vorgabe lediglich die Besetzung des ausführenden Ensembles (Sextett, SMezATBarB, solistisch besetzt), sowie eine Gesamtwerklänge von maximal 6 Minuten angegeben. Den Komponisten wird somit ein möglichst kreativer Umgang mit frei gewählten Texten eingeräumt. Die Kompositionen müssen folgende Kriterien erfüllen • Inhaltliche Auseinandersetzung mit dem Motto „Stadt – Land – Fluss“ • Textgrundlage frei wählbar • Aufführungsdauer maximal 6 Minuten • Sechsstimmige A‐cappella‐Komposition für das StimmGold Vokalensemble (SMezATBarB, solistisch besetzt) • Nur eine Komposition pro Komponist • Falls es sich beim vertonten Text um nicht gemeinfreies Material handelt, muss das Nutzungsrecht zur Aufführung und Veröffentlichung in einem Verlag vorliegen. • Das eingesendete Werk darf weder publiziert noch Preisträger bei einem anderen Wettbewerb sein. Teilnahmebedingungen Der Wettbewerb wird anonymisiert durchgeführt. Folgende Unterlagen müssen eingereicht werden: • Partitur in fünffacher Ausfertigung, gebunden und gut leserlich ohne Namensnennung • Anmeldeformular mit Name, Anschrift, Telefon und E‐Mail‐Adresse des Komponisten/der Komponistin und Angabe des Titels der eingereichten Komposition • Kurzbiografie des Komponisten/der Komponistin mit Foto Die WettbewerbsteilnehmerInnen erklären ihr Einverständnis mit Rundfunk‐ und Fernsehaufnahmen sowie mit Aufzeichnungen auf Ton‐ und Bildträgern (einschließlich deren Vervielfältigung) im Zusammenhang mit dem Wettbewerb. Etwa hieraus entstehende Rechte übertragen sie mit der Anerkennung der Teilnahmebedingungen des Kompositionswettbewerbs auf die Veranstalter. Die Organisatoren sind nicht verantwortlich für Verlust oder Beschädigung der eingereichten Unterlagen. Die eingereichten Unterlagen werden nicht zurückgesandt. Preise 1. Platz: 1.500 € (gestiftet vom Deutschen Komponistenverband) 2. Platz: 1.000 € (gestiftet von der REWAG AG & Co KG Regensburg) 3. Platz: 500 € Zeitplan Einsendeschluss: 01. Juli 2018 (Poststempel) Jury-Auswertung: Juli 2018 Bekanntgabe der Preisträger: Ende August 2018 Preisträgerkonzert: 20. Oktober 2018 Einsendeadresse Verein zur Förderung zeitgenössischer Musik Regensburg UNTERNEHMEN GEGENWART Untere Bachgasse 15 93047 Regensburg Bewertende Jury Prof. i. K. Steven Heelein (Komponist, Prof. für Dirigieren, HfK Bayreuth) Prof. Kunibert Schäfer (Prof. für Dirigieren, HfKM Regensburg) Tomasz Skwerez (Komponist, Solocellist Theater Regensburg) Jakob Steiner, Christoph Schäfer (StimmGold Vokalensemble) Die Entscheidung der Jury ist endgültig und unanfechtbar. StimmGold Vokalensemble Als Ensemble für das Abschlusskonzert wurde das junge Regensburger Vokalensemble StimmGold ausgewählt. Das junge Regensburger Vokalensemble StimmGold wurde Anfang 2014 von Studierenden der Hochschule für katholische Kirchenmusik und Musikpädagogik Regensburg (HfKM) und der Fakultät für Musikpädagogik an der Universität Regensburg gegründet. Die sechs klassisch ausgebildeten Sänger verbindet neben jahrelanger Ensemblepraxis und reichhaltiger Chorerfahrung (u.a. im Neuen Kammerchor Regensburg) vor allem die Freude am gemeinsamen Singen anspruchsvoller Werke. Als Schwerpunkt des Ensembles gilt die deutsche romantische Vokalmusik sowie aktuelle a cappella-Literatur, darunter Uraufführungen zeitgenössischer Werke (2016 Bastian Fuchs, 2017 Rihards Dubra) und moderne Volksliedbearbeitungen, in der die professionellen Stimmen mit Ausdrucksstärke und harmonischer Transparenz überzeugen. ENGLISH: A composition competition in Regensburg for the present-day theme of the Kulturreferats 2018: "City - Land - River". The competition is aimed at composers of all ages who compose new works and bring them to world premiere in Regensburg. In addition to the annual theme, the default is only the cast of the performing ensemble (sextet, SMezATBarB, solo cast), as well as a total length of a maximum of 6 minutes. The composer is thus given the most creative possible use of freely chosen texts. The compositions must meet the following criteria • Content related to the motto "City - Country - River" • Textual basis freely selectable • Performance duration up to 6 minutes • Six-part a cappella composition for the StimmGold vocal ensemble (SMezATBarB, solo part) • Only one composition per composer • If the text that is set to music is non-public domain material, the right of use must be available for the performance and publication in a publisher. • The submitted work may neither be published nor awarded a prize in another competition. conditions of participation The competition will be conducted anonymously. The following documents must be submitted: • Score in five copies, bound and legible without attribution • Registration form with the name, address, telephone and e-mail address of the composer and the title of the composition submitted • Short biography of the composer with photo Competitors declare their consent to radio and television recordings as well as recordings on sound and image media (including their duplication) in connection with the Competition. Any rights resulting therefrom shall be transferred to the organizers upon acceptance of the conditions of participation in the composition competition. The organizers are not responsible for loss or damage of the submitted documents. The submitted documents will not be returned. Prices 1st place: 1,500 € (donated by the German Composers' Association) 2nd place: € 1,000 (donated by REWAG AG & Co KG Regensburg) 3rd place: 500 € schedule Closing date: 01. July 2018 (postmark) Jury Evaluation: July 2018 Announcement of the winners: end of August 2018 Prizewinners Concert: October 20, 2018 Closing Address Association for the Promotion of Contemporary Music Regensburg COMPANY PRESENT Lower Bachgasse 15 93047 Regensburg Evaluation jury Prof. i. K. Steven Heelein (Composer, Prof. for Conducting, HfK Bayreuth) Prof. Kunibert Schäfer (Prof. for Conducting, HfKM Regensburg) Tomasz Skwerez (Composer, Solocellist Theater Regensburg) Jakob Steiner, Christoph Schäfer (vocal gold vocal ensemble) The decision of the jury is final and incontestable. StimmGold vocal ensemble The young Regensburg vocal ensemble StimmGold was chosen as the ensemble for the final concert. The young Regensburg vocal ensemble StimmGold was founded at the beginning of 2014 by students of the Hochschule für katholische Kirchenmusik und Musikpädagogik Regensburg (HfKM) and the Faculty of Music Education at the University of Regensburg. The six classically trained singers, in addition to years of ensemble practice and rich choir experience (including the Neue Kammerchor Regensburg), primarily combines the joy of singing together demanding works. The focus of the ensemble is German romantic vocal music as well as current a cappella literature, including world premieres of contemporary works (2016 Bastian Fuchs, 2017 Rihards Dubra) and modern folk-song arrangements, in which the professional voices convince with expressiveness and harmonious transparency. |
| Web Site: | www.unternehmengegenwart.com/k... |
| ENGLISH SCHOOLS' ORCHESTRA COMPOSING COMPETITION 2018 - CLOSING SOON | |
| Summary: | Chamber Orchestra Competition |
| Deadline: | 15 February 2018 |
| Date Posted: | 01 February 2018 |
| Details: |
Update: We have had a lot of interest for the competition but some fantastic entries do not fit the orchestration requirements. For this reason, we are extending the closing date until 15th February to allow composers to ensure their composition is written for the correct instruments as stated below. We are excited to announce the third running of the English Schools' Orchestra's prestigious composing competition. This year we will be launching our latest competition for musicians aged between 14 and 25. The Three Finalists Following the highly succesful Competition and Finalists' Concerts in 2014 and 2016, the English Schools’ Orchestra, in association with PRS for Music and the Andrew Lloyd Webber Foundation, are once again proud to support a nationwide search to find the brightest young creative musical talent of the 21st century. Three finalists' compositions will be performed by the English Young Artists’ Sinfonia, a professional chamber orchestra consisting of former members of the English Schools' Orchestra, during a prestigious concert in London during Spring 2018. A cash prize of £250 will also be awarded to the winning entry. English Schools' Orchestra The finalists will have the opportunity of hearing their composition rehearsed and performed by the Orchestra as well as receiving feedback from the performers and the competition judges Edward Gregson, Scott Stroman and Richard Sisson. We are passionately committed to helping young musicians to develop their creative and performing talents and this competition provides an exciting venture in fulfilling this aim. For details of our previous competitions, Finalists' Concerts and to hear a recording of one of the finalist's compositions see the competitions menu at the top of this page. HOW TO ENTER You can complete an online entry here. Alternatively, send your completed composition as a Sibelius file to competition@englishschoolsorchestra.org together with a completed entry form. Please read the terms and conditions before entering. TERMS AND CONDITIONS • By entering the Competition, the entrant will be deemed to accept these terms and conditions and entrants agree to be bound by the decisions of the judges, which shall be final and binding. • The entrant may enter the ESO Composing Competition by submitting a completed entry form. • Entries must be sent in a Sibelius file using the online entry or by sending to competition@englishschoolsorchestra.org together with the completed entry form. • The Competition is open from 14th October 2017 until 15th February 2018. • Entries received after the closing date will not be accepted. • There is no fee to enter the Competition. • Entrants must be aged 14-25 and a UK resident. • Only one composition per entrant will be accepted. • Each participant may submit one composition lasting a maximum of 8 minutes, which must be written for a designated Chamber Orchestra instrumentation (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timps and strings). • By entering the Competition, the entrant is agreeing to let ESO use their name and composition in public, should they be shortlisted. • A shortlist of three or more compositions will be prepared by the director of ESO. • The shortlisted compositions will be announced on the ESO website and will be performed by the English Young Artists' Sinfonia at a date and venue to be confirmed. • After the performance, the panel of judges will choose the winning composition. This will be announced at the concert and on the ESO website. • The prize consists of £250 for the winning Composition. • The prize is as described and no cash or other alternative will be offered. • The Winner agrees to participate in any reasonable publicity for the Competition as well as any other promotional events. • The Winner agrees that the Composition can be used in promotional activity related to the competition including hosting it on ESO website and the winner agrees to up to three performances of the Composition as part of such promotional activity. • Entrants will not be able to withdraw their composition once entered. • Personal details of entrants, such as email and phone numbers, will be kept confidential by ESO and not passed to third parties. The name of the shortlisted composers will be revealed by ESO in publicity and programmes for the concert. • Any further enquiries can be made via email to competition@englishschoolsorchestra.org.These terms and conditions shall be governed by and construed in accordance with the laws of England and each party submits to the exclusive jurisdiction of the English Courts. |
| Web Site: | www.englishschoolsorchestra.or... |
| The Carne Trust Junior Fellowship | |
| Summary: | Bursary for young composers |
| Deadline: | 26 February 2018 |
| Date Posted: | 01 February 2018 |
| Details: |
Outline This award is designed to provide a dynamic young performer or composer with the means and the time to concentrate upon his or her personal artistic development with the support of Trinity Laban staff and full access to the Conservatoire’s resources, whilst also developing his or her professional skills and contacts. Trinity Laban will be seeking applications from individuals with a clearly defined proposal for what would form the focal point of their activities as The Carne Trust Junior Fellow, and one which was able to demonstrate sufficient synergy with the Conservatoire’s particular artistic culture and profile. Applicants should expect to contribute and add value to the Conservatoire community as well as pursuing their own careers. Please also note that Junior Fellowship schemes are not eligible for Tier 4 student visas. All applicants need to have valid work permits/visas for the United Kingdom covering the full period of the fellowship prior to applying. The Carne Trust was set up in 2006 to assist talented young people in the performing arts. The Trust also supports the The Carne Trust Ensembles in Residence at Trinity Laban. Application An individual Carne Trust Junior Fellow will be awarded a tax-free bursary of £6,000 to help defray the cost of any tuition undertaken during the academic year of their tenure. Available to external applicants as well as current Trinity Laban students and alumni, there is no upper age limit, though candidates will normally be aged 30 or under. Normally, candidates will already have successfully completed formal studies at a level at least equivalent to a postgraduate diploma or degree, or be completing these studies in the academic year in which the application is made. Applicants will need to be able to demonstrate substantial successful and relevant experience, the motivation and determination to continue intensive study, and the desire to develop their skills by working regularly with other musicians both within and outside the Conservatoire. Conditions of Fellowship Junior Fellows are responsible for making their own arrangements for lessons and other tuition inside and/or outside the Conservatoire, and for planning their own work routines and monitoring their effectiveness. Tuition may be either with Conservatoire staff or those not directly associated with Trinity Laban. In all cases, submitted budgets should show how the candidates expect to contribute personally to their costs for the year. Bursaries are intended to supplement, not to replace, contributions from applicants’ own resources. However, they may be used to contribute to costs such as: summer school fees; tuition; competition fees; purchasing relevant scores, books, CDs/DVDs, etc.; travel/accommodation costs in relation to their activities as Junior Fellows. The Carne Trust Junior Fellows will be required to use their fellowship funds exclusively for legitimate, approved expenses. Reasonable expenses may include: coaching to assist in the preparation of a range of performance programmes; music purchases; venue hire; keyboard hire/tuning costs for performances; competition entry/travel expenses; marketing/publicity costs. Junior Fellows should also expect to fulfil such other duties as negotiated and agreed with Trinity Laban, including (though not exclusive to) the following examples: • organise, lead, coach, direct, inform and/or participate alongside Trinity Laban performers and composers in a range of projects and/or other activities as appropriate (N.B. these arrangements will be agreed in advance for the period September- January and again for February-June. Participation in at least one activity within each six-month period is mandatory); • attend/participate in selected fundraising events/concerts as a Trinity Laban representative, contributing to these as requested; • compile a portfolio detailing work undertaken during the year containing recordings, scores, programmes and reviews (as appropriate), and other details of their activities as a Trinity Laban Junior Fellow. N.B. as portfolios are not returned, please retain a copy for your own personal records; • produce a short written report on activities undertaken to date by the end of the first term, and a further full written report (to accompany the portfolio of work) by the conclusion of the third term. Submission of report and portfolio to be made mid-July; • keep the Conservatoire and any other relevant parties informed on a regular basis of opportunities to attend performances or events in which they are involved; • fulfil any other duties as negotiated and agreed with Trinity Laban; • adhere to all other relevant Trinity Laban policies and procedures found in the Trinity Laban Regulations Handbook. In addition, Trinity Laban will provide The Carne Trust Junior Fellows with: • Registration/ID card: providing full access to Trinity Laban facilities; • Practice Facilities: physical access, equivalent to that available to full-time Trinity Laban students without disadvantaging Trinity Laban students; • IT: access to IT facilities within King Charles Court equivalent to that available to full-time Trinity Laban students; • Library: use and borrowing rights equal to those of full-time students; • Masterclasses/Understudy: participation in Trinity Laban masterclasses as appropriate; • Recording: use of the Trinity Laban recording studio at an agreed level commensurate with equivalent individuals (typically three full days), subject to the constraints of the demands on the studio and working staff time lines. Subsequent time will be charged at the appropriate Trinity Laban discounted staff rate; • Publicity & Marketing: access to the advice and expertise of the Trinity Laban Marketing and Communications department, subject to the constraints of the demands on the department and working to staff time lines (N.B. typically 2 months’ advance warning is required for all materials). Activities might include the creation of a detailed and relevant mailing list, the design of a generic flier/postcard for future publicity, etc. (N.B. use of an external designer or printer and all “additional cost” activities such as photography must be paid for by the Junior Fellow); • Performance: performance opportunities as appropriate or required, to be discussed and arranged with the appropriate Head of Department in conjunction with the Fellow’s Mentor; • Other Professional Opportunities: community/outreach work as appropriate, to be discussed and arranged with the Head of Professional Skills in conjunction with the Fellow’s Mentor. Application Documents • CV: Please attach an up-to-date CV detailing your education, further tuition (if applicable) and professional experience. Being as specific as possible, please indicate how you found out about this Junior Fellowship opportunity. • Covering Letter: Please attach a letter providing a brief statement (of no more than 500 words) indicating your intended personal programme over the Junior Fellowship period. • Short Biography: A précis (no more than 200 words) version of your biography. • Names of Referees: Please provide the names of two referees (preferably of national or international stature) who are willing to provide comment on both your professional work to date and your suitability for the Junior Fellowship programme, stating how long they have known you and in what capacity. • Professional References: Please attach scanned copies of the references from the two professional referees whose details you have supplied above. • Photo: please attach a high-quality (300dpi or 1MB) recent digital image of yourself. • Digital Recordings: Please attach at least one digital recording of a recent performance, with a total length of at least 15 minutes in duration. As there is no limit to the file size, please submit the highest quality version you have at your disposal. Please note that, due to the large number of applications received, should your recordings exceed 15 minutes in duration they may not be reviewed in their entirety by the panel. Please note that failing to include any of the items listed above will adversely affect your Junior Fellowship application. After Shortlisting Please note that shortlisted applicants will be contacted directly and asked to submit, in a single document (either PDF or Word file), the following: • Study Proposal: a more detailed proposal for a personal programme of study/project. This can include the information previously included in the covering letter but should be in greater detail. There is no fixed length but that document should include: o Plans for study/project work both inside and outside of the Conservatoire o The prospective Fellow’s proposed contribution to Conservatoire life o An expenditure outline (including tuition and living expenses for the year) o The prospective Fellow’s own financial contribution to his or her costs for the year • CV: Please attach an up-to-date CV detailing your education, further tuition (if applicable) and professional experience. • Repertoire List: Please attach a full list of your current repertoire. You can also include any reviews, press cuttings and a list of recent achievements in this section. All shortlisted candidates will also be invited to attend an interview/audition during which they will be required to: • Present a programme of no more than 10 minutes’ duration, the repertoire selected most effectively to demonstrate their strengths and interests (where appropriate); • Meet and talk with a panel to expand on the information supplied, discuss their experience and career plans and suggest ways in which they would be able to contribute to the work of the Conservatoire as Junior Fellows. This would also be an opportunity to talk about significant achievements to date; • Discuss their application materials, in particular their proposal and budget. Application Deadline and Application Fee The application deadline is Monday 26 February 2018 at 17.00h. The application fee is £50. Please note that this payment is non-refundable and that any application not been supported by an online payment will not be processed. |
| Web Site: | www.trinitylaban.ac.uk/study/m... |
| It Sounds Devicive! | |
| Summary: | Machine pieces |
| Deadline: | 20 March 2018 |
| Date Posted: | 01 February 2018 |
| Details: |
We are surrounded by devices & machines that create sound all day, every day. These can be found in our household or work spaces. Some are quiet, others loud & others unheard. What are the devices or machines telling us? We often ignore them & the sounds they make. We can even be the ones making the sounds, using the devices or machines without realising. ‘It Sounds Devicive!’ has a fascination with the mechanics of sound & invites people who use devices or machines within their practice. Submissions can be sound devices, machines, sculptures, installations, objects, discoveries, analysis & much more. Performative pieces are also welcome although space maybe limited so the smaller in scale the better. Let's let the devices or machines be heard! remember 'It Sounds Devicive!' Curated by Lee Riley, submit via sounds@fringeartsbath.co.uk |
| Web Site: | www.fringeartsbath.co.uk/devic... |
| COLLAGE COMPOSERS COLLOQUIUM | |
| Summary: | Workshop Opportunity |
| Deadline: | 22 February 2018 |
| Date Posted: | 01 February 2018 |
| Details: |
Join Collage New Music on March 4th, 2018, for an event-filled day, beginning with a composition workshop and ending with Collage’s evening concert. Meet your fellow colleagues, and benefit from analysis and observations about your own music, with the help of our guest composer John Harbison and Longy Faculty Paul Brust, gaining insights about their own compositional processes. John Harbison is a Pulitzer-prize winning composer, professor at MIT, and decades-long colleague of Collage New Music. His epic 56-minute work Mottetti di Montale for mezzo-soprano and chamber ensemble will be performed that evening. Interested in participating? Simply submit your scores along with a recorded performance, for a chance to have your music workshopped by these esteemed composers. Applicants will receive consideration for their work being reviewed, entrance to the Colloquium, dinner, and a Collage mug. Entries must be submitted below by Thursday, February 22nd to be considered for the masterclass. Accepted entries will be notified by Tuesday, February 28th, 2018 and all entries are encouraged to attend! ELIGIBILITY REQUIREMENTS • If you are now enrolled as a composition student at one of Boston’s area colleges or universities, you are eligible! • If you have recently graduated from a college or university and have studied composition, you are eligible! • If you are a high school student who has a score and recorded performance recording, you are eligible! • Anyone is eligible to audit the workshop. If you wish to attend the workshop and pizza dinner, workshop passes are available at collagenewmusic.org/ticketinformation with the purchase of a concert ticket. ($5 fee includes workshop admission and pizza dinner). Because attendance priority is given to composers, limited seating will be available to auditors. APPLICATION PROCEDURES 1. All submissions should be submitted electronically via the application form at collagenewmusic.org/workshop. Click on the link at the bottom for the digital application. Please include the following: 2. Full score in PDF format. (Works should be no more than 12 minutes in length.) 3. A recording of a performance of the composition (mp3 or WAV format). Excerpts of the works chosen will be played and discussed at the masterclass. 4. Your contact information, including name, institutional affiliation, address, email, and a brief bio or resumé. 5. $15 to participate in the day’s events, including the masterclass, pizza dinner, pre-concert talk, concert, and reception. 6. Entries must be submitted by Thursday, February 22nd, 2018 to be considered for discussion at the masterclass. 7. Those who have submitted works will be notified by February 28th, 2018, as to whether your work will be discussed at the workshop. Whether your own music is chosen for discussion, we encourage everyone to attend this unique opportunity. Those whose works are selected must RSVP and be in attendance for the event. 8. For more information or questions, please contact Collage’s Program Director, David Stevens, at info@collagenewmusic.org. |
| Web Site: | www.collagenewmusic.org/ccc |
| New Maker Ensemble | |
| Summary: | Call for Scores |
| Deadline: | 23 February 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
The New Maker Ensemble is looking for pieces in the shape of any kind of score or script, which can powerfully address the theme "system". It must be up to 6 performers, and last up to 20 minutes. It will receive 9 rehearsals between April and June, and will be programmed along other works and performed in 3 concerts between the 12th and the 15th of July 2018 in major theatres in Madeira Island, Portugal, as part of a larger project called SYSTEM 2 STAGES. We encourage you to visit the project's main page at http://www.nmensemble.com/system-project.html and read about the project and the theme before you apply. BENEFITS: 1) Professional audiovisual documentation, whose products you will be free to use as you wish. 2) As part of the larger scope of the project, scores and scripts, along with other textual contributions, will be edited and published in a collection, an exemplar of which will be sent to all of those whose works will have been performed. TIMELINE: 23rd February - deadline for submissions of proposals 24th-27th February - evaluation period 28th February - results 12th March - Deadline for parts 7th may - Rehearsal 1 14th may - Rehearsal 1 21st may - Rehearsal 3 28th may - Rehearsal 4 4th june - Rehearsal 5 11th june - Rehearsal 6 18th june - Rehearsal 7 25th june - Rehearsal 8 2nd july - Rehearsal 9 12th july - Concert 1 13th july - Concert 2 15th july - Concert 3 *Keep in mind that rehearsal dates are provisory and meant as a guideline only, so they can be changed later on.* |
| Web Site: | www.nmensemble.com/system-proj... |
| The Scenic Route | |
| Summary: | Composition tutor required |
| Deadline: | 23 February 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
Closes: 23rd February 2018 Location: London Type: Part time Salary: Paid (£25k-30k pro rata) Artform: combined arts, interdisciplinary arts, music, theatre Contact: Tammy Mendelson info@scenicroutetheatre.co.uk Description The Scenic Route are currently seeking tutors to lead masterclasses in either playwriting, composition, or devised theatre to join a pool of tutors for upcoming projects to be rolled out later in the year. The Scenic Route develops projects to support a wide range of theatre makers in their work, one of which is our Creating Theatre Lab - an intensive workshop in cross-disciplinary collaborative theatre. (More details on the lab can be found here.) We are now looking to expand the reach of the labs and develop a version for secondary schools (15+) and community projects. We are looking to build a pool of tutors who would be interested in delivering a half day masterclass within their discipline on a lab, on an ad hoc basis. The ideal tutor will have a professional track record as either a playwright, composer or theatre maker in a devising context, with experience of delivering workshops. Please forward an expression of interest along with your CV or links to your work to Tammy at info@scenicroutetheatre.co.uk For more information on our work please visit www.scenicroutetheatre.co.uk |
| Web Site: | www.artsjobs.org.uk/arts-job/p... |
| Email: | info@scenicroutetheatre.co.uk |
| Composition Academy in Kalv 2018 | |
| Summary: | Composition Academy |
| Deadline: | 28 February 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
Organized by the Musica festival In partnership with Strasbourg Conservatoire, the Haute école des arts du Rhin (HEAR), Strasbourg University, and Labex Gream Artistic and pedagogical coordinator, Philippe Manoury Composition tutors, Philippe Manoury, Luca Francesconi Electronics supervisor, Tom Mays The performers: Neue Vocalsolisten Stuttgart Soloists of the Strasbourg Académie supérieure de musique / HEAR Jean-Dominique Marco, Director of the Musica festival Musica is a prestigious European music festival created in 1983. Every autumn, in Strasbourg, Musica presents major works from 20th century repertoire, and confronts them with works of today by both emerging and established composers. The festival draws a broad audience, always keen to explore contemporary art-forms from a variety of aesthetic and geographical backgrounds. In order to involve young composers in this exciting musical voyage of discovery, Musica has created a composition academy, which takes place during the festival. This academy is the outcome of the shared endeavours of Strasbourg Conservatoire, Strasbourg Académie supérieure de musique / HEAR and Strasbourg University in the field of the aesthetics of musical composition. The aim of the academy is to provide selected young composers with the time and opportunity to explore and experiment with musical creation in a concrete way, through all stages of the creative process. A musical project will be outlined, then given shape; two internationally renowned tutors will provide coaching throughout the composition process. The score will be tried out and rehearsed by professional musicians specializing in contemporary forms. All these aspects are essential in the elaboration of a piece, and yet such ideal conditions are seldom all met even for professional musicians. All the works devised during the academy will be performed (and recorded live) in the course of two concerts at the end of the festival. The winner will receive a commission from the Musica festival. As the academy is an integral part of the Musica festival, participants will be able to immerse themselves in a creative environment and to meet European music professionals (including performers, programmers, composers, publishers, etc). The aim of this project is to foster emerging composers by providing them with an opportunity to enrich their creativity and talent with the knowledge and dedication of a team of expert tutors. This will help them hone their skills, and provide a valuable stepping-stone for their future career. The artistic committee will assign 10 composers born after January 1st, 1983 with works written for: 1. vocal sextet: coloratura soprano, lyric soprano, mezzo-soprano, tenor, baritone, basssolo instrument and live electronics 2. solo instruments: flute (also piccolo, alto), B flat clarinet (also bass clarinet), tenor trombone (also alto, bass), piano, viola electronics: the software used will be Max/MSP. More information here: |
| Web Site: | academie.festivalmusica.org/20... |
| III International Composition Prize - SEM 2018 | |
| Summary: | Orchestral Competition |
| Deadline: | 10 May 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
L’Associazione Ensemble Serenissima di Sacile (PN), in collaborazione con la Casa Editrice Pizzicato Verlag Helvetia, bandisce la seconda edizione del Concorso Internazionale di Composizione “III INTERNATIONAL COMPOSITION PRIZE – SEM 2018”. La composizione vincitrice, oltre a ricevere un premio in denaro, sarà eseguita dall’Orchestra dell’FVG International Music Meeting nel concerto finale che si terrà nel luglio 2018 e sarà pubblicata dalla Casa Editrice Pizzicato Verlag Helvetia. Associazione Ensemble Serenissima of Sacile (PN) - Italy, in collaboration with Pizzicato Verlag Helvetia publishing house, announces the second edition of the International Competition of Composition "III INTERNATIONAL COMPOSITION PRIZE – SEM 2018”. The winning composition will be receive a cash prize, it will be performed by the FVG International Music Meeting Orchestra during the final orchestra concert, which will take place in July 2018 and it will be published by Pizzicato Verlag Helvetia publishing house. REGOLAMENTO del CONCORSO REGULATIONS FOR THE COMPETITION Art.1 – BANDO DI CONCORSO La partecipazione è aperta a musicisti di qualunque nazionalità, senza limiti di età. Art.1 – COMPETITION ANNOUNCEMENT The competition is open to musicians of all nationalities with no age limit. Art.2 – CARATTERISTICHE DELLE COMPOSIZIONI IN CONCORSO Le composizioni, per orchestra senza solisti, dovranno essere inedite, non premiate in altri concorsi e mai precedentemente eseguite in pubblici concerti, né radio o telediffuse. L'organico massimo previsto, che potrà essere utilizzato anche parzialmente, è costituito da: 2 flauti (anche ottavino); 2 oboi; 2 clarinetti; 2 fagotti; 2 corni; 2 trombe; timpani; archi; Non è ammesso l'utilizzo di alcun dispositivo elettro-acustico. La durata della composizione deve essere compresa fra i quattro (4) e i sette (7) minuti circa, e dovrà essere chiaramente indicata sulla partitura. Le composizioni che non rispetteranno i requisiti indicati saranno escluse dal concorso. Art.2 – CHARACTERISTICS OF COMPETITION SCORES The submitted composition, must be unreleased for orchestra without soloists, unpublished and never performed before in public concerts, radio or television nor awarded in any other composition competitions. They must involve the following instruments, that can be totally or partially used: n° 2 flute (also piccolo); n° 2 oboe; n° 2 clarinet; n° 2 bassoon; n° 2 horn; n° 2 trumpet; tympani; strings; PA System is not permitted. The duration of the composition must range from 4 (four) to 7 (seven) minutes and it has to be precisely reported on the score. Every score that will not respect the aforesaid indications will not be taken into consideration. Art.3 – DATA DI SCADENZA Le partiture, unitamente a tutto il materiale previsto dall’art.5, dovranno essere inviate esclusivamente tramite posta elettronica e dovranno pervenire entro le ore 24.00 del 10 maggio 2018 (farà fede la data e l’orario di ricevimento indicati dal computer) all'indirizzo mail: internationalcompositionprize@gmail.com con oggetto “III International Prize SEM 2018”. Per l’invio è possibile appoggiarsi a servizi come wetransfer.com. Art.3 – CLOSING DATE FOR ENTRIES The scores and all documents listed in art.5, must be sent exclusively by email and must be received no later than by midnight of the 10th May 2018 (computer's time and date will be proof of dispatch) to the email address: internationalcompositionprize@gmail.com specifying with regard to “III International Composition Prize SEM 2018”. It can be sent via: wetransfer.com. Art.4 – MODALITA’ DI PARTECIPAZIONE La partecipazione al concorso è subordinata al versamento - tramite bonifico bancario - di una tassa di iscrizione (non rimborsabile) di € 35,00. L’IBAN su cui effettuare il versamento è: IT52T0835664990000000010900 - BCC Pordenonese filiale di Sacile. BIC/SWIFT: ICRAITR19WI intestato a: Associazione Ensemble Serenissima Viale Zancanaro, 10 33077 Sacile (PN) – Italia Nella causale specificare: III International Composition Prize SEM 2018. Ogni partecipante potrà concorrere con più opere effettuando per ciascuna opera una distinta iscrizione con la tassa relativa. Art.4 – RULES FOT APPLYING The candidates to take part in the competition must pay a registration fee (non-refundable) of Euros 35 by bank transfer. The IBAN number is: IT52T0835664990000000010900 - BCC Pordenonese filiale di Sacile. BIC/SWIFT: ICRAITR19WI Headed to: Associazione Ensemble Serenissima Viale Zancanaro, 10 33077 Sacile (PN) – Italy specifying III International Composition Prize SEM 2018. Every composer can also participate with more than one composition, but each one has to be sent with a separate application form and the relative registration fee. Art.5 – MODALITA’ DI INVIO DEL MATERIALE La partecipazione al Concorso implica l'invio del seguente materiale, che dovrà pervenire tutto per via telematica: 1) Modulo d’iscrizione in formato JPG o PDF, debitamente firmato, contenente la dichiarazione del partecipante attestante che la composizione presentata non è mai stata: edita, premiata in altri concorsi, tele o radiodiffusa, registrata per uso commerciale e/o diffusa sul web, eseguita integralmente in concerti pubblici e l'autorizzazione all’esecuzione, alla pubblicazione, alla registrazione e alla diffusione dell'opera. 2)Ricevuta del versamento della tassa di iscrizione al concorso in formato JPG o PDF. 3)Partitura in formato PDF e in File Finale o Sibelius*. I partecipanti dovranno presentare una partitura completa, redatta con programma informatico e perfettamente leggibile, pena l’esclusione dal concorso ad insindacabile giudizio della Commissione giudicatrice. *L'eventuale utilizzo di altri programmi di scrittura musicale può essere concesso dietro esplicita e motivata richiesta alla Segreteria del Concorso. 4)Copia di un documento d’identità o passaporto in corso di validità in formato JPG o PDF. 5)Foto recente del partecipante (per eventuali usi stampa) in formato JPG o PDF. 6)Un breve curriculum vitae in lingua italiana o inglese - debitamente firmato - in formato PDF. 7)Simulazione Midi nel Formato MP3 il quale costituirà solo un supporto al giudizio della giuria il quale si baserà comunque sulla partitura. A completamento, in forma opzionale e facoltativa, i partecipanti possono inviare anche una breve nota didascalica relativa all’opera, redatta in lingua italiana e/o inglese in PDF. L'esito del concorso verrà proclamato entro il 10 giugno 2018. Il vincitore (e/o l'autore di un brano eventualmente segnalato per l'esecuzione) dovrà provvedere alla realizzazione e all'invio, sempre per via telematica, di tutto il materiale d'orchestra completo (tutte le parti staccate dei singoli strumenti redatte con lo stesso programma utilizzato per la partitura e realizzate anche in formato PDF) entro il termine perentorio del 30 giugno 2018. Qualora, per qualsiasi motivo, il concorrente vincitore e/o eventuali segnalati non rispettassero tale termine (o il materiale risultasse incompleto o graficamente incompatibile con un normale utilizzo professionale) perderanno ogni diritto all'importo del premio e/o all’esecuzione e pubblicazione del brano. Art.5 – CONDITIONS OF FORWARDING DOCUMENTS The documents necessary to register must be sent via e-mail and include: 1)Completely filled out application form and duly signed (JPG or PDF format) containing candidate’s statement which assures that the presented composition has never been published, rewarded in other competitions, broadcasted, registered for commercial purp0 0oses, spread on the web or performed in public concerts and authorization for the work performance, publication, recording and circulation. 2)Payment receipt of the registration fee (JPG or PDF format). 3)Score in File Finale or Sibelius* and in PDF form. All participants must present complete scores, printed with software and completely legible, otherwise the composition will be excluded by the unequivocal decision of the commission. *Any use of other music notation software can be granted after explicit and reasoned request to the Secretary of the Competition. 4)Photocopy of identity card or passport (JPG or PDF format). 5)Photo of the candidate for press use (JPG or PDF format). 6)Curriculum vitae, in Italian or in English and duly signed (PDF format). 7)Midi simulation in MP3 format, which will represent a mere support to the Jury decision that will be in any case based on the score itself Upon completion, as an option, participants can also send a little description of the presented opera, in Italian or in English (PDF). Results of the contest will be declared by 10th June 2018. The contest winner (and/or the author of a score indicated for Honorable Mention) must realize and send, always by email, all parts of the individual instruments in the same program is used to write the score and also in PDF format by the deadline of 30th June 2018. If, for any reason, the contest winner (and/or the author of a score indicated for Honorable Mention) not respect this deadline (or the material is incomplete or graphically inconsistent with a professional use) will lose the premium amount and/or execution and publication of the score. Art.6 – COMPOSIZIONE E POTERI DELLA GIURIA La giuria sarà presieduta dal Maestro Daniele Zanettovich e costituita da eminenti personalità del mondo della musica e della composizione contemporanea a livello internazionale. La composizione della giuria sarà resa nota allo scadere del termine di presentazione della domanda di partecipazione. Le decisioni della Giuria sono insindacabili e inappellabili. Essa si riserva la facoltà di non attribuire il premio nel caso nessuna delle opere fosse ritenuta meritevole. La Giuria, a proprio insindacabile giudizio, potrà anche segnalare una o più opere. Qualora un membro della Giuria individuasse tra i partecipanti al Concorso un parente (entro il IV grado) o un allievo con cui abbia avuto rapporti didattici entro i due anni precedenti alla scadenza del bando dovrà farne esplicita dichiarazione ed astenersi da ogni valutazione riguardante la relativa partitura. Art.6 – JURY PANEL The panel, chaired by Maestro Daniele Zanettovich, will be made up of distinguished, international names from the world of music and contemporary composition. The composition of the jury will be announced after the deadline for participation. The decisions of the jury are unquestionable and unappealable. It is possible that the committee will not award the prize if none of the works deserves it. The committee will be able, with an unquestionable decision, to indicate one or more Honorable Mention. Any juror having or having had a relative (within the fourth kinship degree) or private teaching relationship with a participant during the two years preceding the competition must disclose such relationship and shall abstain from voting on that participant’s performance. Art.7 – PREMI Al vincitore del concorso spetteranno: - un premio di euro duemilacinquecento (€ 2.500), al lordo di imposte e tasse (il premio è eventualmente divisibile); - un attestato; - l'esecuzione del brano durante il concerto finale dell’orchestra, nell’ambito della XXII edizione dell’FVG International Music Meeting 2018; - la registrazione audio/video del brano che verrà inserito nei CD e DVD live del Festival; - la pubblicazione* da parte della Casa Editrice Pizzicato Verlag Helvetia. *Coloro che fossero vincolati da un contratto in esclusiva con una Casa Editrice dovranno allegare apposita liberatoria. Potranno essere altresì segnalati altri brani che, pur non risultando vincitori, riceveranno un attestato e potranno essere eseguiti durante il concerto finale dell’orchestra, nell’ambito della XXII edizione dell’FVG International Music Meeting 2018, nonché inseriti nei CD e DVD live del Festival. Dopo la pubblicazione dei risultati sul sito dell’associazione (www.ensembleserenissima.com), i compositori dichiarati vincitori verranno contattati a mezzo mail. Art.7 - AWARDS The contest winner will receive: - Euro two thousand five hundred (€ 2.500), gross of taxes (the Prize may be divided between more than one participants); - the performance of the score during the final orchestra concert which will close the 22nd edition of the FVG International Music Meeting 2018; - audio/ video recording of the composition that will be included in the Festival’s live CD and DVD; - published* by Pizzicato Verlag Helvetia publishing house. *Those who are bound by an exclusive contract with a publishing house must attach a special waiver. The compositions that will not win but that will be considered worthy by the Jury Panel would be performed during the final orchestra concert which will close the 22nd edition of the FVG International Music Meeting 2018. They would also be recorded (audio and video) and included in the Meeting’s live CD and DVD. After the results of the competition have been published on the association website (www.ensembleserenissima.com), the winners will be notified by email. Art.8 – NORME GENERALI E PRIVACY Nulla sarà dovuto da parte dell'organizzazione del Concorso per la realizzazione e per l'utilizzo del materiale d'orchestra nelle occasioni legate alla manifestazione. In tali occasioni, inoltre, eventuali riprese televisive, radiofoniche, registrazioni e diffusione della partitura vincitrice su siti internet sono autorizzate dall’autore della composizione senza alcun onere aggiuntivo a carico dell'organizzazione. L’Associazione conserverà nei propri archivi la partitura e il materiale d'orchestra e potrà riutilizzarlo anche per altre eventuali esecuzioni - patrocinate dall’Associazione - senza spese di noleggio, fermi restando i diritti di esecuzione spettanti all'autore dell'opera. Ai sensi della Legge 196/2003 si informa che i dati personali relativi ai partecipanti sono utilizzati unicamente ai fini del concorso. Art.8 – GENERAL CONDITIONS AND PRIVACY POLICY Nothing will be due by the Organization of the competition for the complete orchestral parts and their use in occasions related to the event. The composer of the winning work agrees to the work’s recording (television, radio and audio) and to its posting on websites, without any extra cost to the Associazione Ensemble Serenissima. The Association will have the ownership of the materials, it being understood that the author will keep the copyright. So the Association may use it also in olther concerts - sponsered by the Association - free of charge. Under the Law 196/2003, we inform you that personal data provided by participants will be used solely for the purposes of the competition. Art.9 - RESPONSABILITA’ L’Associazione Ensemble Serenissima declina ogni responsabilità in caso di difettosa o mancata ricezione - per qualsiasi motivo - del materiale inviato, anche se cercherà - nei limiti delle sue possibilità - di avvertire l'interessato nel caso la documentazione fosse giunta incompleta o illeggibile. L'organizzazione declina ogni responsabilità in caso di violazione dei diritti d’autore da parte dei concorrenti. Art.9 - RESPONSABILITY Associazione Ensemble Serenissima disclaims any liability in case of failure or incorrect reception of registration documents caused by their transmission via any means and for any reason. Within the limits of its ability, the Organization will try to inform each candidate should the documentation be incomplete or illegible. The organization disclaims any liability in the event of a breach of copyright by competitors. Art.10 – ACCETTAZIONE La partecipazione al concorso “III International Composition Prize SEM 2018” implica l’accettazione incondizionata, da parte del partecipante, di tutte le norme stabilite dal presente regolamento. Art.10 - ACCEPTANCE The participation to the competition “III International Prize SEM 2018” implies the unconditional acceptance of all candidates, of the above regulations. Art.11 - COMPETENZE GIURISDIZIONALI L’organizzazione si riserva la facoltà di apportare - in qualsiasi momento - modifiche al regolamento, dandone comunque immediata comunicazione sul sito internet www.ensembleserenissima.com. In caso di contestazioni unico testo legalmente valido sarà il presente bando in lingua italiana, completo di 11 (undici) articoli. Competente sarà esclusivamente il Foro di Pordenone. Art.11 - LEGAL NOTICE The Organization reserves the right to change due dates and regulations at any time by giving anyway communication on the website www.ensembleserenissima.com. In the event of claims or dispute the only legal valid document is the present notice of competition in Italian, composed of 11 articles. The Court of Pordenone will have exclusive competence. |
| Web Site: | www.ensembleserenissima.com/si... |
| 1st Annual DMEA Music Composition Contest | |
| Summary: | Students' competition competitionn |
| Deadline: | 03 April 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
Teachers and students in DMEA member schools are invited to submit original compositions by students in grades K through 12 for evaluation by a panel of composers for inclusion in the 1st Annual DMEA Music Composition Contest. Each student or class (K - 5) submitting a composition will receive a written evaluation that provides feedback about his/her composition. The compositions may be in any style and genre. 6-8 and 9-12 Divisions: ALL student composers will receive a DMEA Certificate and a written evaluation of their work with the top scoring compositions for the 6-8 and 9-12 divisions being previewed prior to DMEA All-State Events for that year and the composer receiving a one year renewable subscription to Finale Print Music. K-5 Division: Submission by classes in the K-5 division will receive a DMEA Certificate and a written evaluation of their work with a $150 stipend awarded to the program of the top scoring compositions for use for musical supplies or instructional materials for the classroom. Age Categories Grades K-5 (elementary), 6-8 (Middle), and 9-12 (High) Submission Criteria • Entries are due (postmarked) by January 31, 2018 for Grades 6 - 12 and April 3, 2018 for Grades K - 5. * Entry Fee of $10 for one submission, $15 for two submissions. • No more than two compositions may be submitted by one student. • Original student compositions must not exceed five (5) minutes. Compositions may be for a solo instrument or voice, or for an ensemble of instruments and or voices. A score MUST be included. Scores are to be either traditionally or graphically notated. Every submission must be sponsored by a current DMEA member who must sign off on the application and provide their NAfME membership number and contact information. An Audio CD recording must be included containing no other material than the student’s entry - this can be an electronically created version - using computer notation program, however, recordings with live instruments and musicians, if possible, are prefered. Evaluation Criteria Compositions will be judged based on three broad criteria: Creativity and uniqueness, Compositional Technique/Artisanship, Energy and style. Compositional Technique/Artisanship is the primary criterion, DMEA will attempt to represent all three age categories and will seek to compositions of varied style, genre, and instrumentation. |
| Web Site: | delawaremea.org/traditional-co... |
| BASEL COMPOSITION COMPETITION | |
| Summary: | String Orchestra Competition |
| Deadline: | 31 May 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
No person is more representative of the Basel musical scene than Paul Sacher (1906-1999). He devoted himself tirelessly to the music of his century in his various roles as conductor, as commissioner of new works and as sponsor and member of numerous guilds and institutions. Amongst the works commissioned by Paul Sacher are Béla Bartók’s “Music for Strings, Percussion and Celesta”, Bohuslav Martinů’s “Toccata e due Canzoni”, Igor Stravinsky’s “Concerto en ré” as well as Arthur Honegger’s Fourth Symphony. In 1973, Sacher founded the Paul Sacher Foundation which gained international reputation as a leading research institution after acquiring the estate of Igor Stravinsky and collections from Anton Webern and Bruno Maderna. In 2017–18 years after his death – Paul Sacher’s spirit will be revived once again as the most compelling works of the 21st century are brought to Basel for the first edition of “Basel Composition Competition” (BCC), an international event open to the public, conceived and organised by Artistic Management GmbH in cooperation with the Paul Sacher Foundation and directed by the Head Juror, Wolfang Rihm. During the selection process, the jury will shortlist ten pieces to be performed at the competition by the Basel Symphony and the Basel Chamber orchestras. The three winning works shall be awarded monetary prizes totalling CHF 100,000. FOLLOWING THE SUCCESS OF THE INAUGURAL “BASEL COMPOSITION COMPETITION” IN FEBRUARY 2017, A SECOND COMPETITION WILL TAKE PLACE ON 20-24 FEBRUARY 2019. The three winning compositions shall receive the following prizes at the closing ceremony: First Prize: CHF 60,000 Second Prize: CHF 25,000 Third Prize: CHF 15,000 The finalists shortlisted to participate in the Competition shall be awarded an acknowledgement of CHF 1,000 each. WHO IS ELIGIBLE? The competition is open to participants of any age or nationality. MAY I SUBMIT A PREVIOUSLY COMPOSED WORK? The competition is open to new, non-premiered works. Previously unfinished compositions finished in time for the competition may be submitted, as long as they have not yet been premiered in whole or in part. MAY I REDUCE THE SIZE OF THE STRING SECTION? The string section must be at least 4-3-2-2-1 strong. CAN THE WORK BE LONGER AS INDICATED? Works exceeding the maximal duration (20 minutes) may not be accepted for the Competition. WHEN ARE THE DEADLINES? 31 May 2018, 23:59 (CET): Registration, including payment of registration fee. 31 August 2018, 23:59 (CET): Submission of the full orchestral score. 30 November 2018, 23:59 (CET): Submission of the orchestral parts. MUST ALL SPECIFIED INSTRUMENTS BE FEATURED? The exact instrumentation for the Basel Chamber Orchestra and Basel Symphony Orchestra is specified in the regulations. Exceptions are not allowed. Works for solo instruments will not qualify. CAN I SUBMIT MORE THAN ONE WORK? Unfortunately, the competition establishes a limit of one work per composer. IS IMPARTIALITY GUARANTEED BY ANONYMITY? In order to evaluate the submitted compositions regardless of the composer’s personality, the Jury shall review them anonymously. The composers’ name shall only be revealed upon announcement of the nominated works. The applicants are very welcome to apply under a pseudonym. Said pseudonym, however, may only be used until the start of the competition performances, where the composer’s presence is requested. All applicants are requested to submit their scores without featuring their name. The composer’s full name and address should be included in the envelope or a separate sheet of paper enclosed with the application, so the Competition Bureau may process the application correctly. MAY I SUBMIT THE FULL SCORE ELECTRONICALLY? The full score must be submitted in print or in manuscript. Please send it to the specified address within the deadline. Furthermore, the score or manuscript must also be submitted in electronic form. WHERE CAN I PAY THE REGISTRATION FEE? Please transfer CHF 50 into the following account: IBAN: CH63 0483 5006 2741 1100 2 BIC: CRESCHZZ80A Name: Artistic Management GmbH, Basel. Reference: surname, first name, date of birth |
| Web Site: | www.baselcompetition.com/eng/B... |
| 2018 SCI/ASCAP Student Commission Competition | |
| Summary: | Student Commission Competition |
| Deadline: | 01 March 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
SCI, in conjunction with ASCAP, is pleased to announce the 18th annual Student Commission Competition. One first prize will be awarded to an undergraduate or high school student composer and one first prize to a graduate student composer. These commissioned works will be premiered at an SCI Conference and, if qualifying, a recording of the work will be included on the SCI CD Series. Undergraduate & High School Division • First Place - $1,000 • Premiere at an SCI conference • Recording in SCI CD Series (if qualifying) High school and undergraduate students of any age and nationality are eligible to apply, provided they are enrolled in a composition degree program or are studying privately with a recognized professional composer. Graduate Division • First Place - $1,500 • Premiere at an SCI conference • Recording in SCI CD Series (if qualifying) • Score published in SCI Journal of Music Scores Graduate students of any age and nationality are eligible to apply, provided they are enrolled in a college or university graduate composition program or are studying privately with a recognized professional composer at the time of their submission. Composers already holding a D.M., D.M.A., or Ph.D. in music are not eligible to enter the contest. To Qualify All entrants must be SCI members (student members or student chapter members) at the time of submission. The student rate is $35 per year. If your institution has an SCI student chapter, then annual dues are $25. Join SCI at www.societyofcomposers.org/join. To Apply • Submit both a score (PDF) and a recording (MP3) of one work for any combination of instruments, voices, and/or electronics. The recording you submit can be of a studio session, a live performance, or a sequenced format. Multiple movement works must be combined into a single file. • Submissions must be uploaded at http://www.newmusicengine.org/: o Undergraduate & High School Division o Graduate Division Note: You are only permitted to submit to one division. Receipt Deadline: March 1, 2018 For additional information or questions, contact the contest coordinator, Mark Phillips, at sci.ascap@gmail.com. |
| Web Site: | www.societyofcomposers.org/stu... |
| Random Access Music | |
| Summary: | Trio Call |
| Deadline: | 15 February 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
Random Access Music is pleased to announce its ninth annual open call for scores. The members of RAM seek captivating new concert music, regardless of style, written for a trio of RAM players including Thomas Piercy on clarinets (B♭ and/or bass), Maya Bennardo on violin, and piano TBD. The winning composition(s), judged by our RAM panel, will be performed at the 2018 Queens New Music Festival by the RAM Players on May 20, 2018. Submissions are anonymous and composers MUST replace their names with a pseudonym on any pages in the score where their name appears. The work should be a composition 6-12 minutes in length that utilizes all three instruments named above. It may NOT have been commercially published, or previously awarded a prize in any contest or competition, though it MAY have been premiered or recorded elsewhere. The work must have been written in the past 12 years and must be written for the entire ensemble; no subsets or substitutions will be considered. However, works requiring electronics are eligible provided any required technology, including playback devices, mics, cables, stands, speakers, etc., are supplied and operated by the composer or the composer’s representative. There are no age, gender, or geographic requirements for submitting composers. Although we unfortunately cannot fund travel or hotel costs, RAM does strongly encourage submitting composers to plan on attending the concert. We would love to meet you! An archival video of the performance will be available to the winning composer(s). This year we are ONLY accepting submissions electronically, as PDF files only. Only the title of the piece, a pseudonym, and instrumentation may appear on the score. Be sure to remove your name from any pages it appears on in the PDF (cover, interior, copyright, etc.) Failure to OMIT your real name will result in disqualification. The file should be named using your pseudonym: “mypseudonym_RAMsubmission2018.pdf” A second PDF document must contain your full name, pseudonym used on the score, address, phone number, and email address. It should be named using your pseudonym: “mypseudonym_contactinfo2018.pdf” Submission Materials: (please no Word or Text documents, PDF only) – 1 PDF Score, marked with a pseudonym, named: “mypseudonym_RAMsubmission2018.pdf” – 1 PDF Information Document, named: “mypseudonym_contactinfo2018.pdf” Failure to adhere to the submission guidelines will result in the work’s immediate disqualification. No recordings – live or MIDI realizations – will be accepted, please do not send any. Send your submission to scorecall@ram-nyc.org. All submissions must be received by February 15, 2018. Composers will be notified of the results by the third week of March 2018. The winning composer(s) must be ready to provide performance materials when notified and no later than March 20, 2018. Your Scores will be circulated among the judges only and the PDFs will be deleted after the contest. |
| Web Site: | www.ram-nyc.org/rams-2018-call... |
| Opera From Scratch | |
| Summary: | Opera Workshop |
| Deadline: | 30 March 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
An exclusive 1 week opera composition workshop for composers and singers. August 12th - 19th, 2018 from 10am - 8pm Dalhousie’s Fountain School of Performing Arts, Halifax, NS Opera From Scratch is a one week long workshop which allows six composers and six singers to develop six 10 minute operas for solo voice and piano. Composers are asked to base their mini-opera concerning a Nova Scotia theme of cultural or historic significance. Each composer will be expected to complete their work six weeks prior to the workshop, and each singer will be required to learn one work before attending. Composers will be paired with singers during the 1st week of April 2018. Tuition is $600 (CAD) for the week and does not include lodging, food, travel. During Opera from Scratch, the six mini-operas will be intensively workshopped in consultation with a senior composer/mentor and singing teacher in private daily sessions, as well as a private round table for the composition students. A resident pianist will be available for private rehearsals and masterclasses. Lectures, acting classes, and round tables will be given by a new music singing specialist, dramaturge, and a theatre director. Both composers and singers will be expected to attend each other's lessons in order to gain insight into each other's creative process. Masterclasses will be available to all participants. Senior Canadian composer James Rolfe will serve as our mentor for the week. Mr. Rolfe is a perfect choice for this workshop, having recently won the Louis Applebaum Composers Award for his outstanding work in the field of opera, and he is well known for his first opera – Beatrice Chancy, with libretto by George Elliott Clarke. Mr. Rolfe will have individual sessions with each composer during the week as well as offering master classes for the singers. Opera from Scratch is an organic/collaborative process where the composers and singers are exposed to each others’ methods, resulting in a better understanding of the depth of thought, creativity, and effort that goes into creating even a short work, from both the composer's and singer's perspective. Singers often have reservations about performing new works, but an intimate exchange such as this will help composers approach singers in ways that relax them and help them overcome their fears. Above all, singers need to understand exactly what the composer intends, and composers need to understand how to write for different voice types and communicate their intent to singers. We hope that this intensive week of Opera from Scratch workshops will assist both in this regard – and perhaps sow the seeds for a whole new generation of exciting Canadian and International operas. Opera From Scratch has legs: The mini operas premiered during Opera From Scratch have been performed around the world: Maureen Batt has performed and work shopped Monica Pearse' Aunt Helen several times over the past year, including in Vancouver at the Art Song Lab, in Toronto on the CMC's 13th Street Winery Piano Series, and in Parrsboro as part of the Classics By The Bay Festival. She has also include it on a Canadian/American tour with stops in Toronto and Philadelphia. 1000 Paper Cranes by Rita Ueda has been performed by the Erato Ensemble in Vancouver last May and she has written and expanded version for the Chamber Sounds opera company in Singapore which was performed last August. Adam Scime's Images of John A. Wilson has been performed on 5 separate occasions since Opera From Scratch 2012, including a concert in Toronto's Music Gallery Emergents Series. Janice Jackson performed Sandy Moore's Escape To Freedom on October 25th, 2013 at the Creative Nova Scotia Gala Awards. Supported by the Socan Foundation |
| Web Site: | www.vocalypse.ca/operafromscra... |
| 40th Anniversary Composition Competition | |
| Summary: | Organ competition |
| Deadline: | 01 April 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
In celebration of 40 years of bringing excellence in organ performance to the Pittsburgh community, the OAS is soliciting new, unpublished works for organ, to be premiered by Nathan Laube during the 2018-2019 season, and published by Selah Publishing Co., Inc. An award of $5,000 will be given to the winning composition. Works may be single or multi-movement, and should be suitable for worship and recital. All compositions must be received by April 1, 2018, and a winner will be announced by June 15, 2018. Please email a completed application form and submissions to 2018-competition@organseries.com |
| Web Site: | www.organseries.com/40th-anniv... |
| Ensamble A Tempo | |
| Summary: | Competition for Mexican Composers |
| Deadline: | 26 March 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
Con el proposito de promover la creación de música nueva en el país y la formación de nuevos públicos sensibles a la música contemporánea, el Ensamble A Tempo y el Centro Mexicano para la Música y las Artes Sonoras (CMMAS) convocan a creadores de nacionalidad mexicana a componer obras electroacústicas y acústicas para los conciertos del Ensamble A Tempo, a realizarse durante la temporada 2018-2019. Tres obras mixtas para ensamble y nuevas tecnologías serán seleccionadas para su estreno en el CMMAS durante el segundo semestre del 2018. Los compositores de dichas obras serán beneficiados, además del estreno, con la posibilidad de realizar una residencia artística de tres días en un estudio del CMMAS inmediatamente antes del estreno de la obra, para los ajustes finales de la electrónica y preparar su estreno. Con sede en la ciudad de Morelia, Michoacán, el CMMAS es una iniciativa de la Secretaría de Cultura Federal, a través del Centro Nacional de las Artes (CENART) y de la Secretaría de Cultura de Estado de Michoacán (SECUM). El CMMAS ofrece la infraestructura y el personal humano necesarios para la exploración y la realización de proyectos creativos de compositores, intérpretes y artistas sonoros. El Centro está preparado para incorporar, de manera eficiente, los proyectos no convencionales que puedan aportar una visión diferente en la manera de trabajar o integrar el sonido. REQUISITOS: 1. Ser mexicano por nacimiento o por naturalización. 2. Entregar un proyecto de composición de una obra electroacústica o acústica para la siguiente dotación: - Flauta en C. - Oboe. - Clarinete en Bb o/y bajo. Mismo instrumentista. - Fagot. - Trompeta en Bb. Con sordinas straight, cup y Harmon. - Piano. - Violín. - Viola. - Cello. - Contrabajo. NOTA: El ensamble puede utilizarse parcialmente, pero como mínimo deberán utilizarse 7 instrumentistas. 3. La duración de la obra deberá ser no menor a 3 minutos, ni mayor a 8 minutos. 4. En caso de que la obra presentada incorpore fragmentos musicales o textos literarios de titularidad distinta a la del autor de la misma, a excepción de que se realicen a modo de cita, dichos fragmentos o dichos textos deberán aparecer escritos en la partitura y los materiales, así como se deberán acreditar los permisos correspondientes. En todos los casos, el ensamble se deslinda de cualquier responsabilidad y ésta recaerá absolutamente en los autores. 5. En caso de ser una obra mixta, el compositor deberá aportar todo el software necesario para los ensayos y la ejecución de la misma, y el hardware especial en caso de ser necesario. 6. La obra no deberá haber sido interpretada o grabada con anterioridad. DOCUMENTOS: Todos los documentos y el proceso de selección lo realizará el Ensamble A Tempo. 1. Identificación oficial (formato JPG/PDF). 2. Currículum vitae, donde indique nombre completo o alias, lugar y fecha de nacimiento, estudios generales, actividades profesionales y artísticas realizadas a la fecha, reconocimientos, premios y becas recibidos (formato DOC/PDF). 3. Descripción detallada del proyecto de composición. El proyecto debe incluir las características del mismo y los objetivos a lograr, considerando la instrumentación arriba descrita y, en su caso, el uso de la electrónica (formato DOC/PDF). 4. Carta compromiso donde, en caso de resultar seleccionado, el compositor se compromete a entregar todos los materiales musicales correspondientes para la interpretación de la obra el día lunes 25 de junio del 2018 y, que en caso de ser seleccionado para la residencia en el CMMAS, se compromete a asistir a la misma, a los ensayos y al estreno de la obra (formato DOC/PDF). 5. TODOS LOS ARCHIVOS DEBERÁN SER COMPRIMIDOS EN UN SOLO ARCHIVO FORMATO RAR. PROCEDIMIENTOS: 1. Las postulaciones se recibirán vía email o WeTransfer desde la publicación de esta convocatoria, hasta las 23:59 horas (CST) del Lunes 26 de marzo del 2018, en el correo contact@ensambleatempo.com. El correo deberá llevar como asunto CONV2018 y el primer apellido del compositor o alias. No se aceptarán solicitudes que lleguen después del límite mencionado y no se recibirá material alguno por fax o mensajería. 2. Cualquier postulación incompleta será rechazada de la convocatoria. 3. Los resultados de los proyectos seleccionados se darán a conocer el día lunes 9 de abril del 2018. Los autores serán notificados vía correo electrónico y en la página web del CMMAS. 4. Los compositores, al participar en esta convocatoria, aceptan las decisiones artísticas del ensamble y autorizarán mediante escrito la interpretación de su obra para futuras presentaciones del ensamble. 5. Para la residencia en el CMMAS, el compositor seleccionado deberá cubrir su traslado hasta la ciudad de Morelia, Michoacán, así como sus alimentos. El hospedaje y apoyo técnico será cubierto por el CMMAS. 6. Cualquier cosa no estipulada en esta convocatoria, será resuelta por la dirección artística del ensamble y por el CMMAS. 7. Mayores informes al correo contact@ensambleatempo.com. English version (machine translation): With the purpose of promoting the creation of new music in the country and the formation of new audiences sensitive to contemporary music, the Ensamble A Tempo and the Mexican Center for Music and the Sound Arts (CMMAS) invite creators of Mexican nationality to Compose electroacoustic and acoustic works for the Ensamble A Tempo concerts, to be performed during the 2018-2019 season. Three mixed works for assembly and new technologies will be selected for their premiere at the CMMAS during the second semester of 2018. The composers of these works will be benefited, in addition to the premiere, with the possibility of making a three-day artistic residency in a studio of the CMMAS immediately before the premiere of the work, for the final adjustments of the electronics and prepare its release. Based in the city of Morelia, Michoacán, CMMAS is an initiative of the Federal Ministry of Culture, through the National Center for the Arts (CENART) and the Secretariat of Culture of the State of Michoacán (SECUM). The CMMAS offers the necessary infrastructure and human resources for the exploration and realization of creative projects by composers, performers and sound artists. The Center is prepared to incorporate, in an efficient manner, non-conventional projects that can provide a different vision in the way of working or integrating sound. REQUIREMENTS: 1. Be Mexican by birth or by naturalization. 2. Deliver a composition project of an electroacoustic or acoustic work for the following allocation: - Flute in C. - Oboe. - Clarinet in Bb or / and bass. Very instrumentalist. - Bassoon - Trumpet in Bb. With straight, cup and Harmon mutes. - Piano - Fiddle. - Viola. - Cello. - Double bass. NOTE: The assembly can be used partially, but at least 7 instrumentalists should be used. 3. The duration of the work must be not less than 3 minutes, nor longer than 8 minutes. 4. In the event that the submitted work incorporates musical fragments or literary texts of a different ownership to that of the author of the same, except that they are made by way of quotation, said fragments or said texts must appear written in the score and the materials, as well as the corresponding permits must be accredited. In all cases, the assembly disclaims any responsibility and this will fall entirely on the authors. 5. In case of being a mixed work, the composer must provide all the necessary software for the tests and the execution of the same, and the special hardware if necessary. 6. The work must not have been interpreted or recorded previously. DOCUMENTS: All the documents and the selection process will be done by the A Tempo Assembly. 1. Official identification (JPG / PDF format). 2. Curriculum vitae, indicating full name or alias, place and date of birth, general studies, professional and artistic activities carried out to date, acknowledgments, awards and scholarships received (DOC / PDF format). 3. Detailed description of the composition project. The project must include the characteristics of the project and the objectives to be achieved, considering the instrumentation described above and, where appropriate, the use of electronics (DOC / PDF format). 4. Commitment letter where, in case of being selected, the composer undertakes to deliver all the corresponding musical materials for the interpretation of the work on Monday, June 25, 2018 and, that in case of being selected for residency in the CMMAS, agrees to attend the same, to the rehearsals and to the premiere of the work (DOC / PDF format). 5. ALL FILES MUST BE COMPRESSED ON A SINGLE RAR FORMAT FILE. PROCEDURES: 1. Applications will be received via email or WeTransfer from the publication of this call, until 23:59 hours (CST) on Monday March 26, 2018, in the email contact@ensambleatempo.com. The mail must be CONV2018 and the first name of the composer or alias. Applications that arrive after the aforementioned limit will not be accepted and no material will be received by fax or courier. 2. Any incomplete application will be rejected from the call. 3. The results of the selected projects will be announced on Monday, April 9, 2018. Authors will be notified via email and on the CMMAS website. 4. The composers, when participating in this call, accept the artistic decisions of the ensemble and will authorize in writing the interpretation of their work for future presentations of the ensemble. 5. For the residence in the CMMAS, the selected composer must cover his transfer to the city of Morelia, Michoacán, as well as his food. The lodging and technical support will be covered by the CMMAS. |
| Web Site: | www.cmmas.org/cmmas_eventos.ph... |
| SOUND SPACES – Call for music | |
| Summary: | Electroacoustic Call 2 Categories |
| Deadline: | 20 March 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
Deadline: March 20th, 2018 Hertzbreakerz (https://hertzbreakerz.wordpress.com/), in collaboration with Ars Nova Society, is seeking for acousmatic and electroacoustic music works to be included in the “SOUND SPACES” music festival which will be held in Malmö, Sweden during May and June 2018 (dates to be defined). The festival seeks to provide the city of Malmö with new and recent music, and involve different venues, with events ranging from pure acousmatic music to ensemble works. In this frame, the festival is selecting at least two pieces to be performed by members of Ars Nova Ensemble, a group of new music performers founded in 1961 in Malmö. The call is divided into two sections: • Section A: electroacoustic music (live instruments and electronics) • Section B: acousmatic music (diffused live on a small acousmonium) General Conditions: • The call is open to composers of any nationality, with no restrictions whatsoever. • Each composer may submit more then one composition for each section (A and B), provided that the relevant fees are paid. See next paragraph for the specifications. Fees are used to partially defray the costs of the performances. • Submissions are due by 24:00 of the 20th of March, 2018, with the winners announced by the 1st of April, 2018. • Any duration is accepted but we strongly recommend submissions around 8-12 minutes. • By submitting, the author accepts to provide the performance materials at no further cost for the organization. • Regarding the electroacoustic pieces (Section A), combinations of at least two of the following options are accepted: • Flute (also piccolo); • Objects (easy and inexpensive to buy, or provided by the author); • Electronics (tape, amplification and/or live electronics. In the case of live electronics, the author should provide the software); • Synth: Roland JUNO – 106; • Clavinet; |
| Web Site: | hertzbreakerz.wordpress.com/20... |
| Black Cedar’s 2018 Call for Scores Commissioning Competition | |
| Summary: | Trio call |
| Deadline: | 01 May 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
Eligibility and Awards: Black Cedar’s 2018 Call for Scores Commissioning Competition is open to composers who desire to further the repertoire of flute, cello, and guitar with an original 10-15 minute composition. The first prize winner will receive a $1,500 U.S. Dollars commission, a world premiere performance during Black Cedar’s 2018-2019 season, and a professional video recording. Additional Honorable Mentions may be awarded to an unlimited number of submissions. These submissions will receive a world premiere performance and a professional video recording but NO CASH AWARD. Application: The required items listed below must be received by May 1, 2018 at 5:00pm Pacific Daylight Savings Time: Required item #1 is a score – TWO MINUTE SAMPLE OR COMPLETED – of the proposed work. The score must be submitted in PDF format via email to Black Cedar at blackcedarmusic@gmail.com. Separate parts for flute, cello, and guitar are not necessary. The working title of the proposed work and the composer’s name SHOULD BE INCLUDED on the score. Required item #2 is a separate PDF document, emailed to blackcedarmusicc@gmail.com, containing the following information: • Name • Address • Phone • Website • Short Bio of 100 words or less • Title of submitted work or sample The subject line for all email communications should read “BLACK CEDAR CALL FOR SCORES” followed by the applicant’s full name. Required item #3 is the application fee of $10 U.S. Dollars, submitted via Paypal to kris@krispalmer.com Perimeters for the Proposed Work: Applicants may submit either a COMPLETED WORK of 10-15 MINUTES IN LENGTH or a TWO-MINUTE SAMPLE of a working composition in progress. The instrumentation must be for three performers on flute (which can be regular C flute, alto flute, bass flute, piccolo, or any alternation of these instruments), cello, and six-string classical guitar. Judging: All applicants will be notified via email no later than June 1, 2018. The first-prize winning composition will receive a $1,500 U.S. dollars commission, a world premiere performance during Black Cedar’s 2018-2019 season, and a professional video recording. Honorable Mention award winners will receive a world premiere performance and a professional video recording. Travel expenses will be the responsibility of the winner. All contestants will accept Black Cedar’s decision as final. PDF scores and scores printed into hardcopy by Black Cedar will remain the property of Black Cedar. All applicants will retain Copyright to their submissions. Black Cedar assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies. |
| Web Site: | blackcedar.biz/repertoire/ |
| GHOST ENSEMBLE | |
| Summary: | Call for Chamber Works |
| Deadline: | 01 March 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
Ghost Ensemble is seeking new works of experimental music for two to five musicians from our core ensemble: flute, oboe, accordion, harp, percussion, viola, contrabass. Works including cello, conductor, electronics, or voices will also be considered, as will open instrumentation scores. We’re especially eager to discover works that explore new perceptual perspectives and performance practices that may fall outside the norms of contemporary classical music. Traditional notation and graphic, text, audio, and other scoring methods are all welcome. There are no restrictions regarding previous performances of the piece or composers’ age, nationality, etc. There is no fee to submit your work, but please submit only one piece per composer — the one that you think would be a great fit for Ghost Ensemble. Works will be reviewed by Ghost Ensemble and considered for performance in the 2018-2019 season and beyond. Please e-mail scores/instructions (and recordings, if available) to submissions@ghostensemble.org by MARCH 1, 2018. Any questions about the call can be sent to the same address. We look forward to your music! |
| Web Site: | ghostensemble.org |
| "FIRST DRAUGHTS" READING SESSION | |
| Summary: | Reading session for young composers |
| Deadline: | 15 March 2018 |
| Date Posted: | 25 January 2018 |
| Details: |
From the composer's imagination to the center stage, discover the next generation of young composers as they have their works read and rehearsed for the first time by David Alan Miller and the Albany Symphony. Held annually at the American Music Festival, each young composer will receive in depth coaching from the orchestra's celebrated resident composers. Submissions are now being accepted for the 2018 "First Draughts" Reading Session Open to young and emerging composers nationwide looking to develop and refine their orchestral craft, the Albany Symphony will select three winners to join the orchestra during its annual American Music Festival in June 2018. Submission guidelines for the "First Draughts" Reading Session at the 2018 American Music Festival can be found here: |
| Web Site: | www.albanysymphony.com/adults/ |
| 9th International Antonín Dvořák Composition Competition | |
| Summary: | Competition with 2 categories |
| Deadline: | 06 April 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
The 9th International Antonín Dvořák Composition Competition will be held at the Prague Conservatory in the Czech Republic from 22 ~ 30 July, 2018. This competition was founded in order to extol the great accomplishments of the composer Antonín Dvořák, and to discover and raise-up young, talented composers who can carry on the historical musical legacy. The composition committee intends to support the selected composers’ continued development by providing composition commissions, as well as recording and performance opportunities. For more detailed information regarding the competition please refer to the competition homepage. 1st Round : Application Deadline 6 April, 2018 2nd Round : 22~30 July, 2018 * Composition categories include genres of music spanning from classical to modern traditional music (sixteenth century style – twentieth century style) and includes no restrictions in regards to instrumental or vocal works. However, electric and microtonal music will be excluded as a rule. All compositions must be done on the staff(five-line) sheet music. (1) Vocal Works All vocals both religious and secular are acceptable. Performance type (solo, duet, choral) is not restricted. Solo works or duets must be accompanied by a multi-voiced(polyphonic) instrument. In the case of trios or multiple voices, however, the accompaniment of a instrument is not necessarily required. Accompaniments may include piano or other traditional orchestral instruments. Traditional folk instruments from the participant’s country are permitted as well. (2) Instrumental Works No restrictions of performance type (solo, duet, trio, etc…) Solo instrumentals must be accompanied by a multi-voiced (polyphonic) instrument. In the case of duets or multiple instruments, an accompanying multi-voiced (polyphonic) instrument may not benecessary. Native folk instruments are also acceptable. c. Compositional Outline : 6 copies (A4/Letter size, optional) d. Curriculum Vitae (Self-Introduction or Biography) : 1 copy (A4/Letter size, within 250 words) e. ID Picture (3×4cm, Color) : 2 pieces f. CD recording or cassette : 1 copy (optional; does not affect results) g. Application fee receipt * (Notice) All documents must be sent to the address of the steering committee in Korea. For more information: |
| Web Site: | www.iadcc.kr/?ckattempt=1 |
| Prelude and Fugue Competition 2018 | |
| Summary: | Competition for keyboard |
| Deadline: | 07 July 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
The McDonald Music Foundation is hosting the first preludes and fugues competition! Open until July 2018, participants are given two themes; 7 bar prelude & and a challenging 5 bar fugue theme. We encourage all composers to participate as you will receive the following prizes; 24 of the best prelude and fugue composers will be published which will be available after the winners are announced, the three top composer will receive money prizes and a special feature in the publication. Depending on participation rate, first place Fugue would see around 200 - 250 euro. Rules: It must be for any keyboard instrument e.g. harpsichord, organ, piano. Style/genre is left to the composer’s discretion. Minimum 50 bars are required for both prelude and fugue. Be creative, intelligent, and above all - musical. Application forms will be provided, once completed and application fee (10 EUR) is successful participants will be given the themes (PDF file). Please email mcdonaldmusicfoundation@outlook.com for the application form. |
| Web Site: | mcdonaldmusicfound.wixsite.com... |
| Waterloo Region Contemporary Music Sessions | |
| Summary: | Workshop Opportunity |
| Deadline: | 15 February 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
APPLY Thank you for your interest in WRCMS! Applications for the 2018 edition are open until February 15th, 2018 at 10:00pm EST. There is no application fee. Please see the descriptions below to select which application best suits what you would like to explore this summer. Composer: you would like to write music to be workshopped and performed by other musicians during WRCMS 2018. You will have the opportunity to indicate whether you would be interested in performing in your own or another working group. Due to the high volume of composition applications, composition participants from previous editions of WRCMS may not re-apply as a composer; however, you may re-apply as a performer or improviser. Performer: you would like to perform a work by a WRCMS Composition participant during WRCMS 2018. You prefer to be focusing on fully- or mostly-notated music for the most part, but may also be interested in exploring improvisational opportunities. Improviser: you would like to work on improvisation in a group setting during WRCMS 2018. This includes improvised elements within a composed piece, structured improvisation, free improvisation, graphic scores, comprovisation, etc. You will have the opportunity to choose whether you would like to work in a working group of exclusively improvisers, a group involving a composer, or both. Existing ensembles may also apply. Please have one member fill out the Performer or Improviser application, whichever is most appropriate to what your ensemble does/wishes to do during WRCMS 2018. If you wish to fill out two of the above applications, please note that we will consider them separately and may accept you in either one role or the other. However, there will be opportunities for all participants, regardless of stream, to engage in performance/composition/improvisation if desired. Those wishing to both compose a work for a WRCMS 2018 working group as well as perform/improvise should fill out the composer application and indicate that you wish to perform in your own or another piece, and supply the necessary additional information. SELECTION PROCESS WRCMS would prefer to accept all interested parties; however, we have limited resources to accommodate all applicants. The jury will select up to 10 composers, 20 performers, and 10 improvisers and notify successful applicants on March 9, 2018, after which we will have a waiting list procedure. Our criteria for acceptance will be based on a number of considerations. The statement of interest allows us to get a sense of what applicants hope to gain and contribute from WRCMS, and is the most important portion of the application. Please refer to WRCMS’s Artistic Mandate, as part of our selection criteria will be to choose applicants whose values align with our Artistic Mandate. The jury, comprised of members of the organizational team, will also consider the applicants’ biographical details and accomplishments in conjunction with the relevant accompanying materials. IF ACCEPTED: 1. There is a fee* to be paid upon acceptance (your notice of acceptance will include payment options). We are pleased to be offering two different fee packages this year. This fee includes: • Package 1 “play on”: $250 o access to all workshops, concerts, and events o access to one-on-one mentorship with our guest artists o a studio recording of your playing/composition, which will be released on a digital album and distributed to various broadcasters o lunch throughout the session o lodgings are not included • Package 2 “all-in”: $425 o all of the above, plus lodgings in a single-occupancy room in one of WLU’s residence buildings 2. Participants in the composition stream will write a piece to be played by performance and/or improvisation participants at the final participant concert. Composers will receive ensemble assignments after all participant acceptances have been confirmed. Performers(/improvisers if applicable) will receive sheet music on June 22, 2018, to prepare for workshopping during the week of July 29 – August 7, 2018. WRCMS will connect paired artists, and help establish initial consultation regarding the work. The premières composed for WRCMS will be recorded as described above. 3. It is the applicant’s responsibility to secure appropriate Visas upon notification of acceptance. *We do not want this fee to be a barrier for low-income applicants. Please contact us if this is a barrier to you, and we will discuss possibilities. For Canadian applicants, we can support travel & other grants relevant to your participation in WRCMS 2018 through providing a letter of support. If you are a student, your institution may provide the opportunity to apply for travel grants. If you need a letter of support, please email usupon acceptance. |
| Web Site: | wrcms.org/apply/ |
| Waterloo Region Contemporary Music Sessions | |
| Summary: | Competition with 2 categories |
| Deadline: | 18 June 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
Call for solo saxophone OR flute, violin, clarinet, cello, piano, percussion Full information here: |
| Web Site: | wrcms.org/call-for-scores/ |
| ANNOUNCING THE 2018 OPEN EARS FESTIVAL EMERGING COMPOSITION COMPETITION | |
| Summary: | Competition for Canadian Composers |
| Deadline: | 01 March 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
The Open Ears Festival is thrilled to announce its 2018 composition competition for emerging composers! The festival is seeking proposals for the premiere of a piece that is to take place at Victoria Park (Kitchener, ON) during the festival (May 30-June 3, 2018). The festival is seeking works that demonstrate elements and awareness of soundscape, the environment, improvisation, play with the space available, and are suitable for a non-traditional performance environment in which audience members can move about freely. Eligibility & Requirements · Composers must be Canadian citizens or permanent Canadian residents. · Composers must be between the ages of 18-30. · Works proposed must be suitable for open instrumentation, up to 99 players and to take place outdoors in a park. · Works must be between 20-60 minutes in length. · Proposals must be for acoustic composition, there will be no accommodation for compositions involving technology. · Entrants must submit a proposal of approximately 400-500 words detailing the work. · Entrants must submit 3 samples of work from no earlier than 2013 that vary in instrumentation. · Submissions should include 1 proposal, 3 samples of previous works from no earlier than 2013 (including scores and audio/video if necessary), and brief biography of the composer. Please forward to “submissions@openears.ca” · Composers may submit multiple entries. · *All submissions must be received by March 1st, 2018. AWARDS · Winning entrant will receive a premiere of the proposed work during the 2018 Open Ears Festival, as well as an archival recording of the premiere. · Winner will also receive access to Dorico notation software, valued at $750 CAD. · Winner will receive $500 CAD. For further inquiries about the 2018 composition competition, please contact “info@openears.ca”. |
| Web Site: | openears.ca/competition |
| I Creation/ Mivos Composition Prize for Chinese Composers | |
| Summary: | String Quartet Competition |
| Deadline: | 11 April 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
Mivos Quartet and I Creation are pleased to present the 3rd Biennial I Creation/ Mivos Quartet Prize for Chinese Composers 2018. The competition is designed to promote string quartet works by talented emerging composers of Chinese descent worldwide. The winner will receive a US $1000 cash award and performances by Mivos Quartet in New York City and Hong Kong in 2018. Now Accepting Applications ELIGIBILITY Emerging Chinese composers are invited to apply. There are no restrictions on candidates’ current country of residence (N.B., candidates residing in the United States who are eligible for the Mivos/ Kanter String Quartet Composition Prize are also eligible for the I Creation/ Mivos Composition Prize for Chinese Composers, however candidates may only apply for one (1) of these competitions each season). Mivos Quartet defines an emerging composer as a composer who is in the early to middle stages of developing an international career, and for whom this prize would represent a noteworthy career opportunity. APPLICATION FEE Applications submitted between January 1-March 1, 2018: $35 Application submitted between March 1-April 1, 2018: $45 Payment can be sent to mivosquartet@gmail.com through Paypal. Please include in the subject line "I Creation Application Fee" along with the applicant's name. APPLICATION INSTRUCTIONS Applications will only be accepted via email, to icreationprize@gmail.com COMPOSERS SHOULD INCLUDE THE FOLLOWING APPLICATION MATERIALS AS EMAIL ATTACHMENTS: • Cover letter, pdf or MS Word format (must include applicant’s name, address, phone number, and email, plus the title, duration and year of the composition) • Artistic resumé or CV • Program notes* • Full score (do not include parts). Files must be in pdf format. Composers name should not be included in the score (scores will be reviewed anonymously). • Audio recording of the piece (MIDI rendering is acceptable). Files must be in mp3 format.* * not required, but strongly recommended Compositions must be scored for 2 violins, viola and cello, and may not exceed 30 minutes in length. Works involving electronics and other media will not be accepted at this time. SUBMISSION DEADLINE Submissions must be time-stamped by April 1th, 2018, 11:59pm EST. The first 200 applications will be accepted. ANNOUNCEMENT OF RESULTS The competition will take place in two rounds. A maximum of 5 finalists will be notified via email by April 15, 2018. The competition winner will be announced by May 1, 2018. INQUIRIES For inquiries in Chinese and English, please contact: Office for the Competition I CREATION Tel: 852-2577 8815 icreationprize@gmail.com |
| Web Site: | www.mivosquartet.com/i-creatio... |
| Ensemble de la Belle Musique | |
| Summary: | Competition for up to 14 instruments |
| Deadline: | 15 April 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
After it's very successful and well-received inaugural "Christmas Concert 2017", the Ensemble de la Belle Musique (EBM) is pleased to announce its second edition of “Call for Scores”. The theme is “Love & Longing”. Composers are encouraged to submit works for any combination of the following instrumentation, ranging from solo to a maximum of 14 instruments: 2 violins, 1 viola, 1 cello, 1 double bass, 1 flute, 1 oboe, 1 clarinet, 1 bassoon, 1 saxophone, 1 trumpet, 1 horn, 1 trombone, 1 tuba, 1 percussion (xylophone OR vibraphone OR glockenspiel), 1 piano For example: 1 viola + 1 flute + 1 marimba, or a string quartet formation. Please note that 2 violins are considered as 2 instruments. There is no fixed style. Please use your imagination and creativity to write music so beautiful and pleasant to the ears that the musicians would love to play them over and over again and the audience would love to hear them over and over again. The selected works will be performed by EBM in mid-June 2018 in Singapore. Venue will be announced soon. Any composer is eligible, regardless of age and nationality. Each work must be between 3-8 minutes. ONLY melodious and tonal works will be accepted. Atonal and electronics works will NOT be considered. Every work must be an ORIGINAL world premiere, and specially written for and dedicated to “Ensemble de la Belle Musique”. NO transcriptions nor arrangements of any sort are allowed. Works which have already been uploaded onto social media platforms such as YouTube, Facebook, Instagram or iTunes will not be considered. Submitted scores will not be returned and may be kept for future use. There will be audio and video recordings of the concert, and the recordings will be put up on our website. It is not mandatory to attend the concert in Singapore, but for the selected composers who are able to attend, hotel lodging for 3 days 2 nights will be provided. Submission Guidelines: There is an entry fee of USD20 for the first work. Additional entries may be submitted for USD10 each. Each composer can submit up to 3 works but each work must be submitted as a separate entry. Each entry must be emailed in pdf format to submissions@ebmusique.net with the subject heading: “EBMCFS2018 - Title of work” along with: a. An info sheet in pdf format with the composer’s name, title of the submission, duration of the work, short bio, short write-up of the submitted work and contact information. NO handwritten scores will be accepted. You may use any reliable music notation software as long as the score is clear and legible. b. Receipt or screenshot of completed PayPal payment. For submissions of up to 3 works, just one receipt or one screenshot of completed Paypal payment will do. c. Mp3 or midi recording of every work submitted. All submissions must be sent and fees paid by 11:59pm, Singapore time, on 15th April 2018. Entries and payments received after this date will not be considered. The selected works will be announced latest by 30th April 2018. The decision of EBM is final. The results will be announced on our website and across our social media platforms. Enquiries can be sent to info@ebmusique.net. Rights: The submitted compositions must be free of any rights. Non-selected candidates will have full ownership of their works and will be allowed to perform their compositions once the results have been released. In contrast, selected candidates are NOT allowed to interpret their selected compositions in any way before and on the day of EBM’s "Love & Longing" concert in mid-June 2018. The selected composers retain their ownership of the copyright for their selected works but they have to grant EBM irrevocable rights limited to using the works for promotional purposes and for performing the works in concerts at any time without further compensation to them. Deadline: 15th April 2018, 11.59pm Singapore time Entry fee: USD20 per submission USD10 for additional submission of up to 3 submissions per composer Currency: US Dollars |
| Web Site: | www.ebmusique.net/index.php/ca... |
| Opera Disrupted – Call for Submissions | |
| Summary: | Opera Call |
| Deadline: | 15 February 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
Cowtown Opera is thrilled to announce a call for submissions to Opera Disrupted: A Series of New Mini-Operas We are looking for three teams of composers and lyricists to create 3 separate short new operatic works of about 15-20 minutes each to be presented as part of a cabaret evening. The pieces should work as standalone stories, though they may be from a longer work. The works will be presented in a semi-staged format in a cabaret evening on April 20, 2018. At Cowtown Opera, we are all about accessibility and breaking operatic stereotypes. We aspire to create modern stories and lyrics that are relatableand tend to lean more towards memorable melodic phrases and beautiful harmonies . We would like our audiences to be able to hum every song walking out of the theatre and to understand the plot and words easily while experiencing emotional impact, whether comedic or serious . Please read more about Cowtown Operas previous productions in order to see what our brand is and our company vision is. If you haven’t written an opera before we’d still love to hear your work. If you have a background of Musical Theatre or Jazz and you have always wondered what it would be like to create an opera, we welcome it! We’re interested in hearing music that creates an emotional impact and not fixed ideas of what operatic music is. We are open, we are experimenting and learning through this process. We believe that the future of the operatic art form relies on this type of experiment for survival and lasting through the modern generation. We are looking for submissions with the following guidelines: -melodic and catchy music that might turn someone on to opera -stories about contemporary life -Relatable libretto -not previously produced Submissions should include: a cover letter explaining what interests you about the project a five minute sample of the proposed work (mp3 file), with lyrics included. a synopsis of the proposed story A resume for each team member What we will provide: a $500 honorarium per team a pianist to play the completed work at the cabaret up to four singers (we can provide one each of the following voice types: soprano, mezzo-soprano, tenor, bass-baritone) to sing the completed work an evening of rehearsal for each piece, which you are welcome to attend, although we are not able to provide travel costs a feedback session with Cowtown’s Artistic team Marketing and showcasing of your endeavors through our social media streams and newsletter contacts. Please email your submissions to aaron@cowtownopera.com. The deadline for submissions is February 15, 2018. |
| Web Site: | cowtownoperacompany.com |
| Boston Choral Ensemble | |
| Summary: | Choral Competition |
| Deadline: | 01 May 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
Boston Choral Ensemble's Commission Competition aims to identify a talented composer and support her or him in the performance of a new work for chamber choir to be premiered by Boston Choral Ensemble. The commissioned work will be rehearsed, prepared, and integrated into the Ensemble’s program during the calendar year 2018-19. Boston Choral Ensemble is a highly-skilled, auditioned choir of volunteers. Applicants are encouraged to consult past programs and audio samples to learn more about what might be appropriate for the ensemble. The Ensemble is soliciting proposals for unaccompanied choral works under 10 minutes in length. The texts may be sacred or secular and in any language. Details of the 2018 competition may be found below. Applicants with further questions are encouraged to contact the competition coordinator at Competition@BostonChoral.org. CANDIDATE ELIGIBILITY This competition is open to composers regardless of race, color, national origin, religion, creed, age, sex, sexual orientation, marital status, disability, or veteran status. The following groups are ineligible to enter the competition: • current Boston Choral Ensemble singing members; • current Boston Choral Ensemble board members; • current members of the Commission Competition Jury; • spouses, partners, or family members of any of the above groups; and • those who were members of any of the above groups within one year of entry deadline. PARAMETERS OF NEW WORK If selected as the competition's winner, the commissioned piece will meet the following criteria: Essentials • for UNACCOMPANIED mixed voices (SATB) • up to 10 minutes in length • generally no more than 4 parts but may include limited divisi (up to two per voice) • limited or no solo vocal material • the work must not have been performed in any public setting, recorded, promised to another group for first performance or first recording Texts This piece will be performed in our 2018-19 season. Texts may be sacred or secular, and in any language provided it meets the parameters for the new work. If the intended lyrics are not in the public domain, and the composer is not the author and copyright holder of the lyrics, it is the responsibility of the composer to obtain permission from the copyright holder before the application deadline. ITEMS TO SUBMIT A completed online application form including 1. A short proposal idea for the new work outlining the details, at the discretion of the composer including, but not limited to proposed text, compositional technique, etc. (File name: Last Name, Proposal.pdf) 2. A short biography (about 250 words) and (File name: Last Name, Bio.pdf) 3. A works list, PDF files only. (File name: Last Name, Works.pdf) 4. Three (3) work samples that demonstrate current compositional activity. (File name: Last Name, Sample 1.pdf, Last Name, Sample 2.pdf, Last Name, Sample 3.pdf) o It is recommended that composers include work samples that indicate skills appropriate to write for an unaccompanied choral ensemble. o PDF files only. Notation files will not be accepted. Please combine ancillary materials—such as notes, texts, instructions—into a single PDF per work. o Include (within the score PDF) an English translation for any text not in English. o Include date of composition on the score. 5. Recordings of the submitted work samples (optional but recommended). Although this is optional, audio may assist in the initial assessment. These may be acoustic recordings or MIDI renderings; the quality of performances or MIDI renderings will not be judged. MP3 files only. (File name: Last Name, Audio 1.mp3, Last Name, Audio 2.mp3, Last Name, Audio 3.mp3) 6. An application fee of US $25 submitted via the application form. TECH TIPS Did you try to submit your application to Boston Choral Ensemble's Composition Competition but receive an error message or a blank screen? If so, please try one or all of the following to complete your application: 1. Update your browser to the most recent version 2. Make sure javascript is enabled for your browser 3. Download Google Chrome 4. If all of these do not work, please email all of your attachments to competition@bostonchoral.org and we will make sure that your application is submitted. Thank you so much for your dedication to the competition. We are so excited to review all of this new music! DISQUALIFIED SUBMISSIONS • Late entries • Incomplete entries • Illegible copies DEADLINE AND PROCESS FOR SUBMISSIONS Materials must be submitted on or before April 30, 2018. Questions should be directed to competition@bostonchoral.org. Late applications will not be considered. APPLICATION FEES The $25 application fee can be paid on the application form. Application fees are non-refundable and will not be returned to those disqualified for not meeting the requirements herein. COMPETITION PRIZE The winner will receive a prize of $1,500. Payment will be in US funds only. Prize monies will be subject to applicable tax laws and it the responsibility of the winner to properly report the prize. The performance in concert of the newly-composed work will be recorded electronically. One copy of any such recordings will be furnished to the composer. RETURN OF MATERIALS No materials submitted for this competition will be returned. ACCOMMODATION AND TRAVEL The winner is encouraged to attend the final concert as well as any rehearsals for this event. Unfortunately, travel and accommodation expenses for the winner will not be covered by Boston Choral Ensemble. JUDGING The applications will be examined by a 4-5 person Jury chosen by Boston Choral Ensemble and will include the artistic director, a current member of the group, and one or two professional musicians not otherwise affiliated with Boston Choral Ensemble. The Jury will select a winner and identify any applicants deserving of an "honorable mention.” Boston Choral Ensemble, at the advice of the Jury, reserves the right not to award the prize. The Jury’s decision is final and may not be appealed. PUBLIC DISCLOSURE Boston Choral Ensemble will publicly announce the names of the competition winner (and "honorable mentions", if applicable), no later than June 1, 2018. The names of non-winners will not be made public and will be held in strict confidence. Composers whose works do not win the prize will be informed no later than June 1, 2018. RIGHTS TO EACH PARTY The following rights will be given to Boston Choral Ensemble before disbursement of prize monies: 1. Boston Choral Ensemble will have exclusive performance rights through July 1, 2019. 2. Boston Choral Ensemble reserves the right to perform the work in perpetuity. 3. Boston Choral Ensemble will have exclusive recording rights through July 1, 2020. 4. Boston Choral Ensemble reserves the right to record the work in perpetuity. 5. following dedication must appear just above or below the title of the work in all manuscript and published editions: Commissioned by Boston Choral Ensemble, Boston, Massachusetts, USA Premiered [Date to be inserted] Andrew Shenton, Artistic Director 1. Boston Choral Ensemble will have the right to make copies for distribution to the choir. 2. The winning composer will be asked to provide biographical information and a photograph for publicity purposes. Boston Choral Ensemble will have the right to use the composer’s photo, name, and composition title in future Boston Choral Ensemble communications without fees. The following rights are retained by the winning composer: 1. Copyright ownership 2. Publication rights, however, the composition may not be published prior to July 1, 2019. In the event that a sponsor is found for the Competition, and consequently the name of the prize is changed, the composer agrees to use the new name, as above. LIABILITY Although every effort will be made to protect and safeguard all manuscripts and recordings, neither Boston Choral Ensemble nor anyone connected with this contest will assume responsibility for loss, damage, or disclosure. It is strongly recommended that contestants keep the original copies of their scores and recordings. |
| Web Site: | www.bostonchoral.org/commissio... |
| 2018 Summer Series Call for Scores | |
| Summary: | Competition with 3 categories |
| Deadline: | 02 April 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
Now accepting submissions in Choral, Chamber Vocal, and Art Song categories. • Choral includes works for SATB, SA or TB choirs with or without accompaniment. • Chamber Vocal works are defined here as any ensemble piece intended for one singer per voice part (duets, octets, etc.) with or without accompaniment. • Art Songs are for vocal soloists accompanied by piano alone or in combination with other instruments. Song cycles may be submitted as a single submission. Composers may submit as many works in as many categories as they wish. With the exception of song cycles, which may be submitted as a single work, a separate submission form and fee of $15 is required for each work submitted. Works will be adjudicated anonymously, so before submitting, be sure that names and any other identifying marks are removed from the score. Final deadline for submission: midnight (U.S. central time zone) April 2, 2018. |
| Web Site: | kcvitas.org/call-for-scores.ht... |
| Compass New Music and Vent Nouveau | |
| Summary: | Chamber Call for Scores |
| Deadline: | 21 February 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
Compass New Music and Vent Nouveau are excited to announce a call for scores, due by 23:59pm EST, Wednesday, February 21st, 2017. Three to five works will be chosen and performed on March 25th, 2018 in New York City at Scorca Hall in the National Opera Center, alongside works by four members of the NYWC (New York Women Composers). Composers will be provided with a professional recording of the performance of their piece. This concert is funded in part by a Seed Grant from the NYWC. ELIGIBILITY Composers whose gender identities are not cisgender male (i.e. composers may identify as women, transgender, nonbinary, genderfluid, genderqueer, or any other non-cis-male gender identity). Composers may be of any age or nationality, emerging or established. PARAMETERS Length: Between 4-8 minutes long, approximately. Instrumentation: Flute, oboe, clarinet, bass clarinet, bassoon, horn, trumpet Subsets: Preference will be given to full instrumentation, but works for quartet-sextet will be considered as well. No works with 3 or fewer instruments will be considered. Quantity: Submissions are limited to two per composer. Electronics: No electronics. Other: Pieces may have been performed previously. SUBMISSION PROCESS Please remove your name from the score and from the filenames of the score and audio file. Note that merely masking your name with a black graphic square will not be sufficient (masked names still show up in thumbnail icons of the file); please actually delete your name from the original file. Please email the following to compassnewmusic@gmail.com by 23:59 EST, Wednesday February 21st, 2018: 1) PDF score(s) of the piece(s) (maximum 2 pieces). Remember to remove your name. 2) MP3 sound files for each piece submitted (MIDI is fine). Remember to remove your name. 3) A separate PDF with filename LASTNAME.pdf (yep—this is the one file we do want your name on!) containing the title(s) of the piece(s), your name, and your contact information – email, phone number, and online presence (website, Soundcloud, etc) if available. We'd also love to follow you on Twitter and Facebook, so feel free to include links. The compositions will be reviewed in a blind selection process by members of Vent Nouveau with administrative help from Elisabeth Blair of Compass New Music. Selected composers will be notified by email by Wednesday February 28th, 2018. Selected composers must be prepared to supply parts and other performance materials for their selected compositions by Wednesday March 7th, 2018. If you have questions, please email Elisabeth at compassnewmusic@gmail.com. ABOUT US VENT NOUVEAU is dedicated to bringing attention to the wide variety of underperformed repertoire for winds and brass. It is the first group of its kind in the NYC area. Learn more at www.ventnouveauny.com COMPASS NEW MUSIC partners with ensembles to help showcase new music by composers who, due to their gender identities, experience disenfranchisement under the patriarchy. Find Compass on Facebook and Twitter: @CompassNewMusic |
| Web Site: | listeningtoladies.com/compass/ |
| Composers’ Competition Opus Ignotum | |
| Summary: | Choir competition |
| Deadline: | 31 May 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
6th International Composers’ Competition for Compositions for Youth Choirs Organizer: National Information and Counsulting Center for Culture (NIPOS), Non-professional Art Department (ARTAMA). Contact: Zuzana Kacafírková, kacafirkova(at)nipos-mk.cz, +420 778 702 375 Competition Aims: The organizers set themselves the task of initiating and supporting creation of new works which would be distinctive in composition and accessible for interpretation and which would be of benefit for the repertoire of non-professional choirs. Deadline: 31st May 2018 General Conditions: Art. 1 Each composition should be sent by e-mail (address: kacafirkova@nipos-mk.cz) or by post (easy legible manuscript, copy or computer printout) to the address: Zuzana Kacafirkova, Narodni informacni a poradenske stredisko pro kulturu (NIPOS), Fügnerovo namesti 1866/5, P. O. Box 12, 120 21 Praha 2, Czech Republic. Demo recordings are appreciated. Art. 2 The competition is anonymous. Each composition should be marked by code-name only. The author should attach to an e-mail with the contest composition a text document with the data about the composer (name and address, both mail and e-mail and telephone number). If sent by mail, sheet of paper with the data about the composer should be enclosed in a sealed envelope marked by the same code-name. Art. 3 The manuscripts, copies and printouts shall remain in the possession of the competition organizers. By entering into the competition, the author confirms his/her permission with the reproduction of his/her composition for the purpose of the potential presentation and with possible non-commercial publishing for NIPOS. Art. 4 Any failure to meet any of the requirements mentioned results in the composition refusal from the competition. Art. 5 The accurate and complete terms and conditions of the competition in Czech and English are for your disposal on the website of NIPOS-ARTAMA (www.artama.cz). In case of any doubts or ambiguity of their interpretation, the decisive version is Czech. Competition Rules: Art. 6 Composers, without any limitations, may enter into the competition with their compositions for youth choirs (mixed, female, male), written on a text of their choice – preferably in Czech, Slovak or Latin language – or alternatively in other language. All texts, submitted in languages which use other than Roman alphabet, should be underlined with phonetic transcription in the Roman alphabet (including the names of the authors of both lyrics and music) and accompanied with a rough translation into Czech or English language. Art. 7 We recommend to apply the compositions for female cast: four-part (soprano I, soprano II, alto I, alto II) or three-part (soprano, mezzo-soprano, alto) male cast: four-part (tenor I, tenor II, bass I, bass II) or three-part (tenor, baritone, bass) mixed cast: four-part (soprano, alto, tenor, bass) Those parts should not be further divided. Recommended range in individual voices, taking into account the age singers: soprano: maximum pitch g2 alto: maximum pitch g tenor: maximum pitch e1 bass: maximum pitch G The applied composition should be a cappella (with the possible use of percussion), based principally on singing, with the possible use of other means of expression or spoken words. The individual composition should be 2 – 4 minutes in length. Art. 8 Each composer can enter into the competition with only one composition for each cast type which has never been awarded in any competition nor commercially published (i.e. up to 3 compositions in total). Art. 9 The composition should be sent to the organizer of the Competition till 31st May 2018 (postage stamp date is the deciding factor). Art. 10 The results of the competition will be announced officially in October 2018. The winning compositions, that obtain the required number of points, will be performed during the 11th National Competition of Youth Choirs, will get financial reward and will be published by NIPOS. |
| Web Site: | www.nipos-mk.cz/?p=33437 |
| Here We Go Again: Phantom’s Winter 2018 Call for Scores | |
| Summary: | Brass Quartet Call |
| Deadline: | 15 March 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
Phantom Brass is pleased to announce its winter 2018 call for scores. Formed by John Pisaro, Darren Dvoracek, Megan DeJarnett, and Evan Wendell, Phantom is a brass quartet dedicated to the understanding and expansion of brass chamber music repertoire. We hope to cultivate a diverse collection of works by living composers. Submissions should be composed within the last five years and written for two trumpets, trombone, and tuba (modified brass quartet) or any subset of these instruments. Trumpets available are B-flat, C, and flugelhorn; trombones available are tenor and alto. Works of multiple movements are welcome, but no work should exceed ten minutes. There is no minimum duration. Limit one submission per composer. Prior winners may not resubmit for one year (fall 2017 winners may submit in fall 2018, etc). We welcome works from all composers regardless of age, gender identity, sexual orientation, or nationality. To submit, please email a PDF of your score and an audio rendering (MIDI mock-up is fine) to phantombrass4@gmail.com no later than March 15, 2018 at 11:59PM Pacific Daylight Time. The subject line should include Winter Call for Scores and your name. In your email, please include your contact information, a brief bio, your website, and a performance history of the piece. Ten to fifteen composers will move on to the final round of adjudication; these finalists will be notified by April 15. We will contact winners no later than May 1. Composers will receive a performance of their work and a recording of the live performance. Additional performances may occur but cannot be guaranteed at this time. We look forward to hearing your submissions! |
| Web Site: | megandejarnett.com/2018/01/15/... |
| 2018 CABRILLO COMPOSERS WORKSHOP | |
| Summary: | Workshop Orchestral Opportunity |
| Deadline: | 01 March 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
If you are a COMPOSER 30-years-old or younger, you are invited to submit an orchestral score for consideration for the 2018 Cabrillo Composers Workshop, July 28 thru August 1. Composers are invited to submit ONE score only, recording (MIDI versions are acceptable) and a resume, no later than March 1, 2018. Materials must be submitted via Slideroom, link below. After carefully reviewing the details outlined below, if you have any questions or wish to discuss the program in greater detail, please feel free to contact Lyndsey Loosley, Cabrillo Festival’s Director of Artistic Operations at 831.426.6966 or via the contact form below. 2018 CABRILLO COMPOSERS WORKSHOP July 28 through August 1, 2018 in Santa Cruz, California 2018 FACULTY: Composer Huang Ruo, and Maestros Cristian Măcelaru and Octavio Más-Arocas; with additional participation by Festival composers-in-residence. COMPOSERS WORKSHOP REHEARSALS/PERFORMANCES: 2 rehearsals 1 concert: features two performances of each work of 5-7 minutes by three participating composers, performed by members of the Cabrillo Festival Orchestra and led by six participating conductors. Each composer will receive recordings of their work from the final performance. 2018 INSTRUMENTATION FOR COMPOSERS WORKSHOP: 5 violin I – 4 violin II – 3 violas – 3 cellos – 2 basses (strings are listed as players not stands) 2 flutes (2nd dbl pic) – 2 oboes (2nd dbl eng horn) 2 clarinet (1 dbl e-flat & 2nd dbl bass) – 2 bassoons (2nd dbl contra) 2 horns – 2 trumpets – 2 trombones ( 1 tenor, 1 bass) – 1 tuba 1 timpani – up to 4 percussion – harp – piano HOUSING: Information on suggested hotel accommodations will be relayed to selected composers. FELLOWSHIPS: a $1,250 fellowship is available to each composer to help offset out-of-pocket expenses, including housing. COMPOSERS under age 30 may submit the following no later than March 1, 2018: 1. Include one short curriculum vitae 2. Include ONE orchestral score for consideration along with ONE recording, OR a you may submit one score that best represents your work (w/ recording) if you intend to revise or compose a new piece for the program. (Selected composers will be required to submit final scores and parts to arrive no later than June 15, 2018.) You will be asked to indicate if you intend to write a new work, plan to revise the submitted work or are submitting the work as-is. Any work submitted for consideration that is longer than 7 minutes will need to be revised. Selected works for the “In the Works” program must be between 5-7 minutes long. A $6 Slideroom fee will be charged to all applicants applying for the 2018 Composers Workshop. Notification will take place by March 31, 2018. |
| Web Site: | cabrillomusic.org/about-us/edu... |
| The Uncommon Music Festival | |
| Summary: | SATB Composer Competition |
| Deadline: | 01 March 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
2018 Composer Competition Accepting Applications January 16, 2018 - March 1, 2018 The Uncommon Music Festival is seeking submissions of new compositions for its 2018 Festival in Sitka Alaska. Compositions must fit the following criteria: • Scored for SATB vocal quartet with optional piano accompaniment • 3-5 minutes in length • English text • The composition must not have received a public performance prior to the Festival The composition can set any text, as long as that text is in English and used with permission. It may deal with any subject matter. The winner will receive a live performance of the composition, a high-quality audio/visual recording, and a $200 cash prize. Note that the Festival reserves the right to freely distribute any recordings of the composition through physical or online media. Royalties from paid distribution will be negotiated on a case-by-case basis. Applicants must submit the following: • A PDF of the score • An MP3 rendering (audio created by notation software is fine) Applicants will be notified of the decision by March 31, 2018 |
| Web Site: | www.uncommonmusicfest.org/comp... |
| Elektro Arts | |
| Summary: | Electroacoustic Call, Several Categories |
| Deadline: | 28 February 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
Open Call for Works Established or emerging composers and sound artists are invited to submit their original works from the wide spectrum of electroacoustic music. Theme The theme for this edition of the Festival is RECONCILIATION. Musical Works Despite the style variety, preference will be given to music for soloist and fixed media assembled around 2 channels, with a duration of 10 to 15 minutes. Only one work per composer is allowed. However, there is no age limit or nationality restriction. Subcategories We will consider musical compositions in the following configuration: • Oboe and 2-channels fixed media • Clarinet (B) and 2-channels fixed media • Saxophone (Alto) and 2-channels fixed media • Viola and 2-channels fixed media • Piano and 2-channels fixed media The Festival features key music performers, affiliated with the “Gheorghe Dima” Music Academy and Transylvania State Philharmonic: Silvia Sbârciu (piano) Aida-Carmen Soanea (viola) Zoltán Réman (clarinet and saxophone) Adrian Cioban (oboe) Submission Send your work by a cloud storage or file sharing service. There are a number of options for cloud storage service like Dropbox, Google Drive, Mega, OneDrive (SkyDrive), iCloud, Box, NextCloud, and others. All submission files need to be stored online. Please do not send any attachments. The following electronic materials and information are required: 1. Elektro Arts Online Registration Form 2. Biography of the artist (in English, maximum 200 words, RTF / DOC / DOCX format. No PDF file.) 3. Program Notes of the submitted work (in English, maximum 200 words, RTF / DOC / DOCX format. No PDF file.) 4. Digital Sheet Music of the submitted work (saved as PDF file, A4 or Letter size) 5. MP3 stereo-mix of the whole work, acoustic instrument plus fixed media, recommended (16-bit, 44.1-kHz, 192-kbps) 6. CD-quality stereo audio file, without instrument part. Read more about this at Technical Specifications. Submission Fee There is no submission fee. Technical Specifications • Format: AIF / WAV audio file @ 16-bit, 44.1-kHz (interleaved) • Normalization: -0.2dB Example of naming the audio file: myname_mypiece Deadline The works must be received by February 28th, 2018. Acceptance A notification of acceptance will be sent to successful composers via email by March 30th, 2018. The selection criteria is based on the quality of the work. All selection decisions are at the discretion of the Elektro Arts international team. Elektro Arts Events Our aim for this open Call is to select works of high-quality and unique and to sustain multidisciplinary innovation among artists and scholars involved in digital arts. The three-day Festival will focus on mixed music—solo instrument and fixed media, alongside installations, digital photography, and dance performance. The Festival will take place on May 24–26, 2018 on various venues in Cluj-Napoca. Contact Ph.D. Adrian Borza Email: adrian.borza@amgd.ro Address: Academia de Muzică "Gheorghe Dima" Elektro Arts I.C. Brătianu 25, 400079 Cluj-Napoca România Phone: +40 264 59 12 41 Website: www.amgd.ro |
| Web Site: | www.elektroarts.com/call_music... |
| ARS ELECTRONICA FORUM WALLIS 2018 | |
| Summary: | Electroacoustic Call |
| Deadline: | 28 February 2018 |
| Date Posted: | 18 January 2018 |
| Details: |
Swiss Contemporary Music Festival Forum Wallis announces a call for stereo or quadrophonic acousmatic works to be programmed during our 2018 festival. Submission deadline 28 FEB 2018, 10am UTC No entry fee - No age limit - No style restriction - Up to 2 works/composer - Works selected in previous festival editions are no longer eligible - Composers selected in former festival editions can submit again The selected pieces will be played during Forum Wallis 2018 in Schloss Leuk 17-21 May 2018, presenting a selection of international compositions representative of current trends in electronic music. Submission details In order to submit your work(s) please send an e-mail to calls@forumwallis.ch In The Subject please write ARS ELECTRONICA 2018 In The Body of the email provide a link to listen to your work online (soundcloud etc.). Please add as an attachment one PDF with all the following information matched together: a) your CV (max. 200 words) b) the title and description of the submitted work(s) c) your address (e-mail, phone, evt. website) d) please provide again a link to your work online. Please name the PDF as following: FW18_Call_First Name_Given Name_Title e.g. FW18_Call_Miller_Andrew_Title Only Tape Stereo or Quadrophonic Works (Acousmatic) are elegible. Any music style is welcome. Any duration is accepted up to one hour, but we encourage submissions around 10-15 minutes. Only the selected composers will be notified of the selection (by e-mail). The results will be published online at www.forumwallis.ch The selected composers will receive: - the program of the concert - a signed document attesting the selection for this concert Thank you! Jury Ars Electronica Forum Wallis 2018 |
| Web Site: | www.forumwallis.ch/programm-20... |
| Philippe Manoury Festival Musica | |
| Summary: | Composition Academy |
| Deadline: | 28 February 2018 |
| Date Posted: | 11 January 2018 |
| Details: |
The aim of the composition academy is to foster emerging composers by providing them with an opportunity to enrich their creativity and talent with the knowledge and dedication of a team of expert tutors. This year composition projects will focus on two different genres: vocal writing for six voices a cappella, and solo writing with live electronics. The composition tutors will be Philippe Manoury and Luca Francesconi. Computer music will be taught and supervised by Tom Mays, tutor at the Strasbourg Academie Superieure de Musique. The pieces will be performed by the Neue Vocalsolisten Stuttgart, a voice ensemble that has received worldwide acclaim for its performances of contemporary repertoire, as well as by soloists from Strasbourg Academie Superieure de Musique. The Academy is open to composers born after 01 January 1983. The course runs from 24 September to 06 October 2018 and will comprise a read-through of the scores and work with the performers (Sep 24 – 26), individual sessions with composition tutors, re-writing, masterclasses and conferences (Sep 27 – Oct 03), and rehearsals/final concerts (Oct 04 – 06). All composers’ works will be performed in concert and recorded live. A winner will be designated and will receive a commission from the Music festival, which will be published by Durand-Salabert-Eschig. Fee: Course fee of €500 plus travel, accommodation and meals Contact: To apply, please visit https://festivalmusica.org |
| Web Site: | festivalmusica.org |
| Walter Hussey Composition Competition | |
| Summary: | Choral Competition |
| Deadline: | 01 July 2018 |
| Date Posted: | 11 January 2018 |
| Details: |
The Walter Hussey Composition Competition is a brand new choral music composition competition launched in January 2018. With a prize of £750 for the winning entry and a line up of top judges from the choral and composition world, the Walter Hussey Composition Competition promises to become one of the leading choral composition competitions of our time. The competition is named in honour of Walter Hussey, Dean of Chichester Cathedral from 1955 to 1977, who commissioned many choral works throughout his lifetime. The inaugural competition takes place in 2018, with a deadline for entries of 1st July 2018. The winner is expected to be chosen by 1st December 2018 and the winning piece will receive its world premiere on 9th March 2019. The Walter Hussey Composition Competition is being promoted by Reading Phoenix Choir as part of its 50th anniversary season. The theme for the inaugural competition is therefore ‘Gold’. |
| Web Site: | walterhussey.com |
| Guitar Festival Rust | |
| Summary: | Solo Guitar Competition |
| Deadline: | 18 February 2018 |
| Date Posted: | 11 January 2018 |
| Details: |
Deadline for the submission: 18th February 2018 (23:59 CET) Registration fee: €30 PayPal: jovan.pesec@v4m.net Subject: CompRust2018/name_surname Subject: Composition of a piece for classical solo guitar (6 strings) with a length between 2 and 4 minutes, which can be described as a Perpetuum mobile . Description: Following the definition of the term in the Lexicon of music a Perpetuum mobile is a fast piece, in which a specific note pattern is repeated again and again. The composers should create an individual, contemporary work which exceeds the limits of the usual genre, taking into account the playability. The competition is open to composers of all ages and nationalities. Only unpublished and previously not listed works can be submitted. Prices: • € 500 (sponsor studio.v4m.net) • A performance of the winning composition at the Guitar Festival Rust 2019 • Professional audio and video recording of this performance (provided by studio.v4m.net) Submission to: jovan.pesec@v4m.net Application requirements: • Personal information: o Full name o Nationality o Contact data o Date of birth • Attachement: o Composition as PDF o Audio file of composition (MP3 format) Please keep in mind that your name shall not appear on the score or the MP3 file! Only unpublished and not previously listed works can be submitted! Jury: The selection committee is a jury of renowned personalities: Piero Bonaguri, Gulli Björnsson, James Chiang, Zbigniew Dubiella, Gabriel Guillén, Heinz Irmler, Daniel muck, Jovan Pesec, Siegfried Sango, Sabine Thielmann and Richard Vaughan . Announcement: • Top 10: 14th March 2018 • Winners: 28th March 2018 (GFR 2018 final concert) The application is only accepted if transfer of the registration fee has reached us. The competition rules are available below for download as PDF on this page! (With the application by mail you approve the competition rules down below. Therefore please read carefully!) |
| Web Site: | www.guitarfestivalrust.at/en/c... |
| Untwelve Call For Works | |
| Summary: | Alternative Tuning Call |
| Deadline: | 02 April 2018 |
| Date Posted: | 11 January 2018 |
| Details: |
UnTwelve, an organization dedicated to the promotion, dissemination, and encouragement of microtonal music, announces a call for scores (or project proposals), engaging in microtonal or alternative tuning practices, for a concert at Slate Arts + Performance in Chicago in September 2018. This call is open to composers of any background, age, or nationality, but will prioritize works from composers who are women, non-binary, genderqueer, gender-non-conforming, or agender. Instrumentation: for this concert we have a core group of performers: flutist Robin Meiksins, clarinetist Emily Mehigh, trombonist Connor Thummel, and bassoonist Annie Lyle Mason, which can be utilized in various combinations (solos for any of these four instruments, duos for any combination of flute, clarinet, and trombone). The use of electronics (stereo-only) is welcome, as is the composer appearing as the performer of their own work. (Auxiliary Instrumentation: Robin can do flute, alto flute, and piccolo. Emily can do Bb and A clarinet). Duration: the works should ideally not exceed 10 minutes. Submission Due Date and Notation Information: Please complete the following form by April 2nd, 2018 at 11:59 pm Central Time. The following documents will be asked for: Permanent links (dropbox/google drive/etc) to score and parts for each instrument (Score includes clear performance notes about all pitch notation) Permanent link to an mp3 of electroacoustic part (if part of the work) A short bio (200 word max) (An example audio or MIDI link is welcome as well but not required) Note on Stylistic Inclusivity: As with all of our calls and competitions, we are especially seeking works that engage microtonality in a systematic manner–through the use of Just Intonation, Alternative Equal Temperaments, Spectral Techniques, or similar. We encourage and welcome music from varied aesthetic worlds: folk music, electronica, jazz, classical “new music”, experimental, electronic, etc. |
| Web Site: | untwelve.org |
| The Sewanee Church Music Conference Choral Composition Prize | |
| Summary: | SATB choir competition |
| Deadline: | 01 March 2018 |
| Date Posted: | 11 January 2018 |
| Details: |
The Sewanee Church Music Conference was founded in 1951, and since then it has been a leader in continuing education for liturgical church musicians. We are honored to hold our first choral composition competition, which is generously supported by Don Dupee in memory of Everett Summerall and by an anonymous gift. • Opportunity: The Sewanee Church Music Conference seeks original, unpublished works for mixed chorus (SATB) with organ, or unaccompanied. One cash prize of $1500.00 US will be awarded. • Application deadline: Scores must be received by March 1, 2018 • Award notification: March 15, 2018 • Eligibility: no restrictions with regard to age, gender, nationality, etc. • Submission fee: $25.00 US per composition • Award: The winner will be awarded $1500.00 US and have his/her work performed at the 2018 Sewanee Church Music Conference. • Details: We are seeking a work of 3 to 6 minutes duration written for mixed (SATB) chorus with organ or unaccompanied. No piano-accompanied works will be considered. Liturgical settings of the Magnificat and Nunc dimittis will be considered as a single composition (one fee), and together may exceed the 6 minute limit. o Text: Must be in English or Latin, and suitable for performance in a Christian worship service. The text should be in the public domain, or be free of copyright restrictions. o The work should be of medium or average difficulty. o The work must be currently unpublished. The composer is free to pursue publication after the competition. Submitting your work: 1. Fee: $25.00 US per composition. Fees may be paid through PayPal using the email address below; or by check payable to Sewanee Church Music Conference mailed to E.L. DuBose at the address below. Composers may submit as many works as they like. 2. The winner retains all rights to his/her work. 3. Any work with a copyright-protected text must be accompanied by a letter of permission from the publisher, poet or author. 4. By submitting your score, you authorize SCMC to make copies of your work for rehearsal and performance purposes. Publishing rights are yours after the competition. No further distribution of the work will occur via SCMC. 5. Scores may be submitted as hard copies or in a portable data file (pdf) format. Please submit a copy with the composer's name removed or blotted out. All aspects of judging are "blind". 6. Recordings of your work, live or audio file, are strongly encouraged, if available. This may be submitted on CD or as an mp3 file. 7. Do not send originals. Copies only. No materials will be returned. 8. Please send a letter containing your name, address, phone number and email address so you may be contacted if you are awarded. 9. Please send a brief composer biography. 10. A performance history and composer's program notes for each work submitted. Scores should be sent to: E.L. DuBose P.O. Box 240742 Montgomery, AL 36124-0742 eldubose@gmail.com (334) 313-0667 Deadline: Submissions must be received by March 1, 2018 If there are any questions, or if you do not receive confirmation of receipt from us within 48 hours via email or seven days via postal service (or by the competition deadline), please give us a call at the number above. |
| Web Site: | www.sewaneeconf.com/2018-compo... |
| Call for Works: Developing Young Performers Repertoire within a Contemporary Idiom | |
| Summary: | Writing for young players |
| Deadline: | 15 March 2018 |
| Date Posted: | 11 January 2018 |
| Details: |
The European University Cyprus, as part of the “Interfaces” project, is announcing a call-for-works. The aim of this call is to develop a contemporary idiom repertoire for young performers aged between 6-10 years old. At least four works will be selected for performance and workshop that will take place in Cyprus during Summer 2018 and Fall 2019. Theme of the call: “Introducing young performers to the world of New Music” We particularly welcome works with a pedagogical character that would address young performers aged 6-10 and considered as an introduction to new music. Therefore, composers must include any concept/technique/aesthetic direction which would justify what is universally understood as contemporary idiom in Music. Terms: • Composers of any age and nationality are invited to submit up to two works from the following combinations: 1. Bassoon duet(student with teacher part) 2. Classical Guitar Trio(either two students with teacher part) 3. Violin duet(either two students or student with teacher part) • Works should not exceed five (5) minutes • Submission deadline, 15 March 2018 • Submit Scores to g.christofi@euc.ac.cy • A panel comprised from the instrumental teachers participating into the project and the composers George Christofi and Evis Sammoutis will meet towards the end of March to select at least four works For any inquiries about this call, please contact g.christofi@euc.ac.cy |
| Web Site: | interfaces.euc.ac.cy/announcem... |
| Composition Academy in Kalv 2018 | |
| Summary: | Composition Course |
| Deadline: | 01 March 2018 |
| Date Posted: | 11 January 2018 |
| Details: |
DEADLINE for Application: 20th of February 2018 ANNOUNCEMENT of participants: 1st of March 2018 6-8 composers (of any age, nationality, occupation and aesthetics. However, precedence will be taken to emerging composers and not established composers) are invited to spend a week in Kalv working, lecturing and presenting their work under the supervision and assistance of composers Pierluigi Billone (Italy) and Per Mårtensson (Sweden) and the chamber ensemble Norrbotten NEO (Sweden). Each participant is invited to write a new work (or present an existing one) for a setting of 1-7 instruments (exact instrumentation will be distributed by the organizers in conversation with the participants) and of a duration of 5-8 minutes. The new works will then be performed during the KALV Festival 2018 by Norrbotten NEO. All works will be recorded. During the Academy each participant will receive private tutoring of the invited teachers. The students will also be asked to present their music at seminars as well as attend open lectures by the invited teachers, Pierluigi Billone and Per Mårtensson. During the rehearsals students, teachers and ensembles will work together in a work-shop-like context. APPLICATION Application is done exclusively online. Candidates should send 2-3 compositions (preferably both score + audio in mp3 format) together with a brief bio. It is encouraged, but not mandatory, to describe (briefly) a personal stance to his/her conception of being (working as) a composer. Applications should be sent to academy@kalvfestival.se – submissions via DropBox, WeTransfer, or other file-sharing service will also be accepted. ACCOMODATION & TRAVEL All participants will be housed in Kalv (shared accommodation). Breakfast, lunch and dinner will be included for the whole duration as well as tickets for the festival. Travel to and from Kalv from Gothenburg is covered by the Academy, however travel to and from Sweden has to be covered by the participants. There is no tuition fee, however the cost for accommodation (full pension) is 3500 (ca 380 euro, depending on the conversion rate). For non-European participants (if selected) it will be possible to apply for a travel grant from the KALV festival of a maximum of 2500 SEK (ca 265 EURO). LOOKING FORWARD TO SEE YOU IN KALV! |
| Web Site: | kalvfestival.se/composition-ac... |
| Opera Kansas Presents the Zepick Modern Opera Composition Contest | |
| Summary: | Children's Opera Competition |
| Deadline: | 30 April 2018 |
| Date Posted: | 11 January 2018 |
| Details: |
A competition for a new opera suitable for children from 3rd to 5th grade, or eight to ten years old. Cast Requirements: Two to four adult singers Accompaniment: Piano with optional obligato instruments Length: 30 to 35 minutes Libretto Requirements: An opera with a focus on the Science, Technology, Engineering, Art and Math curriculum is preferred. A history based subject would also be appropriate. Special consideration will be given to operas with Kansas ties. Subject matter must be appropriate to fit in an elementary school setting. The ideal opera will be one that includes participation from the classroom; for example, a short chorus or percussion section to be prepared by students ahead of time or other audience participation prepared during the performance. Award and Performance Restrictions: The winner of the STEAM Opera Composition Contest will receive a cash prize of $2,000.00. Opera Kansas will retain all performance rights to the show for a period of five years. Deadlines: March 1, 2018. Submit the following: 1. a recording (MIDI is acceptable) 2. 1 complete PDF Score 3. 1 “BLIND” PDF score free of all identifiers of the composer Electronic submission are preferred and accepted via operakansas@gmail.com By post to P.O. Box 8811, Wichita KS, 67208 Award Announcement: April 30, 2018 |
| Web Site: | operakansas.org |
| Byrdcliffe Residencies | |
| Summary: | Residency Programme |
| Deadline: | 15 February 2018 |
| Date Posted: | 11 January 2018 |
| Details: |
Since its founding in 1902, Byrdcliffe has welcomed artists—Bob Dylan, Philip Guston, Eva Hesse, and hundreds more—to and live and work surrounded by 250 acres of the Catskill Mountains’ serene natural beauty. Byrdcliffe offers several types of residency ranging from four weeks to five months for artists in multiple disciplines. The main criterion for acceptance to Byrdcliffe’s AIR program is artistic excellence and a demonstrated commitment to one’s field of endeavor. Byrdcliffe seeks to pull together artists from varying perspectives and demographics, engaging in a broad range of artistic practices. Visual artists and craftspeople in all media, writers, musicians, composers, architects, filmmakers, actors, and artists in other disciplines are invited to apply. Emerging as well as established artists are invited to apply. Fellowships are available for artists in need, including a grant from the Pollock-Krasner Foundation for artists displaced or otherwise affected by natural disaster. Byrdcliffe is also offering the following fellowships with the support of our granting partners for the 2018 AiR season: -The annual Mantooth/Morabito Fellowship for an artist of color. -The annual Monica Coleman/Kate Pierson Fellowship for a self-identified woman artist. To be eligible for these fellowships, simply check the appropriate boxes in the Fellowship section of the application. |
| Web Site: | www.woodstockguild.org/artist-... |
| USA International Harp Competition | |
| Summary: | Harp Music Competition |
| Deadline: | 15 October 2018 |
| Date Posted: | 11 January 2018 |
| Details: |
The USA International Harp Competition was founded in 1989 by world-renowned harpist and teacher Susann McDonald. The triennial Competition is hosted by the Indiana University Jacobs School of Music in Bloomington, Indiana. It is considered to be one of the most prestigious competitions in the world. As part of its mission to promote harp and harp music, the USA International Harp Competition sponsors a Composition Contest that occurs every three years, prior to the performance Competition. Composers are invited to submit new works for solo harp. A distinguished panel of harpists plus one composer select the winning composition. A $2,000 USD prize is awarded to the winner and the new work becomes part of the 3rd Stage required repertoire for the upcoming performance competition. The work is also performed by the Competition’s First Prize winner on their debut concerts. It is published by Lyon & Healy and made available for purchase on their website, www.harp.com. Solo harp composition contestants have included composers from Australia, Brazil, Bulgaria, Canada, China, Cyprus, Denmark, England, Estonia, France, Germany, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Malta, Mexico, Netherlands, New Zealand, Norway, Poland, Russia, Spain, Switzerland, Taiwan, USA and Wales. Check our Rules & Procedures page for information about writing and submitting a composition for the 2018 Contest! 6th Composition Contest - Rules & Procedures 1. The work for solo harp must be unpublished, un-awarded and not have been recorded for commercial distribution. 2. Though the composition is for solo harp, other instruments may be included if played by the harpist. 3. The work must be between six and eight minutes in duration. 4. The contest is open to composers of all nationalities. 5. Previous winners are not eligible. 6. A distinguished panel of harpists including one composer, chaired by Dr. Ruth K. Inglefield, will select the winning composition. The decisions of the jury are final. 7. Important Deadlines: o October 15, 2018: • Online application form (to be available on www.usaihc.org in January 2018) • One PDF of anonymous 8.5” x 11” score sent as an attachment to an email addressed to USAHARPCC@gmail.com. Please include the TITLE ONLY on the attachment; however, include both the title and the composer's name in the body of the email message. The score should not show the name of the composer anywhere. Please note that the jury will refer to scores by title only. Program notes are acceptable, as long as they do not include clues to the identity of the composer and are included in the same PDF as the score, not sent separately. The PDF should be "camera-ready" – meaning publishable quality. Immediately after the announcement of the winning composition, the winner will be asked to send an identical PDF with the composer's name added. This PDF will be used for printing by the publisher. o November 15, 2018: • MP3 recording of submitted work played by a harpist sent as an attachment to an email to USAHARPCC@gmail.com Please include the TITLE ONLY on the attachment; however, include the title, the composer's name, and the name of the recorded harpist in the body of the email message. The MP3 file should not show the name of the composer or harpist anywhere. Digital or Midi recordings will NOT be accepted. Scores submitted without a recording will NOT be considered. o December 15, 2018: • Winning composition announced on www.usaihc.org. 8. Submissions which are incomplete or do not follow the exact guidelines and parameters described here will be disqualified. 9. Prizes for Winning Composition Include: o $2,000 USD o Inclusion in 11th USA International Harp Competition's Stage 3 required repertoire – performances by all semi-finalists in 2019 Competition. o Performance by 2019 Gold Medalist at debut concerts. o Score published by Lyon & Healy Publications. 10. Questions? Please check the Frequently Asked Questions section first. Questions not answered there should be addressed to Dr. Ruth K. Inglefield, USAIHC Composition Contest Chair: rkinglefield@gmail.com. 11. Recommended resource for information on notation, effects, etc: Writing for the Pedal Harp by Ruth K. Inglefield and Lou Anne Neill, second edition published by Vanderbilt Music (www.vanderbiltmusic.com). o Note: Royalties go to the USAIHC to support the competition. |
| Web Site: | usaihc.org/2018-composition-co... |
| Imagine Then Vote | |
| Summary: | Song Writing Contest |
| Deadline: | 28 February 2018 |
| Date Posted: | 11 January 2018 |
| Details: |
Imagine Then Vote is awarding $18,000 in prizes to song writers! Imagine Then Vote is calling on all song writers to submit songs that inspire people to vote for a chance to win a song writing competition. The winning lyrics and song will powerfully inspire people to vote in the 2018 election and warn people against what is at stake when people do not exercise their right to vote. The winners of this portion of the competition will be decided by the project’s Advisory Board. The first place winner will be awarded $10,000. Second place will be awarded $5,000. Third place will received $3,000. How to enter: 1. Submissions should be emailed to imaginethenvote@gmail.com 2. Include your name, age, address, email, and phone number. 3. Attach a copy of a signed consent form. 4. Attach audio files of your song (MP3s are preferred). 5. Include lyrics, legibly typed, for each song you enter. Rules & Regulations: 1. Songs should have a message of civic engagement. 2. Songs should be no more than 5 minutes long. 3. Submissions should include a signed consent form. 4. All ages and residents of the US are welcome to submit songs. Both amateurs and professionals are welcome to submit. 5. Entrant may enter as many songs as they chose. 6. All entries must be original songs and shall not infringe upon any copyrights or any other rights of third parties. 7. Songwriters will retain ownership of their material. 8. If you are chosen as the winner of song contest, you grant us license to share your song by posting it on our website and social media sites. You grant us license to have other individuals record, create videos or arrange your song for the second wave of our competition. 9. By entering the contest you agree to hold Imagine Then Vote harmless from any and all claims, liability, loss or damage arising out of submitting your song to the competition. 10. No fee is required to enter the contest. 11. Song entries must be submitted by 2/28/18. 12. The Advisory Board will select the winners for the competition. The winners will be chosen based on melody, composition, lyrics, originality, and connection to Imagine Then Vote’s mission. 13. The winners will be notified by phone or email by 3/15/2018. They will be contacted directly to arrange collecting the prize money. 14. All federal, state, and local taxes, and customs fees, when applicable, are the sole responsibility of the winner. Imagine Then Vote will not pay any winners’ taxes or custom’s fees. Prizes will be dispensed in a timely fashion. |
| Web Site: | imaginethenvote.com/contest/so... |
| District of Columbia Chapter of the American Guild of Organists | |
| Summary: | Organ Solo Composition Competition |
| Deadline: | 30 June 2018 |
| Date Posted: | 04 January 2018 |
| Details: |
Composition Competition The District of Columbia Chapter of the American Guild of organists is pleased to announce a Competition for a Commissioned Composition for Organ Solo to be premiered at the 2019 Pipes Spectacular Concert ELEGIBILITY: Open to all composers. There are no age restrictions. VISION & MISSION: Two-fold: To raise awareness of the organ among composers and students of composition; and to sponsor new music. THEME: It is not mandatory, but you may be inspired by the geography, or historic and cultural legacies of Washington, DC, the nation’s capital. GUIDELINES & RULES: One or more movements or sections, for organ solo, with an overall length of no more than 15’. Score must be legibly handwritten or set with notation software. Submissions may not be previously published and the District of Columbia Chapter of the American Guild of Organists reserves the right to publish any or all submissions individually or collected in a forthcoming compilation. JUDGING & PRIZES: First prize: $5,000 and concert performance by a leading artist. Second prize: $1,000. Third prize: $750. The committee retains the option not to award a first prize if no submissions are considered suitable for inclusion on the 2019 Pipes Spectacular concert. DEADLINE: June 30, 2018 CONTACT: Kathleen Cooper DCAGOCHAPTER@gmail.com with “ATTN: Commissioning Competition” in the subject field. Visit the Chapter homepage at DCAGO.org for information and submission guidelines. |
| Web Site: | www.dcago.org |
| Email: | DCAGOCHAPTER@gmail.com |
| INK STILL WET | |
| Summary: | Young Composers' Workshop |
| Deadline: | None |
| Date Posted: | 04 January 2018 |
| Details: |
In Composer Conductor's INK STILL WET workshop, young composers work together with the Composer in Residence and the Tonkünstler Orchestra. Grafenegg tinkers with the sounds of our time . In composer-conductor workshop INK STILL WET, Composer in Residence Ryan Wigglesworth works on the scores with young composers and performs them together with the Tonkunstler Orchestra under the direction of the workshop participants. Wigglesworth knows that conducting forms your own musical language. His compositions emerge from deep processes in which he first interrogates himself. "I think it does not make sense to think of the audience at the first note," he says. "You have to forget that you write for an audience to find out what you want to say. Otherwise, everything becomes a manipulation. But in the end it's about the purity of the idea, and that usually reaches its audience. "A philosophy he will debate with the workshop participants. The young composers can apply for a score in Grafenegg and are selected in a selection process. INK STILL WET is about questions of when a work is finished, what technical rules have to be followed, how to pour the hitherto unheard-of sound - and, above all, how to perform works that are just going to be performed. " in fresh ink »were noted and revised. For this practical implementation, the musicians of the Tonkünstler Orchestra work closely together with the Composer in Residence and the INK STILL WET participants. INK STILL WET is as much a compositional workshop as a sound laboratory in which the foundations of music are measured in our present day. The results are finally heard in a large final concert in the auditorium. Admission to the concert is free. DATES & REGISTRATION 2018 "INK STILL WET" Composer Conductor Workshop with Ryan Wigglesworth at Grafenegg Festival 2018 17th - 21st August 2018 announcement Please complete the application form and send it to usw[at]grafenegg.com together with your letter of motivation, your artistic CV and the full score of the work you have composed and submitted for the workshop. |
| Web Site: | www.grafenegg.com/de/grafenegg... |
| Gstaad Menuhin Festival | |
| Summary: | Duo Call for Scores |
| Deadline: | 31 March 2018 |
| Date Posted: | 04 January 2018 |
| Details: |
WRITE MUSIC FOR PATRICIA AND SOL Gstaad Menuhin Festival advertises a contest for duet compositions to be first performed by Patricia Kopatchinskaja (violin) and Sol Gabetta (violoncello). Tenders are invited for up to four short works, each of which between one and five minutes playing time for violin and cello (duet). The winners may expect a prize of CHF 500 to 1000 as well as their work being first performed by Patricia Kopatchinskaja (violin) and Sol Gabetta (violoncello) on 30 July 2018 at the church of Zweisimmen within the scope of Gstaad Menuhin Festival. SELECTION PROCEDURE Patricia Kopatchinskaja (violin) and Sol Gabetta (cello) will select one or two (or more?) works to premiere them at Gstaad Menuhin Festival in the Church of Zweisimmen concert of July, 30 2018. Any decisions will be publicly announced by late April 2018 at the earliest. APPLYING FOR THE CONTEST Please submit your application and composition(s) by making use of the application form below. Entry deadline is March 31, 2018. Only complete applications and compositions submitted asPDF will be processed and forwarded to the artists. ENTRANCE REQUIREMENTS Participants are invited to enter 1 to 4 works, none of which may exceed 5 minutes playing time. Respective compositions must not yet have been published by any publisher or performed already. In case they win the contest, all participants agree on being -available to Menuhin Festival for promotional purposes (press conferences, photos, Facebook, etc.), -making copies of the score available for the Festival’s archive, -mentioning Menuhin Festival as supporter in the score. Entry deadline is March 31, 2018. |
| Web Site: | www.gstaadmenuhinfestival.ch/e... |
| Fontainebleau Schools | |
| Summary: | Summer School |
| Deadline: | 16 February 2018 |
| Date Posted: | 04 January 2018 |
| Details: |
Summer Session 2018 The music program is for advanced students ages 18-31, but particularly those currently enrolled in undergraduate or graduate music school programs. The program includes performing opportunities including recitals and concerts. A special collaboration with the Fine Arts students, performed at the end of the summer session, celebrates the unique combination of the two schools. To learn more about the history of the Conservatoire Américain, visit the About page. Dates and Basic Information • The summer session runs July 6 - Aug 5, 2018. Students arrive in Paris on Friday, July 6 and have 2 days in Paris before arriving in Fontainebleau on Sunday, July 8. Students will depart from Fontainebleau on Sunday, August 5. • Enrollment is limited to 32. • Courses are taught in English. • Cost for the session is $3500: $3300 for tuition, room and weekday meals, plus a $200 confirmation fee (all students upon acceptance will be required to pay this non-refundable confirmation fee to hold their place in the program). Generous financial aid based on merit is available for qualified students. Highlights of the Session Include • Master classes and individual lessons in violin, viola, cello, composition and piano • Chamber music coaching and master classes • Student and faculty concerts • Guest lectures and concerts • Courses in fugue, improvisation and keyboard harmony • Cultural visits and lectures • Live and work along side architects from the Beaux Arts school Accommodation and Meals You will be lodged within walking distance from the Chateau, either in a dormitory or with a local family. Monday through Friday, breakfast, lunch and dinner are provided — other meals are on your own. For more details about accommodations, travel to Fontainebleau, and more see Info for Students. For more information on the Music Program: info@fontainebleauschools.org |
| Web Site: | fontainebleauschools.org |
| CHORAL CHAMELEON SUMMER INSTITUTE - IN BROOKLYN, NYC | |
| Summary: | Choral Music Composing Course |
| Deadline: | None |
| Date Posted: | 04 January 2018 |
| Details: |
For Composers and Conductors of Choral Music June 22 - 29 2018 Summary • 8-Day intensive workshop for emerging composers and conductors • Faculty of world-class composers and conductors with an unparalleled high teacher/pupil ratio • Composers: Work with highly-skilled and academically-fluent professional singers on compositions • Conductors: Work with exceptionally flexible, genre-agnostic avocational singers accustomed to the unexpected • Masterclasses from experts in both practical and inspirational topics • Generous lab choir and podium time • Individualized attention from clinicians, singers & peers • Public concert of premieres and podium time for composers and conductors • Open to applicants from a diverse range of music backgrounds and study/career stages • Video & audio recordings from workshop sessions & performance Tuition $1250 Our Difference Now in its eighth year, The Choral Chameleon Institute is designed to immerse emerging composers and conductors of choral music in the intricacies of the choral idiom in a nurturing environment surrounded by respected professionals. It gives students an opportunity to explore and experiment with writing and conducting techniques in a ‘best-case scenario’. Generous lab and podium time is given to all participants to ensure maximum practical and hands-on experience. The spirit of innovation married with a traditional perspective on matters of musicianship work in tandem to provide our students with skills that can enable unlimited thinking. For Composers: With an intake of up to TWELVE composers per session, we offer a small student-teacher ratio. Composers benefit from MULTIPLE reading sessions with our lab choir of professionals, many of whom are themselves composers, arrangers, conductors and teachers - providing an unparalleled quality of dialogue. The layout of the program from Day 1 to Day 8 is designed to give enough time for students to study and write while also offering enriching classes and experiences to help stimulate the creative process and inspire the students. During the course of the Institute, many new pieces of choral music are cultivated and are ultimately publicly performed. |
| Web Site: | www.choralchameleon.com/instit... |
| Walden School Young Musicians' Program | |
| Summary: | Young Musicians' Programme |
| Deadline: | 15 March 2018 |
| Date Posted: | 04 January 2018 |
| Details: |
2018 Dates: Saturday, June 30 through Sunday, August 5 Quick Facts: • 5 weeks; 3 week program is offered for students ages 9-11 • Ages 9-18 (pre-college) • Enrollment limited to 55 students from around the world • 18 faculty & staff (all full-time and residential) • Limited financial aid is available • Curriculum focuses on musicianship, improvisation, composition, choral singing, and more • Concert series, composers forums, artist residencies • Weekly hikes, dances and daily recreation activities The Experience Late on a July afternoon a group of teenagers lounges under a stately beech tree on the campus green at the Dublin School. One strums a guitar while another hunts out notes on a penny whistle. A third drums a rhythm on a nearby rock and a few others, scribbling away in their notebooks, join in with intermittent vocal harmonies. Across the grass a few younger boys toss a Frisbee, leaping and diving as the disc arcs through the cloudless blue sky. The Walden School Young Musicians Program provides an unparalleled creative summer experience for musically inclined students ages 9 to 18. Part school, part camp, and part festival, the program convenes each summer for five weeks in Dublin, NH. Through rigorous and innovative daily instruction, students hone their musical and creative skills within a supportive community of like-minded peers and mentors. The recital hall booms with applause and cheers of approval as a girl takes a bow after the performance of the string quartet she’s crafted all summer. She beams at the crowd and thanks the performers who made her music come to life. Stepping off of the stage, she sits down in the “hot seat” to take comments from the audience. She is proud and radiant, with a newfound confidence in her creative abilities. Learning at Walden is grounded in the school’s unique musicianship course, which utilizes improvisation and composition as the major tools for musical growth. Students take courses covering a wide range of musical subjects, including theory, composition, literature, computer music, and chorus. By the end of the summer, each student has completed at least one composition to be performed and critiqued by guest artists, faculty members, and fellow students. As the family car pulls away from the Dublin School on the last day of camp, the boy in the backseat says to his parents, “Well, I guess it’s time to start counting the days until Walden again.” He’s not joking- at home he keeps a special calendar to mark off the days until next summer’s session begins. Although he is sad to be leaving, he knows when he returns next June he will be reunited with some of his very best friends. He also knows that there will be new people to meet as well, people who love music and who have a deep inner need to express themselves creatively, just like him. |
| Web Site: | waldenschool.org/young-musicia... |
| Walden School Creative Musicians Retreat | |
| Summary: | Creative Retreat |
| Deadline: | 15 March 2018 |
| Date Posted: | 04 January 2018 |
| Details: |
2018 Dates: Saturday, June 16 – Sunday, June 24 Application Deadlines: December 1, 2017 | February 1, 2018 | March 15, 2018 Quick Facts: • 8 days • For adult musicians (18+) • Enrollment limited to 40 participants from around the world • Need-based financial aid is available • Curriculum focused on musicianship, improvisation, composition, choral singing, electronic music, and contemporary topics • Lessons, coachings, master classes, seminars • Concerts, composers forums, artist residencies • On a beautiful campus near Mt. Monadnock in New Hampshire The Experience A week-long festival in New England, the Creative Musicians Retreat (CMR) is offered for composers, improvisers, performers, electronic musicians, choral musicians, and music teachers who want to spend a week immersed in music. The 2018 Creative Musicians Retreat will be held June 16-24 on the beautiful campus of the Dublin School, in Dublin, New Hampshire. Click the link below to request your application and contact us with any questions you have. All participants at the Creative Musicians Retreat take classes (The Walden School Musicianship Course, seminars on Contemporary Topics, courses in electronic music), sing in chorus, attend workshops in improvisation, hear concerts, and participate in Composers Forums. Private lessons, coachings and master classes are also offered. Our Composer-In-Residence is on campus all week, moderating three Composers Forums, conducting master classes, and giving private composition lessons. In 2018, the Mivos Quartet returns as our Ensemble-in-Residence. The faculty for the Creative Musicians Retreat is drawn from veteran faculty of Walden’s renowned Young Musicians Program. They are a diverse mix of improvisers, composers, performers, and music scholars. Visiting Artists reside at Walden for the duration of the Creative Musicians Retreat. They kick off the week with a concert of new music and then work with participants in a stimulating workshop environment. Participants can choose one or more focus areas: composer, choral, performance, or pedagogy. See the curriculum page for more information. |
| Web Site: | waldenschool.org/creative-musi... |
| UMSL Young Composers Competition | |
| Summary: | Competition with 3 Categories |
| Deadline: | 13 May 2018 |
| Date Posted: | 04 January 2018 |
| Details: |
The University of Missouri - St. Louis Department of Music is pleased to offer a competition for young composers in the states of Missouri and Illinois. The anonymous submissions will be judged by faculty members of the Department of Music, and the winning pieces will be performed by UMSL student ensembles in Fall 2018. Each winning composer will also be given a professional audio recording of the performance. Eligibility There are two divisions: • Division 1: Composers who will be enrolled in high school in Missouri or Illinois (grades 9-12) for the 2018-19 school year • Division 2: Composers who will be enrolled as college undergraduates in Missouri or Illinois for the 2018-19 school year. Current UMSL students are ineligible. Performance Area Applicants may submit an original composition (no arrangements) to one of the following three performance areas: • Orchestra Maximum instrumentation: 2222/4221/timp+2 perc/strings Length: no longer than 10 minutes • Wind ensemble Maximum instrumentation: 2 fl, 1 ob, 1 bsn, 3 cl, 1 bass cl, 2 alto sax, 1 tenor sax, 1 bari sax, 3 tpt, 4 hn, 3 trbn, 1 euph, 1 tuba, timpani+3 perc Length: no longer than 10 minutes • A cappella choir Voicing: SATB (with divisi, 4 to 8 parts total) Length: no longer than 6 minutes Submission (1) Submissions should be made online, using the Google form found at: https://goo.gl/forms/YlwDYvgx3xbdlfgL2 (2) The form requires the user to log into a Google/Gmail account. If you are unable to log in, please email cairnsz@umsl.edu for alternate submission instructions. (3) All submissions will be judged anonymously, so each applicant will be asked to create a pseudonym. (4) There is no entry fee. (5) Applicants may submit only one work to the UMSL Young Composers Competition. (6) Applicants must provide a PDF score and an audio recording of the work. MIDI realizations are acceptable. (7) All submissions must be original works -- no arrangements. (8) For choral applicants, please make sure that you take care of any copyright issues with the text of your piece. We strongly recommend the use of a public domain text, or a text of your own creation. If you do submit a work with copyrighted text, we will ask you to provide documentation of permission to use that text. Deadline All submissions must be received by 11:59pm (CDT) on May 13, 2018 Judging (1) Judges will be composition/theory faculty and ensemble directors of the University of Missouri - St. Louis (2) Works will be judged on their compositional/musical merit, score presentation, and the artistic potential of the composer. Since the winning works will be performed by student ensembles at the University of Missouri - St. Louis, feasibility of performance by undergraduate music majors will be a factor in the selection of winning pieces. (3) We reserve the right to select multiple winners or no winners in any category, depending on the quality of the submissions. Winning Compositions (1) Winners will be notified by email by July 1, 2018. (2) The winning compositions will be performed by University of Missouri - St. Louis student ensembles (Symphony Orchestra; Wind Ensemble; Vocal Point) on that ensemble's concert during Fall 2018. Exact dates TBA. (3) Winning composers are expected to be present at that concert, and will receive a professional audio recording of the performance. (4) Orchestra and Wind Ensemble winners will be expected to provide a complete set of parts (PDF) by August 1, 2018 SUBMIT YOUR WORK HERE: https://goo.gl/forms/YlwDYvgx3xbdlfgL2 If you have questions about the Young Composers Competition, please contact Dr. Zachary Cairns at cairnsz@umsl.edu. Thank you! |
| Web Site: | music.umsl.edu/composercompeti... |
| Hastings Philharmonic Orchestra | |
| Summary: | Orchestral competition |
| Deadline: | 01 July 2018 |
| Date Posted: | 27 December 2017 |
| Details: |
Competition for 10-15 minute symphonic poem or 20-25 minute violin concerto Age limit: 41 No entry fees. Closing date: 1st July 2018 Full details available here: |
| Web Site: | www.hastingsphilharmonic.com/a... |
| SAMOBOR MUSIC FESTIVAL 7th INTERNATIONAL COMPOSERS COMPETITION "New Note" CROATIA 2018. | |
| Summary: | Orchestral competition |
| Deadline: | 04 June 2018 |
| Date Posted: | 27 December 2017 |
| Details: |
Total value of prizes: 4000 € Deadline for entries: June 4th 2018. COMPETITION REGULATIONS 1. The competition is open to composers of all ages and nationalities 2. More than one score per composer is permitted 3. All submitted works must have been composed after December 31st 2011. and not awarded a prize in any other competition 4. It is possible to submit works previously performed, but not already published or professionally recorded for commercial use. GENRE 1. Composition for Croatian Radio and Television Symphony Orchestra. Use of tape or live electronics is not permitted. 2. Use of tape or live electronics is not permitted 3. Orchestration: (Flute(2), Oboa(2), Clarinet(2), Basoon(2), Horn(2), Trumpet(2),Timpani, Strings 4. Duration: Up to 15 minutes PRIZES The First Prize – 2500€ (brutto-including taxes) and the concert performance by Croatian Radio and Television Symphony Orchestra on Samobor Music Festival – September 28th 2018. The Second Prize – 1000 € (bruto-including taxes) The Third Prize – 500 € (bruto-including taxes) |
| Web Site: | www.new-note.com/12/EN |
| Charlotte New Music Festival | |
| Summary: | Two opportunities |
| Deadline: | 05 May 2018 |
| Date Posted: | 27 December 2017 |
| Details: |
Mission To promote Charlotte’s growing reputation as a center for contemporary classical music and dance through unique educational experiences, compelling performances, and innovative collaborations across artistic disciplines. Currently, we have proudly presented over 70 concerts full of premieres for contemporary classical music, and 11 concerts premiering new music and dance collaborations. For the 7th year in a row, we are happy to welcome composers, musicians, choreographers, and dancers from all over the world to the CNMF family! Composers Workshop Applications Now Open! Workshop Dates: June 18-30, 2018 Tuition: $1,885 ($1,860 early bird) Accommodation: UNC Charlotte on-campus apartments, $600 (2 weeks double occupancy), or $980 (2 weeks single oc.), breakfast included. Application Deadline: before February 28, 2018 midnight. Applications are reviewed as they are received and acceptances are on a rolling basis. About the Composers Workshop: The Composers Workshop is the main event of CNMF — a two-week program that selects about thirty emerging composers to work closely with world-class performers and distinguished faculty in the creation of new works for performance at the festival. Participants will hone their craft, build their professional networks, listen to a lot of exciting new music, receive valuable and pragmatic career advice, and much more. Participation in the Composers Workshop includes: – Two professional performances of your music: 1) A commissioned work written for the festival. 2) A speedwriting assignment, written and performed during the festival – Option to perform an additional piece on our “New Music Open Mic Night” – High-quality audio and video recording of the performances. – Opportunity to work with guest musicians in rehearsing your music. – Lectures by eminent guest composers and musicians. – Two private lessons with guest composers. – Admission to all festival concerts. – Making new friends and being part of a supportive artistic community. Computer Music Workshop June 18-30, 2018Max 2014 Laptop Orchestra Concert Application Deadline: May 5, 2018 About the Max Computer Music Workshop Charles Nichols and Ronald Parks, faculty The Max Computer Music Workshop (MCMW) is an intermediate-to-advanced two-week immersive workshop, during the Charlotte New Music Festival, focused on programming and composing computer music in the Max visual programming environment (http://cycling74.com/products/max/). Participants will learn techniques for programming interactive computer music, culminating in a public performance of works created during the workshop. The faculty will present a range of computer music topics, including digital audio synthesis, digital signal processing, alternative controllers and strategies, and implementation of interactivity in computer music. The workshop is intended for composers, performers, and programmers with some experience in computer music or computer programming. The goal of the workshop is to build understanding of computer music composition, theory, and performance, and foster innovation in a range of creative activities, using Max programming. Selection for the Max Computer Music Workshop is competitive, limited to 15 participants. |
| Web Site: | charlottenewmusic.org |
| Opera Lucca | |
| Summary: | Summer course in Italy |
| Deadline: | 19 February 2018 |
| Date Posted: | 27 December 2017 |
| Details: |
Opera Lucca is a summer festival for vocal, piano, and composition students. It will be held at the Lucca Italian School in the summer of 2018, June 11th through July 6th. We specialize in teaching Italian opera and art song through the language. Our distinguished faculty are either native Italian speakers or experts in operatic Italian. Some students will have the opportunity to stay in host families to improve their conversational Italian. Tuition for singers ranges from $3500 to $3900, based on housing options. See tuition page for details. We are accepting applications from vocalists, pianists, and composers. Contact us at info@operalucca.org if you are interested in participating! Daily Schedule: https://www.luccaitalianschool.com/immagini/scuola/ingresso_della_scuola_g.jpg Each day students will have four hours of Italian classes at the Lucca Italian School and a two-hour masterclass with voice faculty. There will be weekly coachings and lessons as well as regular rehearsals for performances. Students may also request additional Italian lessons, including private lessons with language-school teachers. Weekends: Saturdays and Sundays are free to travel around central Italy or relax in town. Lucca is close to many important cultural and tourist destinations: 1.5 hours from Florence, 30 minutes from Pisa, 3 hours from Rome, 2 hours from Cinque Terre, and 30 minutes from the beach at Viareggio. Composition students will experience a retreat to a Medieval Italian city to focus on setting vocal music through masterclasses and private lessons. Composers will come to the festival with vocal compositions already in progress to be completed while there with the guidance of faculty. Some compositions will be performed on concert programs. Students will also attend Italian classes. Lucca was home to Puccini and Boccherini and provides many locations in and around the city for retreat and inspiration. |
| Web Site: | operalucca.org |
| Longy's Divergent Studio | |
| Summary: | Summer programme |
| Deadline: | 09 April 2018 |
| Date Posted: | 27 December 2017 |
| Details: |
New Music, Chamber Music, Composition June 10-17, 2018 Application Deadline: April 2nd Notification: April 9th In Longy’s Divergent Studio summer program, soloists, ensembles, and composers engage in a whirlwind week of performance, composition, and collaboration. Along with daily coaching and concerts, all members of the program participate in workshops focused on the working relationships between performers and composers as well as interdisciplinary creative activities. Collaboration and cooperation are at the heart of Longy’s curriculum, and in this program participants have many opportunities to learn and grow together. Ensembles and Performers Both pre-formed ensembles and individual performers have the option of studying contemporary chamber works with loadbang or chamber music masterworks with the Neave Trio. Composers Work closely with Longy’s composition faculty and craft pieces for both fellow students as well as members of loadbang and Neave Trio. Work together to bring these fresh creations to life and hear your music performed live. Longy's Divergent Composition Workshop offers a unique experience which enables participants to work closely with world-class faculty composers as well as collaborate with loadbang and the Neave Trio. This week-long chamber music intensive offers opportunities to have your music performed live by Divergent students and faculty. Program highlights: • Each composer will be assigned an ensemble consisting of members of loadbang and the Neave Trio • Compose pieces in collaboration with other Divergent Studio participants • Coaching with Divergent faculty • Composition lessons/small group masterclasses with Divergent Composition faculty • Daily workshops covering both analytical and compositional topics • Workshops and social events with loadbang Contemporary Chamber Connection and Neave Trio Next Generation Chamber Exchange participants TUITION Early Registration Fee (April 23rd, 2018): $700 Regular Registration (May 2nd, 2018): $750 Current Longy Student Registration Fee: $350 Limited Scholarships Available. Scholarship applications will be sent with acceptance notification. ACCOMMODATIONS Students who need accommodations may stay in the dorms at Lesley University, which is approximately a 5-minute walk from Longy. According to demand housing can be arranged at Lesley University. Learn more QUESTIONS If you have any questions regarding the institute or how to apply, please contact: Jeremy Van Buskirk Acting Chair of Composition and Theory jvanbuskirk(at)longy.edu |
| Web Site: | longy.edu/academics/summer-pro... |
| NCEM Young Composers Award 2018 | |
| Summary: | Early Music Composition Competition |
| Deadline: | 16 February 2018 |
| Date Posted: | 27 December 2017 |
| Details: |
The winning pieces of the 2017 NCEM Young Composers Award performed by The Tallis Scholars were broadcast on BBC Radio 3's Early Music Show on 5 November and are available to listen to again here . Salve Regina by Dominic Wills (18 years and under) and Prayer from Afar by Frederick Viner (19 to 25 years) were premiered in a concert given by The Tallis Scholars at The Bridgewater Hall, Manchester. Launched on BBC Radio 3's Early Music Show, the 2018 NCEM Young Composers Award is presented by the National Centre for Early Music in association with BBC Radio 3 and the award-winning virtuoso early music ensemble The English Cornett & Sackbut Ensemble. There are two awards: one for composers aged 18 years and under; and one for composers aged 19 to 25 years. The winning works will be premiered in a performance by The English Cornett & Sackbut Ensemble at Turner Sims, Southampton on Tuesday 30 October 2018. This concert will be recorded for broadcast on BBC Radio 3's Early Music Show. Young composers resident in the UK are invited to compose a new piece to be performed by The English Cornett & Sackbut Ensemble, scored for two cornetts and three sackbuts, with optional chamber organ. Imitating the sound of the human voice was a central aim of cornett and sackbut players, and composers are encouraged to treat the cornetts and sackbuts as 'wordless voices', closer in spirit to a vocal ensemble than to a modern brass ensemble. The central repertoire for cornetts and sackbuts is Venetian music of the 16th and 17th centuries, and composers are also encouraged to look to Venice for inspiration for their piece. See the Terms and Conditions for full details of the brief and how to apply. Award schedule Closing date for registration Friday 16 February, 11.59pm Deadline for submission of scores Friday 16 March, 5.00pm Successful shortlist informed Friday 13 April Award Day at NCEM, York Thursday 10 May Premiere of winning works, Southampton Tuesday 30 October 2018 Applicants must register their interest in the award by 11.59pm on Friday 16 February 2018 by emailing the National Centre for Early Music at education@ncem.co.uk and stating which age group they wish to enter. Completed scores must be received no later than 5.00pm on Friday 16 March 2018. Those composers whose works are shortlisted will be invited to the National Centre for Early Music in York on Thursday 10 May 2018, when their compositions will be presented by The English Cornett & Sackbut Ensemble in a workshop led by composer Christopher Fox. At 7.30pm that day, The English Cornett & Sackbut Ensemble will perform each of the pieces in the presence of a panel of judges, after which two winners will be announced, one for each of the two age groups. The Terms and Conditions and Application Forms, along with information on Composing for the Instruments and Links to Venetian writing and painting can be downloaded below. Email education@ncem.co.uk if you would like to be added to the NCEM Young Composers Award mailing list. For details and winners of the 2017 NCEM Young Composers Award, and to listen to the eight shortlisted pieces, click here . See Previous Winners of the NCEM Young Composers Award here For further information see: www.bbc.co.uk/radio3/earlymusicshow www.ecse.co.uk www.turnersims.co.uk #youngcomposers |
| Web Site: | www.ncem.co.uk/composersaward2... |
| 2018 International Commissioning Call for Scores | |
| Summary: | Commission Opportunity |
| Deadline: | 20 April 2018 |
| Date Posted: | 27 December 2017 |
| Details: |
Deadline: Friday, April 20, 2018 The Nouveau Classical Project is thrilled to announce its 2018 Commissioning Prize! The selected composer will be commissioned to write a work for flute, clarinet/bass clarinet, violin, cello, and piano that incorporates extended techniques on our instruments. We're interested in extra-instrumental components including, but not limited to integrated movement or vocalizing, etc. (however, this component is not required). The score you are submitting is NOT the work we will perform. This score serves as a work sample. The selected composer will be commissioned to write a new work. ***IMPORTANT: PLEASE READ THE GUIDELINES AND FAQs THOROUGHLY BEFORE CONTACTING US WITH QUESTIONS. Thank you! Eligibility - Open to both US and international composers - Post-secondary and graduate students are also eligible to apply - Current undergraduate students and high school students are NOT eligible to apply - Composers who have won our Commissioning Call for Scores within the last 5 years are not eligible - Please refer to FAQ below to read more about eligibility. We will update with more questions as we receive them. Requirements for Submission 1) Composers must submit a work written after 2013 and scored for at least 4-8 instruments. 2) Inclusion of a recording is required (MIDI realizations are NOT accepted) 3) Composers must submit a proposal outlining idea/s for a new work for The Nouveau Classical Project (300 words max). Proposals for re-worked pieces or arrangements of previous works will be disqualified. We are seeking proposals for flute, clarinet/bass clarinet, violin, cello, and piano that incorporates extended techniques on our instruments. We're interested in extra-instrumental components including, but not limited to integrated movement or vocalizing, etc. (however, this component is not required). 4) Composers may only submit one (1) score. Please do not send files larger than 2048 KB. If your file size is larger, visit this page on how to reduce PDF size on a Mac, and this page for PC. Also, this online program will compress the file for you for free! 5) Non-refundable submission fee of $7, paid via the online form Call for Scores Winner 1) The winner will be paid a $1,000 Commissioning fee, inclusive of commission and copying costs (NCP will print its own parts) 2) Selected composer will be commissioned to write an 8-15 minute piece for flute (dbl. picc/alto/b. fl), clarinet (dbl. bass), violin, cello, and piano) and have the opportunity to work closely with NCP in creating the work (NO subsets; must use complete ensemble) 3) This work will be programmed on a concert during the 2018-19 season 4) Composer will be required to provide a PDF of a score and parts for the ensemble 5) An agreement will be sent to composer that will include deadlines, payment schedule, and the granting of two-year exclusivity to NCP to perform the commissioned work The winner will be announced by June 1, 2018. Questions? Please read the FAQs first before contacting us. If your question is not answered below, please contact us at info [at] nouveauclassical dot org. Please do not attach scores, documents, etc. to your e-mail. If you need to reduce your score size, please see directions above. |
| Web Site: | www.nouveauclassical.org/call-... |
| 39TH ANNUAL BOWLING GREEN NEW MUSIC FESTIVAL CALL FOR SCORES | |
| Summary: | Call for bassoon work/horn/piano |
| Deadline: | 05 March 2018 |
| Date Posted: | 21 December 2017 |
| Details: |
The MidAmerican Center for Contemporary Music at Bowling Green State University’s College of Musical Arts announces a call for works to be considered for performance on the 39th Annual Bowling Green New Music Festival, to be held October 17-20, 2018. The festival will feature the music of guest composer Aaron Jay Kernis and others, performed by BGSU faculty, students and a featured guest ensemble. This year, we are seeking works for the following instrumentation: Works for solo bassoon (unaccompanied or with piano), bassoon duo, or bassoon quartet Works for horn ensemble (6 or more players) Works for piano solo, piano four hands, or two pianos ELIGIBILITY: 1.) Composers of any age, nationality or institutional affiliation, except those currently enrolled at or employed by Bowling Green State University, are eligible to submit scores. APPLICATION PROCEDURES: 1.) All submissions should be made electronically, and should include the following: a.) Full score in PDF format b.) If available, a recording (MP3 or WAV format) or link to a recording (via your own personal web site, SoundCloud, YouTube, etc) that can be streamed or downloaded online. c.) Contact information including name, address, email, and a short bio or resume. Submissions via email (callforscores@bgsu.edu) are preferred. Submissions via DropBox, WeTransfer, or other file-sharing service will also be accepted. Only one submission per composer will be considered for inclusion on the festival. Exceptions to the electronic submission rule will be considered on a case-by-case basis. Please forward any questions or concerns to MACCM Director Kurt Doles (kdoles@bgsu.edu). 2.) Entries must be received by Monday, March 5, 2018 to be considered for performance. 3.) Composers selected to participate must provide scores, parts and other performance materials at their own expense. Attendance at the festival is required; a small honorarium of $200 is offered to help offset travel costs. 4.) Composers whose pieces have been selected for performance will be notified via email on May 1, 2018. |
| Web Site: | www.bgsu.edu/musical-arts/macc... |
| Summer Choral Composers Forum | |
| Summary: | Choral composing course |
| Deadline: | 01 March 2018 |
| Date Posted: | 21 December 2017 |
| Details: |
Composers are encouraged to apply to this week-long practicum, workshopping new pieces with mentor-composers Aaron Jay Kernis and Steven Sametz in a supportive atmosphere. New works will be premiered by The Princeton Singers at Lehigh University. Many of us have the desire to write, but it's hard to find dedicated time when we're not asked to juggle all the day-to-day pressing issues of life. It's difficult to take the personal time, find the quiet space, and a community of like-minded composers interested in supporting our efforts. 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 Aaron Jay Kernis, 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 Kernis 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 23th, 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. |
| Web Site: | composers-forum.lehighchoralar... |
| Zodiac Music Academy & Festival | |
| Summary: | Composition Course |
| Deadline: | 01 April 2018 |
| Date Posted: | 21 December 2017 |
| Details: |
Founded and led by the internationally-acclaimed Zodiac Trio, the Zodiac Music Academy & Festival invites students and young professionals to spend twelve days of intense musical training and performing in one of the most stunningly beautiful corners of the world: the South of France, Côte d'Azur. Tucked away in the heights of the French Alps, the Festival makes its home in a historic mountain town of Valdeblore, and boasts an internationally-renowned faculty, acclaimed guest artists and ample performing opportunities throughout the region. Composition course Working with living composers, commissioning new works and performing contemporary music is an integral part of a successful musical career. The Zodiac Music Academy & Festival selects five young composers each year to participate in its composition program. This composition course will not only provide private instruction, composition seminars and performance opportunities, but more importantly allow both composers and instrumentalists to collaborate on their own terms, explore, and influence the direction of music together. The Zodiac Music Academy & Festival composition course is lead by award-winning composer Andrew List – a long-time collaborator of the Zodiac Trio. Each composer will be paired with an assigned chamber ensemble from the festival roster and commissioned to write an eight-minute work, which will be premiered at one of the festival’s public concerts. Ample rehearsal time will be given for each composer’s work. It is our goal that these composer/performer collaborations will create lasting friendships that will continue beyond the festival. All participants will meet for a daily composition seminar, where a variety of pertinent topics important to composers and seminal musical works will be discussed. In addition, each composer will receive three one-hour private lessons with Mr. List and have daily access to a working studio and piano. Additionally, all composition students are welcome to participate in all the seminars and clinics offered by the Festival during the session, and are invited to join chamber ensembles (instrumental proficiency permitting), to allow for a larger scope of musical experience. Chamber Music Ensemble Collaboration Each composer will collaborate with a chamber music ensemble (or students musician), as they work together to prepare the commissioned work for a performance. Daily Composition Seminars Composition students will meet with Mr. List every morning as a group to discuss a myriad of topics and review works in progress as a group Three One-Hour Lessons Each student will receive private instruction in the form of three one-hour lessons Performance of Commissioned Work Participating composers will be commissioned to write an 8-minute work, which will be performed at the end of the Festival. Composer/Performance Seminars with the Zodiac Trio and Attending Faculty Throughout its career, the Zodiac Trio has commissioned over a dozen works, working with composers such as Andrew List and Richard Danielpour, have instigated numerous call for score projects, and have had over 100 works written for them in all. As part of the educational aspect of the Zodiac Trio’s career, the ensemble often works with student composers at various Universities across the United States, presenting clinics and seminars on the Performer-Composer relationship. In this seminar, the Zodiac Trio will discuss these collaborations in detail with the participating composers, in an informal and personal setting. Additionally, the composer seminar will be visited regularly by attending faculty to discuss their instruments and their experiences working with composers. |
| Web Site: | www.zodiacfestival.com/program |
| City Chorus | |
| Summary: | Call for Choral Scores |
| Deadline: | 24 March 2018 |
| Date Posted: | 21 December 2017 |
| Details: |
‘Songs of Travel’ call for choral scores deadline: 24 March 2018 City Chorus (www.londoncitychorus.com) is an unauditioned mixed choir in London UK. Our summer 2018 concert is entitled Songs of Travel, and we would love to include new pieces on this theme. In the following guidelines, “You” and “Your” refer to the composer/arranger submitting scores, “We” and “Us” refer to City Chorus. Eligibility All composers and arrangers, without any restriction, are welcome to submit scores. You may submit only one piece. Scoring Your piece should be scored for mixed choir, in four parts (SATB) or three parts (SABar). Also possible are pieces that are flexibly scored for any voices (e.g. “group I / group II / group III”). Please do not exceed four vocal parts in total. No divisi. No solos. Your piece can have piano accompaniment, or be written for voices unaccompanied. No other instruments are available. Theme & Style Your piece should relate in some way to the theme of travel. You are welcome to interpret this as literally or as metaphorically as you like! We are not looking for any one particular musical style. In fact, we are hoping for a wide range of approaches, in order to make our final programme as interested and as varied as possible. We welcome both original compositions and arrangements of existing music. Please bear in mind that we are an unauditioned amateur choir. Some of our members read music, while others learn primarily by ear. Our singers are prepared to work hard learning new repertoire, but pieces written with advanced chamber choirs or professional vocal ensembles in mind will probably not be suitable for us. Do not exceed four parts (i.e. no divisi passages). Copyright You retain copyright of music submitted. You should submit only material for which you hold copyright – not pieces that have been assigned to publishers or agents or third parties. Your music will not be copied or performed without your permission. If you use, quote or adapt any musical or text material that is not in the public domain, then you must send written evidence of permission from the copyright holder. Please note that, according to European law, intellectual property enters the public domain 70 years after the death of the creator. So, for example, words by a poet who died in 1950 (even if the poem itself was published in 1895), would still be under copyright. Your piece It’s OK if the submitted piece has already been performed or recorded. 2-5 minutes is our preferred length, but shorter and longer pieces will be considered too. Your score should be A4 or letter size, portrait format. Make sure your score has a title, page numbers and bar/measure numbers, and that your name and the source of the text is listed. Text/language Your piece can use any words, in any language. If the text(s) used is/are not in the public domain, then you must have permission from the copyright holder. For languages other than English, French, Italian, German and Latin, please include a phonetic guide for English-speaking singers. Performance(s) and recording Our “Songs of Travel” concert will be held on 6 July 2018 at St Pancras Parish Church, London – and we will be taking most of the same musical selection on tour to the Isle of Man (one or two performances, details tbc, 28/29 July 2018). We hope to have our concerts recorded, though we cannot guarantee this. If performances are recorded, we will share the recording with selected composers. We will not distribute or make the recording public without your permission. Financial arrangements There’s no fee to submit a score. For each piece that we select, we will pay the composer/arranger a fee of GBP100 (one hundred pounds sterling), for permission to print out a set of copies. Payment will be by cheque or PayPal only, in British pounds. You will be responsible for any bank charges, recipient fees, or currency conversion charges, and for paying your own tax on this income. We will keep copies of your piece, and you will give us permission to perform it in the future, for no additional fee. Deadline Please submit your score by 11.59pm (GMT) on Saturday 24 March 2018 We cannot take responsibility for items lost in the post, or for non-delivery of emails. What to send A score of your piece, clearly marked with your name, and the source of the text. Please name PDF files “composer surname – title” (for example: “Schubert – Winterreise”). Include your contact details in your message (if submitting via email), or in a covering letter (if submitting by post). Include written permission to use any copyright material. Send the PDF as an email attachment to music@londoncitychorus.com or a printed copy in the post to: City Chorus call for scores, Flat 44, New Atlas Wharf, 3 Arnhem Place, London E14 3SS (UK). Scores will not be returned. What not to send Please don’t send Sibelius or Finale files, or jpegs, etc – PDFs, or hard copies, only. Please don’t send recordings, photographs, CVs, catalogues, etc. Please don’t send more than one piece. Please don’t send music scored for more than four vocal parts, or that has no connection to the theme of travel, or that requires soloists or any instruments except piano. Please don’t ask us to download your piece from a website, or dropbox, or shared folder, etc. Send it as an attachment to an email message, or as a printed copy in the post. Response We will acknowledge receipt of your entry, and will inform you if your piece has been selected or not. We will be unable to enter into any further correspondence. From this call-for-scores hope to choose three pieces for performance. Maybe more, maybe fewer. And it is possible (though we hope this will not be the case) that none of the submitted pieces is suitable for our concert. Thankyou! Thankyou for your creative contribution. Please don’t be disappointed if your piece is not selected. It may be that you have written a wonderful work that just isn’t quite suitable for this particular choir at this particular time. Composers and arrangers whose work is selected will be offered four free tickets, and everyone who submits a piece will be offered one free ticket, to our London concert on 6 July 2018. We cannot pay for travel or accommodation. Information correct at time of going to press (1 December 2017). |
| Web Site: | www.londoncitychorus.com/call-... |
| Elevate Ensemble Call for Scores | |
| Summary: | Chamber Ensemble (up to 15 instruments) call |
| Deadline: | 16 February 2018 |
| Date Posted: | 21 December 2017 |
| Details: |
Elevate Ensemble is announcing its second annual call for scores, seeking chamber works, for up to 15 players, written by US-based composers. The selected score will be programmed in San Francisco on May 19, 2018, on Elevate’s season-closer concert Transformations. The winning composer will be offered a $500 honorarium, a recording of the performance, and travel expenses to attend the concert. Non-winning pieces may be considered for programming on future concerts. Guidelines • Compositions that can be tied to the general concert theme of “Transformations” will receive priority. Feel free to interpret this theme however you wish. • Submissions are due by 11:59pm PST, Feb 16, 2018, with the winner announced by March 31, 2018. • The winning composer must attend the performance. If the composer cannot attend, an alternate winner will be chosen. • Open to any composers physically and legally residing in the USA, with no restrictions on age or citizenship. • Pieces may be written for any instrumentation up to 15 players. However, pieces that make use of some or all of the instruments from Schoenberg’s Chamber Symphony no.1 will receive priority. That instrumentation is as follows (one player each unless noted): flute/piccolo, oboe, English horn, 2 clarinets, bass clarinet, bassoon, contrabassoon, 2 horns, 2 violins, viola, cello, bass. • Pieces with electronics are welcome as long as the composer can assist in realizing the electronics. • Previously performed pieces are eligible. Unperformed pieces are also eligible. • There are no restrictions on the age of the pieces submitted. As long as they represent your best work, we are interested in hearing them! • Composers may submit as many scores as desired, with a $20 application fee for the first piece and a $10 fee for any subsequent piece. • To submit a score, fill out the form below, submit payment via PayPal, and email the required support materials to info@elevateensemble.com, subject line: Call for Scores, YOUR NAME • Email the following support materials: PDF score, link to a streaming recording (youtube, soundcloud, etc.), a short biography, and (optionally) how the piece ties into the concert theme. • Please do NOT include any links to file downloads, as we will not open them. |
| Web Site: | elevateensemble.com/2017-18-ca... |
| CLASSIC PURE INTERNATIONAL VIENNA | |
| Summary: | Solo/duo competition |
| Deadline: | 23 March 2018 |
| Date Posted: | 21 December 2017 |
| Details: |
Culture Meeting Point (since 1995) is pleased to present the 2018 Composition Contest. ELIGIBILITY The competition is open to composers of all ages and nationalities. Unpublished works and works that have not won any competitions in the past may be submitted. REGULATION - Participants may submit as many compositions as they want and accompanying mp3 (if available). - The works may be for solo or duo. - Instruments include piano, violin, viola, cello, contrabass, flute, oboe, clarinet, bassoon, trumpet, trombone, horn, tuba, xylophone, guitar, harp and vocal. The composition may be either for one of these instruments or for a duo combination of these instruments. The composition should not exceed two players. - The composition must be original, between 3 and 15 minutes. - There is an entry fee of 25 Euros for the first work. Additional entries may be submitted for 15 Euros each. - Candidates take note of the fact that the jury will not make any queries in respect of applications. Please attach the following supporting documents to the application form: - CV - Current photograph - Passport copy - Proof of payment Missing documents will automatically exclude the candidate from admission. Documents submitted will not be returned. DEADLINE - Pdfs of scores and mp3s must be received by March 25, 2018. - Computer realizations will be accepted if a live recording is not available. - Winners will be informed by e-mail on March 30, 2018. - Winning works will be performed on 27 April 2018 in Vienna. JUDGING A jury assembled by Culture Meeting Point and Vienna Richard Wagner Conservatory will judge scores. PRIZES - Up to three winners will be named. - Winning compositions will be performed at a Viennese Concert Hall by the members of Vienna Music University on 27 April 2018. - Winners are expected to attend. They will receive a live recording of the performance. - Winners are responsible for their own transportation and accommodation. 1st Prize: 1.000, - Euro and Recording 2nd Prize: 500, - Euro and Recording 3rd Prize: 250, - Euro and Recording REGISTRATION FEE There is an entry fee of 25 Euros for the first work. Additional entries may be submitted for 15 Euros each. Each work must be submitted as a separate entry. The entry fee has to be paid using the following data. Bank: Bank Austria Name: Culture Meeting Point IBAN: AT96 1200 0006 0177 8103 BIC: BKAUATWW PayPal: culturemp@yahoo.com (Applicants outside European Union may contact us to receive a bank account number in their homeland) TO ENTER: Email your score in PDF format to the address: verein.culturemeetingpoint@gmail.com Be sure to include the following information in the email submission: name, mailing address, e-mail and contact phone number. Sound files(if available) must be in MP3 format and included in the same email as the score. Pay the registration fee through bank transfer or PayPal with your name and the name of your composition. Organization: Culture Meeting Point Office Classic Pure Vienna Diefenbachgasse 54/2c+d A-1150 Wien Austria E-Mail: verein.culturemeetingpoint@gmail.com Deadline: 23 March 2018 Entry Fee: 25.00 Currency: Euro (EUR) |
| Web Site: | www.facebook.com/events/180297... |
| Dublin Sound Lab | |
| Summary: | Piano and electronics call |
| Deadline: | 15 February 2018 |
| Date Posted: | 21 December 2017 |
| Details: |
Dublin Sound Lab invites composers of any age or nationality, with experience or interest in electronic composition and performance, to participate in Music Current Festival, 12–14 April 2018. Participation & Commission Opportunity Composers are invited to submit new or existing works for piano in combination with fixed-media, computer or live electronics. As many as eight composers will be selected to participate in workshops and masterclasses with the renowned Belgian composer Stefan Prins (ww.stefanprins.be). Selected works will be performed in concert on the final day of the festival, when one of the participating composers will be awarded the Music Current Commission of €2,500 for a new work to be premiered at Music Current 2019. Participating composers will attend all festival concerts, and will take part in a programme of masterclasses and workshops at the Contemporary Music Centre and Smock Alley Theatre, Dublin. Composers will receive an audio recording of the concert performance of their own work. Irish composers can apply for a Contemporary Music Centre Travel Bursary to cover travel costs within the island of Ireland. Masterclasses and Workshops Thursday 12 April, 4–5pm: Welcome and Presentation by Stefan Prins Fox (CMC Library) Guest composer, Stefan Prins, presents on his recent work, with special reference to the festival theme, 'piano + electronics'. Thursday 12 April, 6pm: Music Current Festival Launch (CMC Library) Festival launch with invited guests, festival composer Stefan Prins, participant composers, festival performers, and composers and technicians from Dublin Sound Lab. Friday 13 April, 10am–12.30pm: Masterclass workshop with Stefan Prins (CMC Library) Participating composers present on their work in round-table discussions moderated by Stefan Prins. Composers will discuss technical and performance-related issues relevant to the selected works in a friendly discursive session involving all participant composers. Friday 13 April, 1pm–2pm: Presentation with Silvia Rosani (CMC Library) Silvia Rosani, recipient of the 2017 IMRO/Music Current Commission, presents on her recently completed work. Friday 13 April, 3pm–4pm: Masterclass with pianist Xenia Pestova (CMC Library) Pianist Xenia Pestova offers observations on participant composers' compositions, focusing on technique, presentation, style and performance-related issues. Friday 13 April, 4pm–5pm: Technical Review with Alexis Nealon (CMC Library) Senior sound engineer, Alexis Nealon, discusses practical sound engineering issues concerning computer-based mixed music, focusing on participant composers' works. Topics will include: scalable performance, studio audition versus concert reproduction, distribution and portability of electronic music, understanding sound levels and engineering terminology. Friday 13 April, 6pm: Public Panel Discussion, 'Are we there yet?' (CMC Library) Public discussion on current composition trends, performance practice, critical perspectives, and new directions, featuring festival composers Stefan Prins and Ann Cleare, pianist Xenia Pestova, sound artist Sven Anderson and musicologist Adrian Smith (DIT). Moderated by Evonne Ferguson, Director of CMC. Saturday 14 April, 10am–2pm: Technical workshop (Smock Alley Theatre) Rehearsal of works by participant composers for this afternoon's concert. Open to all participating composers. APPLICATIONS CLOSE 15 FEBRUARY 2018 HOW TO APPLY |
| Web Site: | www.musiccurrent.ie |
| Hong Kong Children’s Choir 50th Anniversary Children’s Choral Composition Selections | |
| Summary: | Children's Choir Competition |
| Deadline: | 31 March 2018 |
| Date Posted: | 21 December 2017 |
| Details: |
“The Hong Kong Children’s Choir 50th Anniversary Children’s Choral Composition Selections” aims to promote choral compositions for treble voices, and is part of the HKCC Golden Jubilee celebratory activities. 1. Participation is open to composers of all nationalities and ages 2. Requirements for entry a. Submitted work(s) must be original, unpublished b. The children’s choral composition selections are divided into 2 categories i. HKCC’s Intermediate Level (For ages 8-11): Mainly for 2-part (SA) children’s choral works (occasional divisi), or simple 3-part (SSA) ii. HKCC’s Senior Level (For ages 10-16): 3-part (SSA) to 4-part (SSAA) or more c. Instruments: The work can be written with piano accompaniment or a cappella or with optional instrumental accompaniment d. Text: Text should be in the public domain, or obtained permission from the author or copyright holder e. Format: PDF format, with page numbers, generated by Sibelius, Finale or other similar computer programs. Midi, mp3 or similar audio files should also be included upon submission. Composers’ name should appear only on the first page of the work. The adjudicators will receive anonymized scores to review. f. Duration: Maximum 4 minutes for HKCC’s Intermediate Level; Maximum 6 minutes for HKCC’s Senior Level. Duration should be indicated on the first page of the work. g. Language: Any languages h. Each composer may submit 3 works maximum in total#. Works cannot be revised after submission. 3. Selection Criteria a. Text content, musical style and techniques b. Relationship between text and music c. Effectiveness of piece for a children’s choir d. Efficiency and Effectiveness of Accompaniment e. Overall Artistic Presentation and Creativity 4. Prizes and Awards Each selected piece in HKCC’s Intermediate Level will be awarded US$600 Each selected piece in HKCC’s Senior Level will be awarded US$1000 10-15 pieces will be selected from each category. Selected work(s) will be published in The Hong Kong Children’s Choir 50th Anniversary Children’s Choral Songbook. |
| Web Site: | www.hkcchoir.org/50thChoralSel... |
| New Music • New Video | |
| Summary: | Piano Competition |
| Deadline: | 01 May 2018 |
| Date Posted: | 14 December 2017 |
| Details: |
COMPETITION DETAILS Prize information • Anderson & Roe will perform the winning composition in a fully produced music video in their signature style. • Anderson & Roe will produce, direct, edit, and finance the music video of the winning competition. • Anderson & Roe will share the competed music video with their fans on YouTube, Facebook, Instagram, Twitter, and andersonroe.com within a year of announcing the winner. • The winning composition will be personally selected by Anderson & Roe and announced in June 2018. • The winning composer will have the opportunity to contribute ideas to Anderson & Roe regarding the vision of the music video. Composition requirements • The performance time must not exceed five minutes. • The composition may be in any style. • The composition may be for two pianos or one piano, four hands. • Original works are preferred, though arrangements that deviate dramatically from public domain source material will be considered. • The competition is limited to compositions that have not been performed earlier, published in any form, or awarded in any competition. • Compositions using extended techniques (i.e. introducing foreign objects into the workings of the piano to change the sound quality, strumming or plucking of strings) are permitted. Rules for submission The submission period will remain open until May 1, 2018. There is a $20 fee to apply. • Submissions should be sent as a single email to newmusic@andersonroe.com with the composition title and the composer's name in the subject line. • All entries must include a .pdf copy of the score as an email attachment. • The .pdf score should be labeled with the title of the work, the composer's name, and the date of composition. • Scores of multi-movement pieces should be submitted together as one joint PDF file. • The body of the email should include: o The composition title, the composer’s name, and the composer’s age. o The point from Anderson & Roe’s Listening Manifesto (http://www.andersonroe.com/listening-manifesto) that most resonates with the composer. o Optional: a short written description of the work. (International applicants: please translate all text to English.) o Optional: an .mp3 recording of the work (live or MIDI). o Note: please do not send any additional materials such as photos or bios. • The $20 application fee should be paid via PayPal to newmusic@andersonroe.com. • Each entrant may submit up to two compositions for consideration. Please send each composition as a separate entry with a separate application fee. • No third-party submission sites such as Dropbox or WeTransfer will be accepted. • Application materials must be submitted electronically; no postal mail submissions will be accepted. • Submissions that do not strictly follow the guidelines, or are submitted before or after the submission period will be disqualified. Other information • Receipt of submissions will be acknowledged by return email. • Depending on the number of submissions, feedback regarding individual submissions may or may not be provided. • By participating in the competition, a composer declares that the composition can be recorded for purposes of the music video prize, without any financial claims from the composer's side. The winning composer will be asked to sign a sync license agreeing to the terms. Any questions regarding the competition should be directed to competition administrator Jasmine Jones at jasmine@gregandersonpiano.com. |
| Web Site: | www.andersonroe.com/newmusic/ |
| Call for scores / Appel à partitions – Festival Osmose, Belgium | |
| Summary: | Flute/mariba duo call |
| Deadline: | 25 August 2018 |
| Date Posted: | 14 December 2017 |
| Details: |
We kindly invite composers to submit scores. The call is open to composers of any nationality and age. 1) Concert of November, 30, 2018 : Pieces should be written for professionnal duo flute/marimba, only one work per composer. Submitted work must be premiered work in Belgium. Duration : 3 minutes maximum Participation fee : 20 euros (the entry fees are not refundable). Registration becomes effective after receipt of the fee. Please send short CV (5 lines), proof of the paiement and readable score format PDF to the following address : dan.baas@skynet.be Deadline : August, 25, 2018 Composers will be given a copy of the recording of their work. Selected composers will be notified by email at the end of September. |
| Web Site: | www.danbaas.be |
| Mauricio Kagel Composition Competition | |
| Summary: | Call for Piano Works |
| Deadline: | 15 August 2018 |
| Date Posted: | 14 December 2017 |
| Details: |
Considering the relative overabundance of piano literature, it would be seemingly foolhardy to stage a composition competition promoting the creation of new pieces for piano. Everything appears to exist already, even pieces for children and young adults. Still, far too frequently it is precisely this contemporary „educational literature“ which proves lacking in artistic qualities; accompanying a reduction in technical difficulty, with an objectionable reduction in the notion of what children and young adults are capable of understanding – both intellectually and emotionally. We are looking for piano pieces written for children and young adults which, although limited in their technical difficulty, remain uncompromising in their artistic aim; pieces written with a contemporary compositional technique which offer the young student stimulus, insight and new experiences: experiences about oneself and the world in which we live. With the creation of this competition, the Ludwig van Beethoven Department of Piano and Harpsichord in Music Education would like to ensure that such quality pieces are more prevalent in the future and to this end we invite composers to accept the challenge by enrolling in the competition. In the course of a week’s time an audience comprised of students, teachers, and performing artists will be given the chance to listen as the jury evaluates the different ways this challenge has been addressed by the composers. The jury will assess not only the artistic quality of the pieces, but also the question: what does a piano student learn from these pieces? And in addition the discussion will cover what makes a piece exciting and what is future-oriented; while at the same time never loosing sight of the technical limits implied when composing for children and young adults. The decision of the Jury to award the prizes within the course of the Maurico Kagel composition competition is reached, therefore, in a very special way – not behind closed doors, but in open and public discussion. The winning pieces will be technically suitable for children/young adults but will not compromise their artistic aim in order to make a pedagogical impact. Instead, they will be convincing due to their compositional quality. General Conditions Conditions for Participation a) The competition is open to all composers born after August 15th, 1978. Participants who were awarded prizes in 2010, 2013 and 2016 are no longer eligible to enter. b) The submitted score should be composed for this competition. The composition must not be older than three years and should not have been performed privately or publicly, copied, distributed, broadcasted or made accessible on the internet. c) Each composer may submit only one score in its entirety and not in part. Details of the composition The composition should be written for one piano (solo or for more than one pianist), and can include all facets of the instrument. It is of great importance that the pieces be appropriate in their level of difficulty for children / young adults and be suitable for pedagogical use. Therefore the pianistic difficulties and musical challenges should be conceived with children / young adults in mind. The score is expected to be comprehensible and clear. Instructions for performance must be written in German or English. The piece or group of pieces is expected to have a total length of between 6 and 15 minutes. Applications a) The participants are to send an envelope marked on the outside with a freely chosen five-digit code which will secure the anonymity of the participant. The envelope should contain: 1. six copies of the piano score - each annotated with the same five-digit code. The composer's name should not appear on the score 2. an additional sealed envelope marked with the same code and containing the composer's personal data, a short curriculum vitae and two recent photos. b) All entries must be postmarked no later than August 15th, 2018 and should be addressed to: Universität für Musik und darstellende Kunst Wien Ludwig van Beethoven Institut für Klavier und Cembalo in der Musikpädagogik Rennweg 8 1030 Wien Österreich Jury Michael Jarrell Isabel Mundry Robert HP Platz Rebecca Saunders Marco Stroppa • From the entries received, each jury member will nominate several pieces to be included in the Vienna Days of Contemporary Piano Music 2019 (February 4th - 7th, 2019), openly discussed by the jurors and considered for a prize. • The presentation of the prizes will take place on the 7th of February, 2019 during the Vienna Days of Contemporary Piano Music 2019. • The organizers reserve the right to find replacement jury members as seen necessary. • The jury is free in its decision making. All decisions of the jury are final and indisputable. There can be no appeal against the jury’s judgement. Prizes 1st Prize € 5.000.- 2nd Prize € 3.000.- 3rd Prize € 2.000.- The jury may decide to divide the prizes or not to award a prize. Winning scores will be published together in a volume entitled K2019. Additionally, the jury may create a list of recommended pieces. The Ludwig van Beethoven Department of Piano and Harpsichord in Music Education will release digital recordings of the prize winning pieces and selected recommendations from the jury. |
| Web Site: | www.mauricio-kagel-composition... |
| INTERNATIONAL COMPOSERS COMPETITION 2018 | |
| Summary: | Choir competition with two categories |
| Deadline: | 31 March 2018 |
| Date Posted: | 14 December 2017 |
| Details: |
RULES AND ENTRY DETAILS 1. The Competition is open to any composer. 2. The Competition has no age restrictions. 3. Two cash prizes, each of £1000 will be awarded to the winner of both Categories (Adult Male Choir and Cambiata Choir), plus a runner-up and third prize of £500 and £250 for the Adult Classes only. 4. Other ‘Certificates of Commendation’ may be awarded. In the event of an entry being submitted by two or more people (e.g. lyricist and composer) the cash prize will be shared. 5. The composition must be completely original. Arrangements are not allowed. However, lyrics can be used which the composer can prove are out of copyright or for which the composer has written permission for their use. (Evidence must accompany the entry.) 6. The composition must not have previously been submitted for any form of publication (including self publishing on any internet site), any form of competition or previous performance. 7. The composition must be set for male choir (TTBB or Cambiata). Scores not appropriately laid out for the selected ensemble will be rejected from the adjudication process. 8. The composition should not exceed three minutes in length and may be accompanied or unaccompanied. The composition will be judged on its musical merit, appropriateness for the selected genre and the suitability of the text setting. The actual choice of lyrics / text will not be adjudicated. 9. If the composition is not of English text/lyrics, then a translation into English must also be provided on a separate sheet, if needed. 10. By entering this Competition, the composer gives permission for the Festival to copy and distribute any entry for four distinct purposes only: a. For the winning entry to be sung by an ensemble at the Presentation Evening in the Autumn of 2018; b. For any choir wishing to sing a Competition entry during the 2019 Festival and specifically for the winning entry to be officially premièred during the 2019 Festival; c. For choir learning audio tracks to be produced to facilitate learning of the music. d. For the winning entry to be available on our website and for use of participating choirs of the Festival , and at any point present or future (see note under ‘Publication and Copyright’) 11. In all cases, the decision of the Adjudicator is final. No correspondence will be entered into. SUBMISSION DETAILS 12. Entries may be submitted on paper or electronically. 13. Electronic submission can be in any music scoring software format though Sibelius is preferred. Please discuss (by email or telephone) other formats with the Festival Director prior to submission 14. If using Sibelius, please also send a version in Sibelius Student, and a PDF. 15. Please be aware that all paper entries and those submitted as .pdf files will be electronically scanned into Sibelius for ease of adjudication and for purposes as described in 8 above. 16. Paper entries must be submitted only on white, A4 size manuscript paper, written in black ink. Such manuscript entries must be written on one side of the paper only. Please be aware that, while every effort will be made to ensure the accuracy of the finished electronic file following the entry being scanned, no guarantees are either given or implied that such scanning will result in a 100% accurate copy of any manually submitted original. The Festival cannot be held liable for any scanning errors and scanned files will not be returned to composers for proofing. If a handwritten score proves incapable of being scanned, the composer will be notified and offered advice for resubmission (as long as the competition closing deadline can still be met). Hand written scores along with their electronic equivalent will be submitted together for adjudication. 17. Composers submitting entries on paper are advised to keep copies in case their work becomes lost in the post. The Festival is unable to return any material submitted on paper. 18. Since all scores will be submitted to the adjudicator anonymously, entries (in any format) must only contain the title of the piece (which can be repeated as a footer on each page if desired). Entries must NOT be identifiable by containing either copyright information or the composer’s name. Pages should be numbered sequentially. If composers feel insecure regarding copyright issues, the UK Copyright Service (http://www.copyrightservice.co.uk/copyright/) has further information on the matter. 19. The Festival accepts no responsibility for the non-arrival of any entries submitted by post. 20. The cost of entry is £20 per item submitted. You may submit more than one entry. 21. Entries, the application form and appropriate fee should be submitted either by post to: Robert T. Elliott, Festival Director, Cornwall International Male Choral Festival, 19 Shakespeare Road, Royal Wootton Bassett, Wiltshire, SN4 8HD, or electronically to rob@cimcf.uk to arrive no later than Saturday 31st March 2018. 23. Wherever possible, entries will be acknowledged by return. 22. For internet bank payments, the details are: Barclays, King Street Truro Branch Sort Code 20-87-94 Account Number 20851167 Account Name Cornwall International Male Choral Festival Ltd (or CIMCF LTD) Reference Your surname preceded by the letters “CC” N.B. if payments arrive to our account without the correct reference, your entry will not be valid. PUBLICATION AND COPYRIGHT 24. The winning composition(s) will be put onto the Festival website, and then available as a PDF for any choir to download and use it/perform it without charge. This will give the composition maximum coverage and hopefully be sung by many more choirs than could be imagined otherwise, enabling the composer to become more widely known and thus leading to future commissions and projects. 25. From October 1st 2019, the winner shall have the option of continuing to allow the composition to be accessed via the website, as above, or having it withdrawn for the purposes of publication independently. If the latter is chosen, then this request must be made in writing to the Festival Director any time from 1st October 2019, allowing 4 weeks from the date of the notification for the removal from the website. ADJUDICATION AND PRIZE PRESENTATION 26. Adjudication will take place during April and May 2018. 27. The Prize winners of each category and those receiving commendations will be notified during June 2018 and then subsequently announced on the Festival website and in a press release. 28. The prize and any commendation certificates will be awarded at the Presentation Evening to be held in Autumn 2018 (Date TBA) in Truro. All competition entrants will be invited. 29. The Festival is unable to pay any expenses towards entrants attending the Presentation Evening. 30. The winning items will be sung by an appropriate ensemble to an audience of sponsors, patrons, board and company members, and other invited guests. 31. During the Presentation Evening, the Adjudicator will make general remarks related to the quality of the compositions and important issues he feels need expanding upon. He will also comment briefly on selected individual entries. He will outline his reasons for selecting the winning entry and any selected for special commendation. Time will not permit a detailed adjudication on each entry during the evening. However, a short written critique of each entry will be provided to composers attending the Presentation Evening or in the post afterwards. 32. The Adjudicator will be available for short discussion with individual composers following announcements and the presentation. |
| Web Site: | www.cimcf.uk/2018/composers.ht... |
| Barlow Prize 2019 | |
| Summary: | SATB choir competition |
| Deadline: | 01 June 2018 |
| Date Posted: | 14 December 2017 |
| Details: |
$12,000 Commission New Work for SATB Unaccompanied Choir The winning composer will receive a $12,000 commission for a major new work of 9-12 minutes for SATB unaccompanied choir. The work will be performed by a consortium of choirs: BYU Singers (Utah); two-time Grammy nominated choir, Seraphic Fire (Florida); and the 2017 Grammy nominated choir and Margaret Hillis Award for Choral Excellence recipient, The Crossing (Pennsylvania). The work is expected to meet the highest artistic requirements for the medium. Additional specifications for the work will be negotiated among the Barlow Endowment, the composer, and the performing consortium. Half of the commission fee will be paid when the contract for the commission is signed, and the other half will be paid when the finished score is submitted to the Endowment. There are no restrictions with regard to musical style, nationality, age, gender, race, religion, or political persuasion. The only limitations are: 1) Composers who have won the Barlow Prize in the previous five years will not be considered in the Prize competition. FAQS 2) Members of the Barlow Boards are not eligible. FAQS New procedures for applying: Start the application process for the Barlow Prize by clicking on the application link found below. Upon completion, an e-mail will be sent to the applicant with further instructions and with the application PDF attached. • Note: Your application is saved automatically and closing the browser will not result in lost data. In order to resume the application process, you must re-open the application link on the same device you began your application. • Anonymous submission is not necessary. FAQS • Supporting materials should be sent by regular or express mail and must include a background sketch/ brief bio (one page), résumé of compositional activity, and exactly two (2) submitted hard-copy scores. (REMINDER: submit EXACTLY two physical scores. No electronic scores will be accepted.) FAQS • Of the two works you submit, one should be your best work (regardless of instrumentation). • The other should be your best work that is closest to the consortium/performer requirement for which you are applying. It need not be exact, but can feature the category in another context. The judges will be interested in seeing how you handle the instrument(s) in as close a context as you can show. • Additionally, one of these two chosen compositions (not an arrangement or recasting of an earlier work) must be no more than five (5) years old. • The Endowment does not provide advice to applicants regarding which piece of music best represents them and their abilities. • Recordings should be uploaded as part of the application form and should be uploaded in .aac or .mp3 formats only. Scores with recordings are considered extremely helpful in the judging process. Live recordings are strongly encouraged; MIDI realizations are discouraged. Judges will not review DVDs or CDs. FAQS |
| Web Site: | barlow.byu.edu/prize-applicati... |
| Minute of Music Project | |
| Summary: | Competition for US composers |
| Deadline: | None |
| Date Posted: | 06 December 2017 |
| Details: |
Call for Scores – Submit Your Score First Open Call For Scores! – Minute of Music Project Entry Deadline: None (ongoing) Entry Fee: None (project is crowdfunded) Eligibility: All adult U.S. citizens (18 or older) Prize: None, but I will record your piece for posterity! Submission Link Below (please read the rules first)! Rules: One entry per person. Entrant must be 18 when submission is completed. Entrant must reside in and be a legal citizen of the United States. Entry must be for solo B-flat trumpet (with no accompaniment or electronics). Entry must be no longer than one minute in length. Moderate difficulty is preferred. Entry must be engraved with the dedication “For the Minute of Music Project.” Composition must have been written since January 1, 2016. Entry must be the sole property of the composer and entirely original. No arrangements or copyrighted material will be accepted. The secret word for the submission form is “banana.” Composers reserve their copyright and recording rights. Mr. Taurins reserves the sole right to accept or reject submissions. Mr. Taurins reserves the sole right to judge submissions. All judgement decisions will be made by Mr. Taurins and are final, without the ability to appeal. Mr. Taurins reserves the right to decline any and all submissions. Mr. Taurins will pay no license or rental fees for the music. Mr. Taurins will perform selected entries and record them on YouTube. By submitting your piece, you agree to allow Mr. Taurins to record your entry free of charge. Selected pieces will be announced here and composers will be notified via email. Donations are optional, and will not effect score selection. By submitting your piece, you agree to the terms listed here. Have a question not answered here? Use the contact tab. |
| Web Site: | minuteofmusic.wordpress.com |
| 2018 Washington International Competition for Composition | |
| Summary: | Chamber Call for Scores |
| Deadline: | 15 February 2018 |
| Date Posted: | 06 December 2017 |
| Details: |
Prizes • First Prize—$5,000 • Second Prize—$2,500 Important Dates and Information • Application Deadline: February 15, 2018 • Winners’ Announcement: April 1, 2018 • Performance of Winning Composition: June 24, 2018, at the Terrace Theater of the Kennedy Center for the Performing Arts, in Washington, DC. Professional musicians will perform the winning composition. Requirements • Entrance fee of $45 US; check payable to Friday Morning Music Club Foundation. • Composition must be a chamber work for three to five players for string trio, string quartet, piano trio, piano quartet, or piano quintet. No electronics. • Composition must be a maximum of 8 minutes long. • Composition must not have been commercially published or publicly performed. • Composer must be between 18 and 35 years old. • Scores must be accompanied by a cover letter including composer’s name, contact information, and curriculum vitae. • The composer’s name must not appear anywhere on the score. • Winning composers must be prepared to supply a set of performance materials upon notification of their award. Applications • Online application is through the getacceptd.com website. Click here to apply: https://app.getacceptd.com/wiccomposition • Applicants who are unable to submit their scores electronically may mail them in paper form. Paper scores will be converted into PDF format. Send all paper scores, entrance fee, and materials postmarked by February 15, 2018, to the following address: Washington International Competition for Composition 1536 Winding Waye Lane Silver Spring, MD 20902 For additional information about the competition and the application process, please contact Mark Simon at diegobueno1@mac.com. |
| Web Site: | fmmcfoundation.org/current-com... |
| ICC "The contemporary Guitar 2018" | |
| Summary: | Solo guitar competition |
| Deadline: | 31 March 2018 |
| Date Posted: | 06 December 2017 |
| Details: |
Modern compositions for solo classical guitar, duration 3 to 5 minutes. The competition is open to composers of all ages and nationalities. Unpublished works & works that have been performed previously and won competitions in the past may be submitted. Description: Modern compositions for solo classical guitar, duration 3 to 5 minutes. The competition is open to composers of all ages and nationalities. The selection criteria are musical and no extra-musical parameters such as gender, level of difficulty, nationality and age quotas etc. will be taken into account. The only examined quality will be the text itself. Unpublished works & works that have been performed previously and won competitions in the past may be submitted. Registration fee: The registration fee is €45,00 per work / submission, paid through bank account transfer or PayPal. EUROBANK GREECE (ERBKGRAA) ΙΒΑΝ: GR3402603280000950101210083 PayPal: www.paypal.me/DANOUSANART (In the grounds, provide name and deposit reason). All transfer and bank charges will be covered by the applicants. Submissions: Submissions are to be made until Saturday March 31st, 2018 electronically to info@an-art.com including at the same email: i. An unmarked and unnamed PDF (sheet music) of a work (composition) for solo classical guitar, duration 3 to 5 minutes. ii. A separate file (PDF, RAR, ZIP etc.) with a printout of the registration payment (fee payment receipt), the details of the composer (name, age, address, telephone, email, etc), a bio (biografical notes), a good foto of the composer, title and a text for their submitted work. Committee - selection: The committee will consist of distinguished guitarists and composers. Will meet in April 2018 and will select by voting up to four (4) works based on their musical quality rather than the degree of difficulty or other criteria. The committee's decision is final. Prizes: The prize winning works (up to 4) will receive: 1. An official diploma. 2. Audio & video recording by the distinguished guitarist and composer Smaro Gregoriadou, in a high quality AN ART ARTISTRY's production. 3. The recordings will be uploaded and presented at AN ART ARTISTRY's YOUTUBE channel, sites, social media pages, newsletters etc. 4. A page in www.an-art.com site will be created for each one of the winning works - composers with a presentation of the works. The honorable mention works (up to 4) will receive: 1. An official diploma. 2. A page in www.an-art.com site will be created for each one of the honorable mention works - composers. |
| Web Site: | www.an-art.com/en/activities/5... |
| ICC "The contemporary Guitar 2018" | |
| Summary: | Solo guitar competition |
| Deadline: | None |
| Date Posted: | 06 December 2017 |
| Details: |
Modern compositions for solo classical guitar, duration 3 to 5 minutes. The competition is open to composers of all ages and nationalities. Unpublished works & works that have been performed previously and won competitions in the past may be submitted. Description: Modern compositions for solo classical guitar, duration 3 to 5 minutes. The competition is open to composers of all ages and nationalities. The selection criteria are musical and no extra-musical parameters such as gender, level of difficulty, nationality and age quotas etc. will be taken into account. The only examined quality will be the text itself. Unpublished works & works that have been performed previously and won competitions in the past may be submitted. Registration fee: The registration fee is €45,00 per work / submission, paid through bank account transfer or PayPal. EUROBANK GREECE (ERBKGRAA) ΙΒΑΝ: GR3402603280000950101210083 PayPal: www.paypal.me/DANOUSANART (In the grounds, provide name and deposit reason). All transfer and bank charges will be covered by the applicants. Submissions: Submissions are to be made until Saturday March 31st, 2018 electronically to info@an-art.com including at the same email: i. An unmarked and unnamed PDF (sheet music) of a work (composition) for solo classical guitar, duration 3 to 5 minutes. ii. A separate file (PDF, RAR, ZIP etc.) with a printout of the registration payment (fee payment receipt), the details of the composer (name, age, address, telephone, email, etc), a bio (biografical notes), a good foto of the composer, title and a text for their submitted work. Committee - selection: The committee will consist of distinguished guitarists and composers. Will meet in April 2018 and will select by voting up to four (4) works based on their musical quality rather than the degree of difficulty or other criteria. The committee's decision is final. Prizes: The prize winning works (up to 4) will receive: 1. An official diploma. 2. Audio & video recording by the distinguished guitarist and composer Smaro Gregoriadou, in a high quality AN ART ARTISTRY's production. 3. The recordings will be uploaded and presented at AN ART ARTISTRY's YOUTUBE channel, sites, social media pages, newsletters etc. 4. A page in www.an-art.com site will be created for each one of the winning works - composers with a presentation of the works. The honorable mention works (up to 4) will receive: 1. An official diploma. 2. A page in www.an-art.com site will be created for each one of the honorable mention works - composers. |
| Web Site: | www.an-art.com/en/activities/5... |
| INTERNATIONAL COMPOSERS COMPETITION "MARIN GOLEMINOV" | |
| Summary: | International Composers' Competition |
| Deadline: | 01 October 2018 |
| Date Posted: | 06 December 2017 |
| Details: |
The Organizing Committee of the International competition "Young virtuosos” and the "Young virtuosos” Foundation are proud to announce its 2018 edition in the categories Chamber Music and Composition. The competition will take place in Sofia, Bulgaria, from 16 to 22 April 2018 for the category Chamber Music and from 8 to 12 October 2018 for the category Composition With a special decision of the organizers since 2018 the composition contest will bear the name of the famous Bulgarian composer Acad. Marin Goleminov. I. General Conditions 1. The competition is addressed to young performers and composers from all nationalities, specialties and age groups as specified in point 2 of the General Conditions. 2. The competition is held in the following age groups and categories: 2.1. Categories: Chamber music and Composition 2.2. Age groups Chamber music Group I - up to 19 years – average age of the ensemble. Group II - up to 31 years – average age of theensemble. Composition Up to 35 years of age – born after 1.01.1983 II. Registration 1. The registration for participation in the competition is done only by Application Form. The application forms for all disciplines must arrive IN A ELECTRONICAL WAY no later than: B. For the category Composition - MONDAY, 1st OCTOBER 2018 2. The application forms are available on the website of the “Young Virtuosos 2018” International Competition 2018”. 3. The application forms for the categorie Composition must be accompanied by the following documents: - a document certifying the age of the participant; - two artistic photos (.jpg, 800 x 500); - a short artistic biography of the participant; - a receipt of paid Registration fee of 30 (thirty) EURO for each submitted work; - PDF file of one or more works written in the last five years; 4. The candidates must pay the fee on the cash-desk of the Competition or via Bank transfer to the following bank account: “Young virtuosos” Foundation UNICREDIT BULBANK Sofia Pametnik Levski Sofia, 1, Yanko Sakazov Blvd. IBAN: BG23 UNCR 7000 1522 4504 49 BIC: UNCRBGSF 5. Registration fee deposited by an absent participants or candidate who doesn’t meet the conditions for participation is not refundable. 6. All candidates who will pay the Registration fee on the cash-desk of the Competition must add to the application documents the Declaration Model 1. 7. Late registration or the lack of any of the required documents will make the application void. III. REPERTOIRE INTERNATIONAL COMPOSERS COMPETITION "MARIN GOLEMINOV" Up to 35 years of age – born after 1.01.1983 One or more works for solo instrument or chamber ensemble up to 5 performers written in the last five years. The works must be sent exclusively in a PDF file by e-mail to the secretary of the competition at composition@yvcompetition.org and young_virtuosos@abv.bg no later than MONDAY, 1 OCTOBER 2018. IV. COMPETITION PROGRAMME, JURY, PRIZES 1. The work of the Jury is organized through Formal written regulations made by the Organizing committee according to the Quality Standards of the European Union of Music Competitions for Youth (EMCY). 1.1. The order of performers will be defined by draw of lots. 1.2. Competitors missing their order of performance will be disqualified. 1.3. Special international jury formed by prominent musicians and composers will be elected for each category. 1.3.1. The International jury consists of recognized experts in the discipline, instrument or family group of instruments of the competition held. 1.3.2. The International jury of each one category is no less than 5 jury members. 1.3.3. At least 3 jury members must be without students participating at the competition. 1.3.4. The International jury must be summoned from different institutions and different countries of the world. 1.3.5. The jury members are independent of one another and take decision with a secret ballot. 1.3.6. Jury members shall not vote for competitors who are related to them or who have been studying with them in the 12 months preceding the competition. 1.3.7. Jury members should not discuss the participants prior to the end of the voting process. 1.3.8. The voting must be in a written and signed form. 1.3.9. At all the rounds the competitors will be assessed according to a points system from 1 to 25 points. 1.3.10. Only competitors, who are awarded 18 points (average grade) or more, proceed to the next round. 1.3.11. Special Secretary appointed by the Organizing Committee will provide the anonymity of the participants in category Composition. Only the Special secretary has the right to reveal and announce to the Jury members the names of the winning composers. 1.4. The prizes awarded by the Competition jury in each category will be based on the performance in the stages of the competition. 1.5. The decisions of the Competition jury are final and no contestation will be accepted. 1.6. Three prizes and a laureate diploma will be awarded in all age groups in each subject of the Competition. 1.7. The Organizing Committee reserves the right to give additional prizes to each category, after decision of the international jury. 1.8. The Organizing Committee reserves the right to give special prizes to each category or for all the competition, awarded by the constitutor, or by particularly indicated by him/her representative or body. PRIZES PRIZE FUND COMPOSITION Up to 35 years of age – born after 1.01.1983 1st prize 4000 BGN, 2nd prize 3000 BGN, 3rd prize 2000 BGN, V. ACCOMMODATION 6.1. The Organisational Committee provides hotel reservations –(70 BGN per day) if requested by the participants. 50% of the accommodation price must be paid with the registration fee. The bank receipt must be enclosed with the registration documents. (1 Euro= 1,96 BGN). More accomodation information For contacts: youngvirtuosos@danteatravel.com VI. Application Form 7.1. The Application Form and all the supporting documents must be sent to the Organisational Committee of the Competition in ONLY by E-mail: FOR THE CATEGORY COMPOSITION on E-mail: composition@yvcompetition.org and young_virtuosos@abv.bg no later then MONDAY, 1st OCTOBER 2018 Adrress of the competition: Sofia – 1000, 10, Yuriy Venelin str. e-mail: composition@yvcompetition.org and young_virtuosos@abv.bg www.yvcompetition.org 7.2.The Application forms are available on the website of the “Young Virtuosos” Competition. VII. Final Decree 8.1. All recording rights to the performances from the final Laureate Concert are sole property of the International Competition “Young Virtuosos”. 8.2. Participation in the competition will be taken to mean acknowledging the above set of rules. 8.3.The Bulgarian text of the rules is definitive. Download the Thirteenth International Competition "Young Virtuosos 2018" Regulations |
| Web Site: | www.yvcompetition.org/composit... |
| 13th Thailand International Composers Competition | |
| Summary: | Wind Quintet Competition |
| Deadline: | 06 May 2018 |
| Date Posted: | 06 December 2017 |
| Details: |
13th Thailand International Composers Competition 7 – 12 August, 2017 “Rapee Sagarik Composition Prize” Eligibility 1) Applicants should be composers at the early stages of their professional careers. 2) Composers, regardless of nationality, are encouraged to apply. 3) Composers 35 and younger at the end of the competition year are eligible (born after 1 January 1981). 4) Scores that have been awarded, or commercially recorded are not eligible. 5) Past winners of the competition are ineligible to apply. 6) Any alteration of the score may be permitted under the guidance of master composers during the week of the festival. 7) The submitted work should be between 6‐10 minutes in length. 8) Submitted compositions can include any combination from the following instrumentation: flute, oboe, clarinet, bassoon, french horn. Submitted composition will be rehearsed and performed by Sawasdee Woodwind Quintet 9) Only compositions written within the last five years are eligible for submission. 10) One entry per applicant will be accepted. Submission 1) Eligible submissions must be sent electronically as a single email and should include: • A PDF file of the score (with pseudonym), which may include program and performance notes • An mp3 file (audio recording, if available, Midi realization – ok), and • A separate word document linking the pseudonym and title to the composer’s identity, which includes address, telephone number, e‐mail address, current bio (200 words), program note (200 words) & performance history of the submitted work. 2) The composer’s name should NOT appear on the submitted score and recording. 3) Links to recordings (due to large file size, or other factors) are o.k. 4) The deadline for submission is 1 May 2017. Please send material to: ticfcompetition@gmail.com Award An honorarium of 1,500 USD will be awarded to the winner of the competition. All six finalists will be invited to participate in the Thailand International Composition Festival. The Thailand International Composition Festival will provide full accommodation including Hotel room, meals, and local transportation for all finalists. Travel expenses to TICF and other arrangements are the responsibility of the participant. Selection Six finalists will be announced no later than 20 May 2017. The Winner will be announced during the Final concert of TICF 2017 on Saturday, 12 August 2017. The 6 finalist works will be performed by Sawasdee Woodwind Quintet. Please send material to: ticfcompetition@gmail.com Further inquiry please contact: ticfinfo@gmail.com |
| Web Site: | www.music.mahidol.ac.th/ticf/ |
| BANAUE INTERNATIONAL MUSIC COMPOSITION COMPETITION | |
| Summary: | Orchestral Competition |
| Deadline: | 15 April 2018 |
| Date Posted: | 06 December 2017 |
| Details: |
TOFARM through the Banaue Rice Terraces Restoration Project is calling for submission of orchestra music inspired by BANAUE (Philippines) - its people, traditions, landscapes, unique rituals and dances. The selected composers are required to attend/participate as Composer-Fellows in the BANAUE MUSIC COMPOSITION IMMERSION PROGRAM. OBJECTIVE: To write and submit Banaue-inspired symphonic works for concerts and possible inclusion in future projects of TOFARM and Banaue Rice Terraces Restoration Project. The original work must be written and intended for the 2018 Banaue International Music Composition Competition. GUIDELINES 1 The competition is open to all composers. There are no age and nationality restrictions; however, applicants should be at least at the early stages of their professional careers. 2 Composer may submit only one (1) symphony orchestra composition, single or multi-movement, for consideration. Musical arrangements of existing materials are not allowed. 3 Duration of the work is between 10 to 15 minutes. 4 Instrumentation cannot exceed the following orchestra configuration: ◦ 3 Flutes (3rd also Piccolo); 2 Oboes (2nd also English Horn) ◦ 2 Bb Clarinets (2nd also Bass Clarinet); 2 Bassoons ◦ 4 Horns; 3 Trumpets; 2 Trombones, 1 Bass Trombones; Tuba ◦ 4 Percussions ( 4 Timpanis, Bass and Snare drums, Tom-toms, Tam-tam, Cymbals, ◦ Xylophone, Glockenspiel, and other available small handheld percussion instruments ◦ Piano [For sub-urban set-up, electric or digital piano will be used.] ◦ Violin 1 (12); Violin 2 (10); Viola (8); Violoncello (6); Contrabass (4) ◦ Traditional instruments / musicians / performers may be added if, after the Immersion Program, the need is realized. 5 The quality of the composition-entry submitted is the foremost basis of evaluation. It is in the best interest of the composer that the submitted score is clear and accurate, and the ideal representation of his/her work. 6 The composition entry shall never be submitted to any other competition, music institution and performance organization for the duration of the 2018 BANAUE INTERNATIONAL MUSIC COMPOSITION COMPETITION. If selected as one of the winners, the work shall never be submitted in any competition of the same nature. |
| Web Site: | www.banauemusic.org/guidelines |
| International composition competition Città di Udine | |
| Summary: | Competition with 2 categories |
| Deadline: | 31 March 2018 |
| Date Posted: | 29 November 2017 |
| Details: |
Art. 1 TEM - Taukay Edizioni Musicali and Delta Produzioni Associazione Culturale, with the awards of Senato della Repubblica Italiana, of ERT – Ente Regionale Teatrale del Friuli Venezia Giulia and Fidapa, the patronage of the Rappresentanza Italiana della Commissione Europea, the Italian National UNESCO Commission, the Ministero dei Beni e delle Attività Culturali e del Turismo, the Ministero degli Affari Esteri e della Cooperazione Internazionale and the Università degli Studi di Udine, with Rai Radio3 as media partner and with the support of the Regione Friuli Venezia Giulia, the Comune di Udine and the Fondazione Friuli, hereby open the Twelfth International Composition Competition “Città di Udine”. Art. 2 The competition is divided in two sections: - compositions for chamber instrumental group or solo instrument. - electroacoustic music. Art. 3 The competition will accept compositions by musicians of any nationality and of any age. Previously performed compositions will be accepted. Compositions must be sent anonymously as explained below. Art. 4 “Compositions for chamber instrumental group or solo instrument” section. Pieces should not exceed eight minutes in length, however consideration will be given to compositions which exceed this length if, in the opinion of the Jury, they are of particular artistic merit. The Jury’s decision on this matter is final. The chamber instrumental group is made up of: - a string quartet (two violins, viola and cello) - piano / one performer - flute (piccolo, alto flute, and bass flute) / one performer - clarinet (clarinet in E flat, clarinet in B flat, clarinet in A and bass clarinet) / one performer - percussion instruments from the following list: vibraphone, glockenspiel, tom toms (max 5 pieces), suspended cymbals, tam tam, templeblocks, small percussion instruments such as triangle, wood blocks, maracas ecc… / one performer - instruments listed above may be used in any combination - if desired, just one instrument may be used - it is possible to use a stereo audio track on CD or digital file of similar quality (or better), to accompany the performance of the chamber instrumental group or solo instrument. The scores of the compositions for chamber instrumental group or solo instrument can be sent using two different methods: 1 copy in PDF digital format to send by internet using the following e-mail address: competition@taukay.it If the file size to send is more than 4 MegaByte, we suggest to use a file hosting system or Dropbox, Google drive ecc. (more info on http://www.taukay.it/pdf/2017_2018_info_eng.pdf). The permanent link from which it is possible download the materials must be sent by email to the email address: competition@taukay.it It should be specified in the subject / body of the message the section to which you wish to apply (Compositions for chamber instrumental group or solo instrument), your last name and the song title. The compressed file in .ZIP format, including all materials must indicate your last name and the title of the composition. or 1 copy in paper format to send by regular mail to the address listed below TEM – Taukay Edizioni Musicali Via del Torre 57/5 33047 Remanzacco – Udine ITALIA Scores will not be returned and will be stored as documentation in TEM – Taukay Edizioni Musicali archive. The competition coordination prefers the score delivery in digital format by internet. The score in paper format or the corresponding PDF file must contain the title of the composition, but must not contain the name of the composer. Any documents or short presentation about the composition must also contain the title of the composition, but must not contain the name of the composer. - should works contain unknown symbols or marks, the composer must provide explanatory notes in order that the work can be understood correctly. - should the score be selected for performance, the composer must supply separate parts for individual instruments. Art. 5 “Electroacoustic music” section. Electroacoustic musical compositions must have a duration of less than ten minutes and must be presented with CD digital file quality (or better). Recording formats: Stereo format Quadraphonic format 5+1 format Esaphonic format Octophonic format Any multi-channel versions of the composition must be sent along with the stereo version with CD digital file quality (or better). The electroacoustic music section compositions can be sent using two different methods: 1 copy in audio digital format to send by internet using a file hosting system or Dropbox, Google drive ecc. (more info on http://www.taukay.it/pdf/2017_2018_info_eng.pdf). The permanent link from which it is possible download the materials must be sent by email to the email address: competition@taukay.it It should be specified in the subject / body of the message the call for works to which you wish to apply (Electroacoustic music), your last name and the title of the composition. The compressed file in .ZIP format, including all materials must indicate your last name and the title of the composition. or 1 copy on CD audio or CD ROM to be sent by regular mail to the address listed below TEM – Taukay Edizioni Musicali Via del Torre 57/5 33047 Remanzacco – Udine ITALIA CDs/DVDs will not be returned and will be stored as documentation in TEM – Taukay Edizioni Musicali archive. The competition coordination prefers the audio file delivery in digital format by internet. The audio work sent on CD/DVD format or the corresponding audio file sent by internet must contain the title of the composition, but must not contain the name of the composer. Any document or short presentation about the composition must also contain the title of the composition, but must not contain the name of the composer. Art. 6 For both the sections, in addition to the participant work (and regardless of the delivery methods), the composer must enclose the signed entry form (http://www.taukay.it/pdf/2017_2018_form.pdf) and other info about the composer listed below: - name, surname, date and place of birth, sex, nationality, address, e-mail address, telephone number, section being entered, title, length of composition, year of composition, date and place of the first public presentation, if any. - a statement agreeing the rules and conditions of the twelfth international composition competition “Città di Udine”. - a statement agreeing to permit the performance of the composition to be recorded, broadcast or telecast, archived and used for CD production without compensation. - a statement agreeing to the treatment of personal information in accordance with Italian privacy laws. (D. Lgs. 196/03 - Codice in materia di Privacy). (For all the statements and info it is possible to fill the entry form with all the requested data. To download the entry form use the following link: http://www.taukay.it/pdf/2017_2018_form.pdf) The following material must also be included: - composer biography. - recent photograph of the composer. - photocopy of identification document of the composer. - receipt for the entry fee of 35 Euros All the info can be sent in digital format by internet to the email address competition@taukay.it, including the scanning of the signed entry form. Alternatively it is possible to send the documents listed above also on paper by regular mail to the address listed below: TEM – Taukay Edizioni Musicali Via del Torre 57/5 33047 Remanzacco – Udine ITALY Art. 7 More than one composition may be submitted. Art. 8 The Jury will select the winners from a shortlist of finalists and will award the following prizes: - Best composition in the section “compositions for chamber instrumental group or solo instrument”: one thousand Euros (1000 Euros). - Best composition in the section “electroacoustic music”: one thousand Euros (1000 Euros). - Special prize “Piero Pezzè” (founded by his heirs in memory of the Friulano composer who passed away in 1980): five hundred Euros (500 Euros). - Special prize of FIDAPA for a female composer: two hundred Euros (200 Euros) and Plaque - Special mention with the awarding of the Medal offered by the Senato della Repubblica Italiana for this edition of the event. - Special mention with the awarding of the Plaque offered by the ERT – Ente Regionale Teatrale del Friuli Venezia Giulia for this edition of the event. - Special mention for the best multi-channel electroacoustic composition in collaboration with the Conservatorio di Musica di Venezia “Benedetto Marcello”. The selected composition will be performed also in Venice in 2019. - Public performance of 6-8 of the best compositions entered (Udine, October 2018). - Production of a CD of the concert in October and inclusion of this in the TEM - Taukay Edizioni Musicali CD catalogue. In certain circumstances, it is possible that an extra CD containing other finalists works will be printed, as it happened in the 2009/2010 and 2013/2014 competition editions. TEM - Taukay Edizioni Musicali, following the indications of the Jury and in agreement with the composer, offers to include and make available the most interesting compositions as part of their electronic catalogue of New Music. The results of the selection will be published on the website www.taukay.it and personally communicated to the winning composers by e-mail. Art. 9 Works should be posted to the competition secretary at: TEM - Taukay Edizioni Musicali - via del Torre 57/5 - 33047 Remanzacco (UD) - ITALY The closing date is 31st March 2018. Any composition sent by regular mail will only be considered if they arrive before the closing date. We recommend you post projects in good time to ensure you are able to participate in the competition. In case of delivery by internet, the shipping e-mail will be deemed to be the date of submission. Should delivery using ordinary mail from abroad, please specify that the package contents has no commercial value to avoid added custom charges. (Example to write on the envelope: “Descrizione del contenuto: documenti e CD per audizione privi di valore commerciale/documents and non-commercial audition-CD”). The final decision of the Jury will be made public by 31st July 2018. Art. 10 The Jury reserves the right to refuse any entry which does not fulfil the indicated requirements. Art. 11 Each individual composition in each section must be sent together with the receipt for the payment of the entry fee of thirty-five Euros (€ 35). If multiple compositions are sent, a single payment may be made for the total of the combined entry fees. The fee should be paid in the following ways: From Italy: - vaglia postale paid to: Taukay Edizioni Musicali – via del Torre 57/5 – 33047 Remanzacco (UD) – ITALIA - by credit card using Paypal system and the following e-mail: competition@taukay.it (more info on http://www.taukay.it/pdf/2017_2018_payment_eng.pdf) - by bank transfer using the following banking coordinates: Account name: Taukay Edizioni Musicali IBAN: IT06D0634012302100000004027 Bank name: CARIFVG – Filiale di Udine via Volturno Bank charges must be borne by payer. From outside Italy: - by credit card using Paypal system and the following e-mail: competition@taukay.it (more info on http://www.taukay.it/pdf/2017_2018_payment_eng.pdf). - by bank transfer using the following international banking coordinates: Account name: Taukay Edizioni Musicali BIC SWIFT code: IBSPIT2UXXX IBAN International bank account: IT06D0634012302100000004027 Bank name: CARIFVG – Filiale di Udine via Volturno Bank charges must be borne by payer. It is not possible to pay the entry fee with bank cheque. For information about other payment methods please e-mail: competition@taukay.it Where possible, the “reason for payment” should indicate: Twelfth Città di Udine competition. Art. 12 The Jury’s decision is final. Art. 13 By entering the competition and submitting the composition, the composer accepts all the above terms and conditions. Failing to follow the above terms and conditions will result in the forfeiting of any rights deriving from participation in the competition. Art. 14 The competent court for any dispute is the Court of Udine. For further information, please visit the TEM - Taukay Edizioni Musicali website at: www.taukay.it Or email us at: competition@taukay.it |
| Web Site: | www.taukay.it/data1/index.php?... |
| Email: | competition@taukay.it |
| Call for single-breath solo flute pieces | |
| Summary: | Pieces for solo flute |
| Deadline: | 15 February 2018 |
| Date Posted: | 29 November 2017 |
| Details: |
Coming Up for Air is a collection of new solo pieces for flute (piccolo, C flute (open-hole and closed-hole), alto, bass, Native American flute (high or mid), with or without electronics). These pieces, collected and performed by flautist Kathryn Williams, explore the creative possibilities that emerge when pieces of music are limited to a single breath (i.e., one inhale and one exhale - no circular breathing). Selected pieces will receive written feedback followed by an audio or visual recording. There is also the possibility that pieces could be programmed in future performances and recordings. The project is being developed through Kathryn's PhD research into areas of extreme restriction at the University of Huddersfield and mentored by YCAT Sounding Board. |
| Web Site: | www.soundandmusic.org/resource... |
| Email: | kathryn.williams@hud.ac.uk |
| AMF Composition Program | |
| Summary: | Composition Programme |
| Deadline: | 18 February 2018 |
| Date Posted: | 29 November 2017 |
| Details: |
The AMF Composition Program is a four-week intensive summer course designed to provide extraordinary opportunities and exposure to aspiring and established composers. The program engages composers through individual lessons, daily seminars, and master classes. Since its inception, the Atlantic Music Festival has served as a breeding ground for groundbreaking new works. Over 300 new works have been premiered since 2009 offering composers access to unprecedented opportunities. Composers gain firsthand experience by working directly with AMF Contemporary Ensemble with a goal of premiering a new work. In addition, all full-session composers are eligible to participate in AMF Orchestra Reading sessions. The AMF Institute is proud to continue its tradition of providing all Composition Program participants with access to the AMF Future Music Lab’s core seminars. This groundbreaking project is an official collaboration with the IRCAM (Institut de Recherche et Coordination Acoustique/Musique) and will offer unique courses such as Programming for Musicians, MaxMSP Bootcamp, and electronic music seminars. To learn more, click here: |
| Web Site: | www.atlanticmusicfestival.org/... |
| From Page to Stage: Emerging Composer Workshop | |
| Summary: | Competition for women composers |
| Deadline: | 15 March 2018 |
| Date Posted: | 23 November 2017 |
| Details: |
Application Guidelines Eligible participants: • Open to women composers • No age limit • Composers who are students (college or high school), or at the earlier stages of their composition careers, meaning: • limited professional performances of works • not yet published and/or recorded professionally • those seeking to learn how to enhance their composition career • Composers who are interested in constructive feedback and support on a current work. Submitted works should be: • Written no earlier than January 1, 2014 • Under 8 minutes in length • Single or multi-movement work • Scored for one to six players; see available instruments and ensemble types below • Work may be completed or an in-progress composition, however only completed works will be considered for performance during the festival. Submissions must include: • PDF of score. Scores must be created by a standard notation software such as Finale or Sibelius. Format as 8½ x 11 • PDF Parts. Include all instrumental parts formatted as 8½ x 11 • MIDI recording of the work • Short paragraph explaining why you want to participate • Non-refundable application fee of $10 Submission Guidelines • All materials must be submitted no later than March 15, 2018, 11:59pm (Central Time) • Late submissions will not be accepted • Application fees are non-refundable • Files must be uploaded through the LunART Festival website during the submission period (application form will be active starting Dec. 15th) Successful applicants will be notified by April 15, 2018 Participation in “From Page to Stage” includes: • Master class with composer-in-residence Jenni Brandon. Submitted works will be discussed in an open-forum setting. Participants will share their submitted work for discussion, delving into the nuances that make a piece successful from “page to stage” – from getting the notes on the paper, to getting it into the performance hall. • Private composition session with Jenni Brandon during the festival. • Recording of your work, and rehearsal with LunART Festival musicians. Works will be featured on the “From Page to Stage” festival concert on Saturday June 30th. • Admission to all LunART events: three days of concerts, reading sessions, and lectures including Jenni’s talks on “Collaboration in the Arts” and “The Independent Composer’s Guide.” Note: Transportation to and from the festival and housing is the responsibility of the participant. The festival will provide a list of housing options closer to the festival. Instruments available Strings • String quartet • Violin • Viola • Cello • Bass Woodwinds • Wind quintet • Flute (piccolo, alto, bass) • Clarinet (bass clarinet) • Oboe (English horn, oboe d’amore) • Bassoon • Saxophone Brass • Brass quintet • Trumpet • French horn • Euphonium • Trombone • Tuba Piano If your work includes prepared piano, please contact us before submitting. Percussion If your work includes percussion, please contact us about intended instrumentation. Percussion instruments available for the festival are limited. Questions may be sent to scores@lunartfest.org with the subject line: “From Page to Stage – Emerging Composers” |
| Web Site: | lunartfest.org/emerging-compos... |
| Luna Nova Music | |
| Summary: | Chamber Competition |
| Deadline: | 01 March 2018 |
| Date Posted: | 23 November 2017 |
| Details: |
2018 Student Composition Contest Sponsored by Luna Nova Music The Beethoven Club of Memphis The Luna Nova 2018 Student Composition Contest is offered in conjunction with the Belvedere Chamber Music Festival (www.belvederefestival.org) to be held June 20-23, 2018 at Grace-St. Luke’s Episcopal Church (www.gracestlukes.org) in Memphis, Tennessee. The festival is sponsored by Luna Nova Music (www.lunanova.org) and the Beethoven Club (www.beethovenclubmemphis.org) ELIGIBILITY The contest is open to music composition students of any nationality who are 18 years or older. Recent graduates are also eligible provided that they graduated on or after May 1, 2016. They must give the name and contact information of their current or most recent theory/composition professor. Participants may submit one score and accompanying mp3. The work may be for violin, flute, clarinet, cello, guitar, and piano. Entries may be solos or works for any combination of these instruments. Works should not exceed 10 minutes in length. ONLINE GUIDELINES Contest Announcement and Guidelines: www.belvederefestival.org/2018contest.pdf ONLINE ENTRY FORMS https://www.surveymonkey.com/r/QZQFQ6V DEADLINE Pdfs of scores and mp3s must be received by March 1, 2018. (Computer realizations will be accepted if a live recording is not available.) Winners will be posted at www.belvederefestival.org by April 1, 2018. Composers of winning entries must provide full score and parts by May 1, 2018. JUDGING A panel assembled by the Luna Nova Music board will judge scores. The panel will take logistical issues into consideration. Their decision will be final. PRIZES Up to three winners will be named. Winning compositions will be performed by members of the Luna Nova New-Music Ensemble (www.lunanova.org) at the 2017 Belvedere Festival in Memphis. Winners are expected to attend. They will receive a live recording of the performance. Room and board will be provided free for the winners. Winners are responsible for their own transportation to Memphis. Former contest winners are not eligible to enter. RECORDINGS Recordings of the Luna Nova Ensemble are available at www.lunanova.org/audio.html Questions may be sent to Patricia Gray, Luna Nova Music President at pgray@pgray.net or 901-493-0958. |
| Web Site: | www.belvederefestival.org/cont... |
| DaCapo Chamber Choir | |
| Summary: | Choral competition |
| Deadline: | 12 March 2018 |
| Date Posted: | 23 November 2017 |
| Details: |
The DaCapo Chamber Choir announces the eighth annual NewWorks choral composition competition. The winning entry will receive a $1,500 cash award and a performance by the DaCapo Chamber Choir under director Leonard Enns, in the 2017/2018 season. Entry deadline is Monday March 12, 2018. Young composers (25 and under) are also encouraged to submit compositions for consideration in our new Young Composers Reading Sessions. About the Competition The DaCapo Chamber Choir, founded in 1998, is dedicated to choral music of the 21st and late 20th centuries. The NewWorks competition, as one expression of this mandate, fosters new and engaging choral works by Canadian composers. For a list of some of the selections previously performed by the choir, please visit our “Previous Seasons”. Composition Guidelines • the submitted composition must be related to the theme of “resettlement”: new life, hope, light; traditional liturgical texts are to be avoided • a cappella SATB, with divisi in some/all parts permitted • a single work, 4 to 6 minutes in length (i.e. do not submit a work with multiple movements) • any language is permitted, but any non-English texts must include a translation • submissions must be original compositions; arrangements are not acceptable • submissions may not have been published, commissioned, or previously performed • entries from previous years are not eligible for resubmission • more than one entry may be submitted, but each entry must include a separate entry form and fee ($25 each) • the composer’s name must not appear anywhere on the score • the copyright for the composition remains with the composer Deadline • electronic submissions (PDFs) are preferred and must be received by Monday, March 12, 2018 or earlier • entry form, fees, and any scores not submitted electronically must be postmarked by Monday, March 12, 2018 or earlier Prize • $1,500 plus travel expenses to Kitchener-Waterloo for the winning composer to attend the premiere • the winning composition will be featured in one of the main series concerts of the 2018/2019 season • to receive the award, the winning composer must commit to attend the dress rehearsal and the premiere concerts (normally this is a Friday Saturday, and Sunday commitment) Notification • winners will be notified in mid-June 2018, with an official announcement made by the end of that month Eligibility • Canadian citizen or landed immigrant residing in Canada • current DaCapo choir members or Board members are ineligible • the winner of NewWorks must wait two years before again submitting a work to the competition Submission Procedure • scores must be created with notation software or neatly hand-scored. All scores must be in copy-ready format. Electronic composition submissions are preferred and will be accepted in PDF format ONLY • the composer’s name, and any other identifying marks, MUST be removed from the score • a piano reduction should be supplied only where warranted • text must appear beneath all staves of choral parts • include a copy of the text in its original layout • a completed, signed entry form and a $25 entrance fee (cheque or money order payable to the DaCapo Chamber Choir) must be postmarked by Monday, March 12, 2018 or earlier and mailed to: DaCapo Chamber Choir PO Box 40035 Waterloo Square PO Waterloo, ON N2J 4V1 • electronic scores must be submitted, in PDF format, to info@dacapochamberchoir.ca by Monday, March 12, 2018 • if submitting electronically, the entry form and fee must be mailed separately to the address above, and postmarked by Monday, March 12, 2018 or earlier Other important notes • please do NOT staple or bind in any way; use separate, numbered, 8.5×11 sheets of paper; portrait, not landscape, orientation • do not send recordings • incomplete applications will be neither considered nor returned • application materials will not be returned • the DaCapo Chamber Choir will retain the right to produce the first recording of the winning composition for three years after the competition deadline • DaCapo retains the right of first performance for one year (from the date of prize announcement) of any works that are NewWorks winners, honorable mentions, or YCRS selections • the DaCapo Chamber Choir reserves the right not to award a prize Young Composers Reading Sessions Composers, aged 25 and younger (as of Monday, March 12, 2018) are invited to submit compositions for consideration in our Young Composers Reading Sessions (YCRS). During the 2018/2019 season, DaCapo will host a public workshop at which compositions will be read by the choir in the presence of the composers. Composers will have opportunity to interact with the conductor and choristers in an effort to continue to refine their compositional craft. Compositions submitted to YCRS may also be entered into the NewWorks Competition. Submission guidelines and procedures are the same as for the Competition, but there is no $25 entrance fee. Sponsors The DaCapo Chamber Choir gratefully acknowledges the support of: • Wallenstein Feed Charitable Foundation • Good Foundation Inc. • Ontario Arts Council • City of Kitchener • City of Waterloo |
| Web Site: | dacapochamberchoir.ca/newworks... |
| International Composition Competition "The contemporary piano 2018" | |
| Summary: | Piano competition |
| Deadline: | 31 March 2018 |
| Date Posted: | 15 November 2017 |
| Details: |
Modern compositions for piano solo or piano 4 hands, duration 3 to 5 minutes. The competition is open to composers of all ages and nationalities. The selection criteria are musical and no extra-musical parameters such as gender, level of difficulty, nationality and age quotas etc will be taken into account. The only examined quality will be the text itself. Unpublished works & works that have been performed previously and won competitions in the past may be submitted. Regulation Subject: Modern compositions for piano solo or piano 4 hands, duration 3 to 5 minutes. The competition is open to composers of all ages and nationalities. The selection criteria are musical and no extra-musical parameters such as gender, level of difficulty, nationality and age quotas etc will be taken into account. The only examined quality will be the text itself. Unpublished works & works that have been performed previously and won competitions in the past may be submitted. Registration fee: The registration fee is €45,00 per work / submission, paid through bank account transfer or PayPal. EUROBANK GREECE (ERBKGRAA) ΙΒΑΝ: GR3402603280000950101210083 PayPal: PayPal.me/DANOUSANART (In the grounds, provide name and deposit reason). All transfer and bank charges will be covered by the applicants. Submissions: Submissions are to be made until Saturday March 31, 2018 electronically to info@an-art.com including at the same email: i. An unmarked and unnamed PDF (sheet music) of a work (composition) for piano solo or piano 4 hands, duration 3 to 5 minutes. ii. A separate file (PDF, RAR, ZIP etc) with a printout of the registration payment (bank or PayPal receipt), the details of the composer (name, age, address, telephone, email, etc), a bio (biografical notes), a good foto of the composer, title and a text for their submitted work. Committee - selection: The committee will consist of distinguished pianists and composers. Will meet in April 2018 and will select by voting up to four (4) "prize winning" works and up to four (4) "honorable mention" works, based on their musical quality rather than the degree of difficulty or other criteria. The committee's decision is final. Prizes: The prize winning works (up to 4) will receive: - An official diploma. - Audio & video recording by distinguished pianists - members of the committee, of the highest production quality. - The recordings will be uploaded and presented at AN ART ARTISTRY's YOUTUBE channel, sites, social media pages, newsletters etc. - A page in www.an-art.com site will be created for each one of the winning works - composers with a presentation of the works. The honorable mention works (up to 4) will receive: - An official diploma. - A page in www.an-art.com site will be created for each one of the honorable mention works - composers. |
| Web Site: | www.an-art.com/en/activities/5... |
| West Cork Music | |
| Summary: | String Quartet Competition |
| Deadline: | 20 March 2018 |
| Date Posted: | 15 November 2017 |
| Details: |
West Cork Music invites Irish composers under 35 years of age on 1st January 2018 to submit works for string quartet (violin, violin, viola, cello) of between 5-8 minutes duration for performance at the 23rd West Cork Chamber Music Festival 2018. Festival dates are 29 June – 8 July Four works will be selected. The composer of each selected work will receive a prize of €500 and up 3 nights B&B; at the Festival. Winning composers will be asked to attend the Young Composers Forum at the Festival on Sunday 1st July, which will be directed by an international Composer, where the winning works will be played through by a Quartet on the Festival’s masterclass programme. The premieres will take place during the Festival in the Town Concert series 2-7 July. There will be opportunities to rehearse with the Quartet 29-30 June Terms/ conditions: 1. Entrants must be under the age of 35 on 1st January 2018, state date of birth and give full contact details including postal address. 2. Entrants must be of Irish nationality, born in Northern Ireland, resident on the island of Ireland or Citizenship through descent - If either of your parents was an Irish citizen at the time of your birth, you are an Irish citizen, irrespective of your place of birth. 3. Entrants may submit only one work 4. Winners and entrants from previous competitions run by West Cork Music are welcome to submit new scores. 5. Works must be between 5 and 8 minutes in length and may not involve any form of electronics or pre-recorded sounds 6. Works may not have been performed in concert before a ticket-buying public audience prior to the Festival. 7. Scores must be submitted to West Cork Music by 20 March 2018. Scores must be submitted electronically. 8. Compositions will be assessed by an adjudicator chosen by West Cork Music 9. Works will be assessed anonymously, please do not mark or sign scores. 10. Selected compositions will be announced on www.westcorkmusic.ie by 24th April 2018. Selected composers will be notified by email. 11. Winning entrants must submit instrumental parts by 2nd May 2018. 12. It is a condition of entry that composers agree to attend the workshop in Bantry on Sunday 1st July 2018 at 14.00. Prizes will be withheld in the event of non-attendance. All expenses incurred in attendance are the responsibility of the winning composers. However the Festival will provide up 3 nights accommodation for the composer. 13. West Cork Music reserves the right to alter dates and times of the workshop and subsequent performances. Please submit entries electronically to Clodagh Whelan at: clodaghwcm[at]eircom.net |
| Web Site: | westcorkmusic.ie/chambermusicf... |
| 2018 BGSU Graduate Conference in Music | |
| Summary: | Competition with 3 categories |
| Deadline: | 01 December 2018 |
| Date Posted: | 15 November 2017 |
| Details: |
Moore Musical Arts Center, Bowling Green, OH February 9-10, 2018 Our call for works extends to all current graduate students (master’s and doctoral) from any institution. Senior undergraduates with exceptional standing are welcome to submit with the guidance of a faculty member. IMPORTANT: If you are a current BGSU student, any scores you submit must be anonymous and should not include any information that could personally identify the composer. If any personal information (composer name, bio, logo, etc.) is found on the score, the composer will be disqualified. Applicants may submit up to two works for consideration. Each work should be no longer than twelve minutes. The instrumentation is open to solo and chamber works of any instrumental/vocal combination and works involving electronics (up to four channels). Each work may fit into one category: A) Works for any instrumentation for which the composer can provide ALL of the required performers B) Works for 1-5 performers for which the composer cannot provide ALL of the required number of performers • Works involving flute, clarinet, saxophone, trumpet, trombone, horn, tuba, violin, viola, cello, double bass, piano, percussion and soprano are more likely to be programmed in category B. C) Works involving electronics may use up to 4 channels. • Works submitted in categories A and B may also involve electronics (fixed media and/or interactive). Works involving video are also permitted. The deadline for submissions is Friday, December 1, 2017. All applicants will be notified of their status by Friday, December 15, 2017. The composer’s attendance at the conference, dress rehearsal, and paper presentations is required. Do not submit if you cannot attend the conference. Composers interested in submitting works should fill out the Call for Works Form. For questions regarding the submission, please email Adam Kennaugh at adamkk@bgsu.edu. Please include “BGSU Graduate Student Conference” in the subject. |
| Web Site: | bgsumuctgraduatestudentforum.w... |
| Forever Gentleman | |
| Summary: | Write music to accompany novel/film |
| Deadline: | 28 February 2018 |
| Date Posted: | 15 November 2017 |
| Details: |
Nathan’s Midnight Concerto $10,000 in Cash Prizes for Original Music Compositions will be used in the e-version and future film/tv productions of the historical (1869-70) novel Forever Gentleman Scenarios to write for: 1. Nathan’s Midnight Concerto He sat down at his piano, savoring the wonder of creating music with his fingers—something he had never expected to do again. He flexed his fingers above the keyboard, stretching them as he readied to begin playing. Without any particular composition in mind, he began improvising a melody of triumph and liberation in the key of D Major. He imagined the sound of a trumpet heralding a great victory to a kingdom from afar, soldiers singing joyously as they returned home bloodied and wounded, having delivered their people from a great enemy and great oppression. As he replayed the theme a second time, he envisioned violins repeating the triumph an octave above, accompanied by woodwind arpeggios—the news of the great victory carried throughout the country, far and wide. He then switched to the minor harmonic and softly told the story, in music, of the dread and pessimism that had fallen over the land when the enemies had first surrounded the kingdom. In the bass register, he quietly portrayed the darkest hour when death and enslavement appeared a certainty. As the people united, the melody gradually progressed into the treble clef. Then as the conflict began, the tempo increased mimicking the battle that ensued. Mixed within the main theme was another melody in counterpoint, telling the tragic story of fallen heroes, sacrificing their lives for the people they loved. The tempo increased to a fury, as the battle raged. In the minor key, he recreated the desperation and hopelessness of the struggle, until very briefly, it changed back into the harmonic major. A ray of hope sprung on the battlefield—a soft theme barely developed in the upper register. But the minor key continued to dominant, evoking despair and heartbreak. A small victory broke through in a major key serenade an octave lower than the first strain of the hopeful theme, this time developed longer than before. Back and forth the two harmonic keys fought, until the major key became dominant, the minor key fading and finally defeated. Then, the theme from the opening measures played as the enemies retreated. Nathan ended his composition as he had started it, but much louder, with many trumpets heralding a great victory and the people cheering. He heard the chime of the second morning hour sound seconds after he had concluded his composition. My Midnight Concerto, Nathan thought to himself with a smile. I shall never forget it. Someday when I open my soul and reveal everything, I shall play it for the woman I love. 2. Nathan’s Despair As he sat at the piano, Nathan only felt darkness and doom. Almost without thinking, Nathan began playing single notes with his right hand, in the middle register of the keyboard. The simple tune evoked such sadness that Nathan felt tears welling in his eyes. Why, dear God? Why has this curse come upon me? He repeated the theme in thirds and then triads with his right hand. Next the left hand followed in accompaniment, painting a portrait of utter hopelessness. The slow and quiet theme continued as Nathan improvised subconsciously in a distant key. With his fingers, he then chronicled his gradual descent into darkness, reflected by the theme which became even darker, deep in the bass register of the keyboard. The theme carried no hope, only dread. There would be no moment of triumph in this composition. The left hand was now alone, first triads then thirds, then single notes, until the last sound faded away unresolved—no tonic, no super tonic. That’s how his life would someday end. Nathan left the bench, but the hopeless theme continued in his mind, so melancholy, so heartbreakingly sad—a kindred accompaniment to his own feelings. 3. Violin Medley (excerpts from pp. 427-428 of Forever Gentleman) The music was as pure and as powerful as his first encounter. He recognized the piece: Mozart’s Ruhe Sanft. How was it possible that she was playing it? As a young child, he remembered his mother had often sung it to him as a lullaby when she was putting him to bed. He had never before heard the solo melody played by violin. Memories of his dear mother and the powerful love she had for him came flooding back. Hearing the beautiful familiar melody compelled Nathan to steal a glance into the doorway of the Sun Room; he had not intended to venture so far. She was turned away from him, on the far side of the room, facing the morning sun pouring in from the window as her bow moved gracefully upon the tight strings of the violin. He remembered her well from before, when she had been dressed in white, her hair down. Today, the sun radiated through the windows, causing her profile to be darkened from Nathan’s view. Not wanting to be seen, Nathan remained just outside the Sun Room in the hallway, where he would not intrude on her privacy. After completing Ruhe Sanft, she continued with Mendelssohn’s Elias/Elijah Soprano Aria. She is only performing soprano arias—in homage to my mother. They were all melodies he had heard his mother sing. She must know that I am here! Nathan silently walked over to the doorway again and stared at her. He was shocked to see her face turned, looking his way contentedly as she played. She seemed to have been expecting him. Now exposed, he quietly entered the room and sat on a chair near the room’s entrance. She continued the Mendelssohn Aria, then started on Paisiello’s “Cavatina for Nina.” When she finally lowered the bow, she walked toward Nathan with a face glowing with delight. She was wearing a light green chiffon dress, her hair up in her customary fashion, with golden plaited braids falling to her waist. For more information: |
| Web Site: | rolandcolton.com/violin-medley... |
| Martirano Award | |
| Summary: | Works with 1–15 performers |
| Deadline: | 16 April 2018 |
| Date Posted: | 09 November 2017 |
| Details: |
The University of Illinois School of Music and Global Crossroads Living-Learning Community celebrate the 22nd Annual Salvatore Martirano Memorial Composition Award by announcing the 2018 Award Competition About Salvatore Martirano The 2018 Salvatore Martirano Memorial Composition Award Eligibility: Any composer, regardless of age or nationality is eligible. Previous winners, faculty, and currently-enrolled students at the University of Illinois are ineligible for the competition. Awards: First Prize cash award of $1000 and second prize cash award of $500 plus performances by the Illinois Modern Ensemble in the fall of 2018 on the 22nd Annual Martirano Award Concert at the Krannert Center for the Performing Arts on the campus of the University of Illinois. Additional awards and performances may be given at the discretion of the judges. Judges: A panel of judges consisting of international composers and University of Illinois music composition faculty members will select the winning compositions. The winning composers are expected to attend the 22nd annual award concert and reception, and will be responsible for their transportation costs (the competition will provide lodging and some meals). The winning composers will assume full responsibility for providing adequate performance materials upon request. Guidelines: 1. Medium: Full scores of any style or aesthetic direction for 1-15 performers (including vocalists) may be submitted. Works for electronics and/or mixed media (including video), with or without instruments and voices, are eligible. 2. Duration: 20 minutes maximum 3. Limit: One entry per composer 4. Entry fee: A non-refundable entry fee of twenty US dollars (20.00 USD) is paid online at the time of submission. All major credit cards are accepted. 5. Anonymous Submission: The composer's name must not appear on the score or in any accompanying materials submitted online. Click here to submit your entry. Entries must be submitted and paid for online by Monday, April 16, 2018 11:59PM CST (23:59 GMT-0600). For questions please contact Prof. Emeritus Zack Browning www.zackbrowning.com |
| Web Site: | music.illinois.edu/martirano-a... |
| Email: | zbrownin@illinois.edu |
| Toronto Symphony Orchestra Reading Session | |
| Summary: | Chance to have orchestral score played |
| Deadline: | 16 February 2018 |
| Date Posted: | 09 November 2017 |
| Details: |
The Toronto Symphony Orchestra, in collaboration with the Canadian Music Centre, is pleased to offer a reading session for Canadian composers. The purpose of the session is to offer composers an opportunity to hear their works rehearsed in a professional orchestral setting, while gaining experience working alongside a professional organization. Participants will receive feedback from Composer Advisor Gary Kulesha, and will have an opportunity to engage in constructive dialogue with members of the orchestra, the Principal Librarian, and the RBC Affiliate Composer. Reading Session Details: Date: Saturday, April 28, 2018 Time: 10:00am–1:30pm Location: Roy Thomson Hall, 60 Simcoe Street, Toronto Eligibility: • Open to all Canadian composers, with no age restrictions. • Each composer may submit one work for consideration. • Works must not have been commissioned by a professional orchestra. Previously performed works are eligible. Unperformed (or underperformed) works are encouraged. • There is no duration limit, though shorter works (under eight minutes) are encouraged. An excerpt or movement from a longer work may also be considered. • Submissions should not exceed the following instrumentation: 3333|4431|timp + 3|hp|kybd|strings. Works requiring vocals or electronics are not eligible. Concertos are not eligible. • The chosen composers are expected to attend reading session activities (details below). If a selected composer is unable to attend the reading, another work will be chosen. Submission Guidelines: Composers are required to submit electronically. Please use the online submission form to provide the following: • Orchestral score (PDF) o Compositions should be submitted anonymously, with a pseudonym on the score. The composer’s name, contact information, and address will be submitted through independent fields in the online form that will not be forwarded to the jury. • Audio recording (mp3), if available, of the submitted work. Audio files will be uploaded through the online form. MIDI realizations are acceptable. DEADLINE: Friday, February 16, 2018 The online form will be closed at midnight (12:00am EST) on Saturday, February 17. Selection Process: • A maximum of four composers will be selected to participate in the reading session. The scores will be chosen by a jury consisting of a representative musician from the orchestra, RBC Affiliate Composer Jordan Pal, and an external composer (TBD) chosen in consultation with the Canadian Music Centre. • Successful applicants will be contacted within two weeks of the submission deadline. Preparation of Score and Parts for Reading Session: • Successful applicants will have the opportunity to meet with TSO Principal Librarian Gary Corrin, and RBC Affiliate Composer Jordan Pal at the TSO library on February 27, 2018 (details below; time TBC). There will be an opportunity to review formatting details before the parts are extracted and printed by the composer (details to follow). A list of requirements will be provided to the composer in preparation for the March 21, 2018 score and parts deadline. • The successful applicant must be able to deliver printed parts and two large format conductor scores by March 21, 2018. Parts and scores should meet all professional standards as outlined. Summary of Activities: Library Session: In advance of the reading session, there will be a library session led by TSO Librarian Gary Corrin. The session will cover part preparation techniques in advance of the composer’s own extraction and printing of his/her parts for the reading session. Although attendance is encouraged, teleconferencing options will be made available for composers residing outside Toronto who are unable to attend the library session. Reading Session: The reading session will take place on Saturday April 28, 2018, at Roy Thomson Hall, from 10:00am to 12:30pm. All composers must be able to attend in person. The reading session will be followed by two feedback sessions: 1) with Composer Advisor Gary Kulesha and RBC Affiliate Composer Jordan Pal, and 2) with representative musicians from the orchestra’s woodwind, brass, percussion, and string sections. The TSO’s and CMC’s social media channels will be used to promote the participating composers. All inquiries should be sent to: Susana Almeida 416.593.7769 X 263 salmeida@TSO.CA |
| Web Site: | www.tso.ca/orchestra/call-scor... |
| Vienna Summer Music Festival Composers Forum | |
| Summary: | Chamber Call |
| Deadline: | 15 March 2018 |
| Date Posted: | 09 November 2017 |
| Details: |
The Vienna Summer Music Festival Composers Forum provides developing and emerging composers the chance to develop their compositional skills, and have their music premiered and recorded in Vienna. Composition students will have the opportunity to bring their in progress compositions for chamber orchestra and mixed chamber ensembles, for further workshopping and development by the Composers Forum faculty. Composition students will take private composition lessons with Viennese composers, attend lectures on contemporary music and advanced theory topics, and will have the opportunity to have their original works coached, and ultimately performed in the culminating Vienna Summer Music Festival Contemporary Music Concert. Composers will have their pieces performed by PHACE, a professional contemporary music ensemble residing in Vienna. Participants can write for any combination of instruments including: Flute, Clarinet, Violin, Viola, Cello, Bass, and Piano. Students who have works for other instrumentations including voice will be considered for performance and should contact us at info@viennasummermusic.com. At the end of the festival, there will be the VSMF: Contemporary Music Concert where all Composer Forum participants will receive a performance of their works. |
| Web Site: | www.viennasummermusic.com/comp... |
| IvanJuritzPrize | |
| Summary: | Prize with residency opportunity |
| Deadline: | 30 March 2018 |
| Date Posted: | 09 November 2017 |
| Details: |
Postgraduate students from throughout Europe are invited to submit works in any artistic medium that play with form to make us think, feel and question. The winner will receive £1000 and two weeks artist’s residency and a showcase at Cove Park. The prize is hosted by the Centre for Modern Literature and Culture at King’s College London and Cove Park, Scotland’s International Artist Residency Centre. The 2018 prize is judged by Rachel Cusk, Jeremy Harding, Gillian Wearing and Ryan Wigglesworth. Rules and Entry Entrants must be postgraduate students currently enrolled on a course or programme of study in an EU country. Entries must be accompanied by a statement (up to 150 words). Entrants are welcome to submit their work to multiple categories. If you chose to do this, please give the titles of all submissions clearly in your statements. The winners will be both of their time and aware of debts to the past. Pound, calling on the modern artist to ‘make it new’, was, after all, creatively translating the ancient Chinese King Cheng Tang. In the accompanying 150 word statement you should analyse the role of experiment in your work and, if appropriate, relate your work, whether sympathetically or antagonistically, to the creative experimentation of the modernist era. |
| Web Site: | www.ivanjuritzprize.co.uk/rule... |
| International Choral Composition Competition Japan 2018 | |
| Summary: | International Choir Competition |
| Deadline: | 31 March 2018 |
| Date Posted: | 02 November 2017 |
| Details: |
【Purpose】 The International Choral Organization of Tokyo announces the International Choral Composition Competition Japan 2018 (ICCC Japan 2018), the aim of which is to promote choral music through the creation of new and innovative choral repertoire. 【Qualification】 Participation is open to composers of any nationality and any age, whether professional or amateur. 【Jury Members】 The jury will be consisted by the members below: Chief Jury: John August Pamintuan (PH) Jury: Ēriks Ešenvalds (LV), Stephen Leek (AU), Paweł Łukaszewski (PL), Teruaki Suzuki (JP) The Artistic Committee will support the juries. Artistic Director: Ko Matsushita (JP) 【Judgement Criteria】 The judgement process is based on the assessment of the submitted music score. 【Award / Commendation】 The composer of the winning work will receive a prize of 100,000 Japanese Yen and a diploma. The composer of the works in 2nd and 3rd place will receive a diploma. The winning work will be published by Pana Musica Co., Ltd. Following recommendation by the jury, there may be a possibility that the work in 2nd and 3rd place would also be published. From these award winning works, the set piece of the 2nd Tokyo International Choir Competition (to be held in 2019) will be selected. 【Application Rule】 The ICCC Japan 2018 is dedicated to choral compositions defined, written and stated as below: ・ SATB a capella, basically each voice must not be divided, except when fulfilling the condition as follows: a maximum of two division per one voice, and the length of the divided section being around 10 % of the whole work. No accompaniment including percussion and bodywork is allowed. ・ The work must stand on its own and should not be in the form of a suite, i.e. consisted of multiple pieces. ・ Duration: 2 to 3 minutes. ・ Text: Latin and English (or mixed Latin & English) only, contents may be either sacred or profane. If the text is not in public domain, a written statement by the author or copyright holder for the use of the text must be attached to the entry e-mail. 【Application Format】 ・ State the performance duration on the top of the 1st page of the score. ・ Format: PDF, made from Finale, Sibelius, or a similar scorewriting program. ・ If possible, attach the MP3 audio file extracted from the scorewriting program when submitting the work. ・ Do not state the composer’s name anywhere on the score. If there is an author of the text, the name of the author shall be clearly stated. The original Latin text and its English or Japanese translation should be attached to the score. 【Application Deadline】 All entries must be sent by 23:59 31st March 2018 GMT (16:59 31st March Pacific Daylight Time, 19:59 31st March Eastern Daylight Time, 00:59 1st April British Summer Time, 01:59 1st April Central Europe Summer Time, 08:59 1st April Japanese Standard Time). 【Application Process】 ・ Participation to the ICCC Japan 2018 will be finalized by filling the web entry form, submitting the composed work and other documents (as applicable) to the administrative office by e-mail, and paying the participation fee. ・ All materials are to be sent by e-mail to apply@icccj.org. Other methods of application are basically not applicable. If other methods are preferred, please contact the administrative office. 【Application Fee / Payment】 Entry fee is 5,000 Japanese Yen per composition. Please make the payment via Paypal in the currency of Japanese Yen within 3 days of submitting the work. There is a link on the ICCC Japan website to make this payment, otherwise please make payment to info@koyukai.info. Please notify the administrative office (info@icccj.org) if payment via Paypal is not possible. 【Timetable】 The initial judgment will be done by mid-May 2018. The title of the qualifying compositions of the initial judgment will be published on the ICCC Japan website. The final judgment will follow, and the 1st, 2nd and 3rd award winning works along with the work to be published will be determined around mid-June 2018. There will be no public announcement of the results until as stated below, however the award winners will be individually notified via e-mail. 【Announcement of Award Winners】 The results will be announced during the 14th Karuizawa International Choral Festival. Announcement is to be held on 26th August 2018 at Karuizawa Ohga Hall. Exact date and time will be announced on the ICCC Japan website or Facebook page. 【Privilege for Award Winners】 The premiere performance of the awarded works will be made by The Metropolitan Chorus of Tokyo, conducted by Ko Matsushita. The announcement and performance will be web broadcasted worldwide via YouTube LIVE. 【Important Notes before Submission】 ・ The work must not been performed, awarded nor published before. A declaration that the work fulfills this condition (any format is allowed) must be submitted. ・ A participant can apply as many works as wanted. One entry form for each work must be filled. ・ Upon the awarded works that will be published, the copyright and publishing rights belong to Pana Musica Co., Ltd. ・ Participation in the competition implies full knowledge and acceptance of these regulations. ・ The jury’s decision is final. ・ For works selected as a set piece of the 2nd Tokyo International Choir Competition, its composer must arrange the work for TTBB, SSA (or SSAA). 【Documents Required for Submission】 * submit to apply@icccj.org before the deadline 1. Composed work (which clearly state the performance time and does not state the name of the composer, in PDF format) 2. Original text and the English or Japanese translation of the text (no format restrictions) 3. Declaration that the work has not been performed, awarded nor published before (no format restrictions) 4. Permission from the text author if the text is not in public domain (no format restrictions) 【Point of Contact】 The International Choral Organization of Tokyo 2-29-12 B1F, Kinugaoka, Hachioji-city, Tokyo 192-0912, JAPAN Email: info@icccj.org Tel: +81-42-689-5641 |
| Web Site: | icccj.org |
| 2018 Matt Withers Australian Music Composition Competition | |
| Summary: | Competition with 2 categories |
| Deadline: | 20 April 2018 |
| Date Posted: | 26 October 2017 |
| Details: |
I'm proud to announce the expansion and launch of the next Matt Withers Australian Music Composition Competition. Collaborating with the illustrious Acacia Quartet, entries are now open with huge prizes on offer as we help generate the best in new Australian music for the much-loved medium of guitar and string quartet. Huge prizes for this national competition. Applicants of all ages are invited to submit an original musical composition based on the set of inspiration artworks Stormy Seashore by Sue Needham for the quintet ensemble of string quartet and classical guitar for a chance to share in: -$3,250 in cash prizes. -Works performed around the country by Acacia Quartet and Matt Withers. -A studio recording licenced for release and digital distribution through ABC Classics. -Emerging Composer (U25) award |
| Web Site: | mailchi.mp/dfdcc895cc23/austra... |
| Graeme Miles Bursary | |
| Summary: | Bursary Opportunity-short deadline! |
| Deadline: | None |
| Date Posted: | 26 October 2017 |
| Details: |
The Graeme Miles Bursary is open to artists or groups based in the North East of England. The aim is to fund an important development opportunity, project or programme of activity that will have a lasting impact on their career. The £1,200 award is made annually to celebrate the life of Middlesbrough’s Graeme Miles who died in 2013. A contemporary of Ewan MacColl, Miles wrote his first song, Sea Coal about Hartlepool, at the age of 14, and after hearing the traditional songs of Tyneside, set himself a 20-year task to create a collection for his adopted native Teesside. The memorial bursary, which is funded and administered by The English Folk Dance and Song Society (EFDSS) and funded by The Unthanks through fundraising concerts, is now in its 3rd year running and will continue to organise events to fund future awards. The Graeme Miles Bursary scheme is open to any folk artists or groups, aged 18 to 25, in the North East of England, which includes Northumberland, County Durham, Tyne and Wear, and the Tees Valley. The bursary is to fund a significant development opportunity, project or programme of activity that could have a lasting impact on their career. The inaugural winner was Joe Hammill from Thornaby on Tees. The singer songwriter, who fronts the band Cattle & Cane, invested the award in home studio equipment to record his own music. The 2016 recipient was the Rachel Hamer Band, a Newcastle folk band with strong links to Teesside. The selection panel includes Adrian McNally and Rachel Unthank from The Unthanks. Application Criteria 1. Artist(s) must be based or have strong links to the North East of England. 2. Individual musicians (including composers) and duos/trios/bands in the early stages of their career and/or final stages of advanced musical training. 3. Artists must have a genuine desire and commitment to building a professional career in folk music. 4. Artists should be able to demonstrate the talent, potential and enthusiasm to make folk music your profession. 5. The funded activity needs to be completed by 30 November 2018. Timing and deadlines Closing date for applications Midnight on Sunday 29 October 2017 Bursary Announcement December 2017 |
| Web Site: | www.efdss.org/efdss-artists-de... |
| 2nd INTERNATIONAL COMPOSITION COMPETITION 2018 | |
| Summary: | Chamber composition competition |
| Deadline: | 21 March 2018 |
| Date Posted: | 26 October 2017 |
| Details: |
Art.1 The Cultural Association Polifonie announces 2nd International Composition Competition “Appassionato Ensemble” for the year 2018. Art.2 The competition is open to Italian and foreign composers of any nationality with no restriction on age. Each composer can participate with more than one piece by enrolling each composition separately and by sending each composition in separate envelope. Art.3 The scores must be composed for the following organic (whole organic or any combination from 1 to 5 performers): Flute (Flute, Alto G Flute, Bass Flute, Piccolo) Clarinet (Bb Clarinet, A Clarinet, Eb Clarinet, Bb Bass Clarinet) Violin Cello Piano The composition must have a minimum duration of 7’ and max 15’. The composition, furthermore, must not have been published, performed in public or been awarded prizes in other contests before. Art.4 The application fee is € 35,00 for the first score and € 20,00 for any following ones by the same author. The payment must be made by bank transfer to the: Associazione Culturale Polifonie Banca Prossima – filiale di Milano, p.zza Paolo Ferrari 10 – 20121 (MI) IBAN: IT68J0335901600100000069721 – BIC: BCITITMX and specifying the reason for the transfer as: Application for the International Composing Competition. or with PayPal The application fee will not be refundable, except in the case of cancellation of the Contest. Applicants may contact the Contest secretary’s office for any further information by writing to: info@polifonie.it Art.5 To enroll in the contest, each participant must send an email to info@polifonie.it containing the following documents to the Contest Organizers: the application form download A PDF copy of the score, perfectly readable and completely anonymous; the first page of the score must bear the title of the work and the approximate length of the composition; short explanatory notes related to the submitted work in Italian or English (max 1000 characters, including spaces). photocopy of an identity document or passport; a short curriculum vitae (in Italian or English); receipt of payment of application fee (not refundable) of € 35,00 The mail, in order not to be excluded, must be delivered to the Contest secretary’s office no later than 21 March 2018. Art.6 A Jury will meet to select the 3 (three) finalist scores, that will be performed on 3rd June 2018 by Appassionato Ensemble in public concert in Como, at the Ancient Church of St. Joseph (sec. XVI). The Jury will be composed by: Sonia Bo (Italia), President Umberto Pedraglio (Italia) Mehdi Khayami (Iran) The commission judgment is final and cannot be contested. The finalist composers will be invited by the organization to send the individual parts of each instrument. At the end of the concert the Jury will meet to select the winner. The prize-giving ceremony will be held at the end of the concert. Art.7 The winning work will receive a cash prize of 500,00 euros and will be published by EDIZIONI SCONFINARTE. In the event the composer has an exclusive agreement with other publishers, he/she must give his/her acquittance to the publication when participating in the contest unlimited copies. The commission has the right not to assign the prize in the event no composition in the final phase is judged worthy. Any tv or radio recordings are authorized by the author without any further charge on the organization. The personal details of the contestants will be used only for matters concerning the competition. Art.8 All the documents and materials sent will be kept in the archives of the Associazione Culturale Polifonie and nothing will be returned, as the Association will become the owner. The Association will have the ownership of the materials, it being understood that the author will keep the copyright. The scores sent for the contest will become an integral part of the Music Archive of Association Organizer. Art.9 The contestants accept the present regulations in all parts, unconditionally and integrally. Art.10 In case of controversy, the Contest Announcement in Italian is to be considered the official text. |
| Web Site: | www.polifonie.it/international... |
| International Musical Composition Competition Real Academia de Bellas Artes de San Carlos | |
| Summary: | Solo with piano competition |
| Deadline: | 20 February 2018 |
| Date Posted: | 26 October 2017 |
| Details: |
1. The call is open to composers of any nationality, without age limit. Each composer may submit only one work. The work must be the individual composer’s original creation and must be unpublished, not the result of a paid commission, and not awarded in any other competition. The work should not have been previously performed in any concert or public event, either wholly or even in part (should it have different parts), nor with the present title or with any other it may have, and should have not been broadcasted by any medium whatsoever. 2. The works should be written for french horn (both in F and Gb) and piano, with no electroacoustic media). In the general score, the french horn part should be written in A (real sound). The duration of the compositions should be between minimum 12 minutes and maximum 20 minutes. Works of any other duration will be disqualified. 3. Three copies of the general score will be submitted together with two set of materials (part music for the french horn, transported, and general score for the piano player, including the french horn part) appropriately prepared for the work to be preformed out of them with no reading problems. The scores and materials should be tape bound documents, clearly legible. 4. In order to safeguard anonymity of the composer, the works must be submitted with a title and motto chosen by the author as only identifying details. Accompanying the score and materials, an envelope should be submitted with the title and motto of the work as external identification. The envelope must contain: full name, address, e-mail address, contact telephone number, a photocopy of his/her D.N.I. (identity card) or passport and the author’s brief bio. It must also include a declaration signed by the author stating that the work is his/her original creation, is an unpublished work, is not a commissioned paid work, has not received any award in any other competition, has not been previously performed in any concert or public event, nor wholly or even in part (should it have different parts), nor with the present title or any other it may have, and should have not been broadcasted by any medium whatsoever. In the event that, after the work is sent for the competition, and before the final decision of the jury, the work is a winner in another competition, the participant should immediately inform the Real Academia of this fact, as far as this would automatically invalidate its participation in the contest. Participants that do not respect the anonymity will be excluded. 5. The period for the submission of works shall commence on the day of the publication of these rules in the Website and close on February 20th. 2018, inclusive. Documents should be sent with acknowledgement of delivery or by registered mail to the following address: III Concurso Internacional de Composición Musical Real Academia de Bellas Artes de San Carlos C/ San Pío V, 9 – 46010 Valencia. España In case of submission by registered mail, the postmark date will be taken as the official delivery date. Works not strictly adhering to the submission deadline will be disqualified. 6. A single prize of 4.000 euros subject to current tax retention is to be awarded. The jury may, unanimously, not award the Prize, whenever the quality of the works submitted is not estimated as sufficient. 7. The jury will be appointed on a proposal by the Music Section of the Real Academia de Bellas Artes de San Carlos and approved by the Board of Directors of the Real Academia. The jury’s decision will be final. The jury’s decision will be published on March 23rd. 2018. Only the name of the award-winning composer will be made public and he/she will be immediately informed of this Decision. The original score shall be retained by the Academia. Other participants may learn the outcome of this competition through the website of the Real Academia de Bellas Artes de San Carlos: http://www.realacademiasancarlos.com 8. The world premiere of the winning work will take place during year 2018 at the conference hall of the Real Academia de Bellas Artes de San Carlos, that retains the right to choose the performers that will offer its first interpretation. 9. The author of the winning work absolutely undertakes to be present in the award ceremony due to be held at the headquarters of the Real Academia de Bellas Artes de San Carlos de Valencia. The institution shall bear the accommodation expenses. 10. The author of the winning work commits him/herself compulsorily to state in all advertising, as well as in any recordings, editions and programs including the interpretation of such work, the following sentence: Award-winner of the III International Musical Composition Competition of the Real Academia de Bellas Artes de San Carlos. 11. Non-awarded works will be returned, upon request, until April 30th., 2018. After this deadline, the Royal Academy accepts no responsibility on the custody and safekeeping of such scores. 12. Intellectual property rights remain solely with the author of the work. 13. Should the work include musical fragments or texts which copyright ownership belongs to another person (unless made in a quote form, in conformity with Article 32 of the Spanish Intellectual Property Rights Act), such fragments or texts should be stated in the score and the materials, and they should provide evidence of the corresponding licenses. In all cases, it would be the sole responsibility of the authors. 14. The Real Academia de Bellas Artes de San Carlos is exempt from any liability deriving from plagiarism or any other breach of the current legislation on the subject of intellectual property in Spain, in which the authors may incur, as the case may be, with their works. Neither shall the Academy be liable for any material damaged or lost during the shipping. 15. Participation in this competition implies the unconditioned acceptance of the present Rules and the final decision of the jury. The interpretation of these Rules shall fall within the exclusive competence of the Jury. 16. If, for any reason, this Contest is not capable of running as planned due to unforeseen circumstances, no appeal will be allowed. 17. The official drafting the rules will be the Spanish text for all legal purposes. The rules will be provided in several languages, but any disagreements arising out of them will be settled based on the Spanish version of the text. |
| Web Site: | www.realacademiasancarlos.com/... |
| Nief-Norf | |
| Summary: | Chamber Call and Summer Festival |
| Deadline: | 15 February 2018 |
| Date Posted: | 26 October 2017 |
| Details: |
Each year the nnSF Call for Scores invites submissions of contemporary scores for chamber ensemble that are performed by Performance Fellows at the annual Nief-Norf Summer Festival. Composers of selected compositions will be invited to attend the festival and coach festival students and faculty in the preparation of the work. The 2018 nnSF Call for Scores invites submissions of contemporary scores related to the research conference theme of New Asia. The call is open to all composers without restriction, and the connection to the theme may pertain to the music, the instrumentation, the subject matter, or the identity of the composer, and is open to creative interpretation. We invite submissions of works for chamber ensemble (3-12 players) for any of the following instruments: guitar (acoustic or electric) violin viola cello double bass voice flute (all family) clarinet (all family) oboe bassoon saxophone (all family) trumpet horn trombone tuba piano harp percussion Composer-performers using instruments not on this list, especially non-Western instruments, may also submit works that include themselves as a performer. We welcome any of the following: scores requiring two or more of the same instrument (such as percussion ensemble or string quartet); works including improvisation, electronics, indeterminate notation or instrumentation; works that have been performed, recorded or published. All interested composers, at any point in their career are eligible to apply. Submission fee: $15 for the first composition, $10 for each additional work (up to five). Submission deadline: January 15, 2018 hamlet.jpg Details: Selections will be made in part based on the instruments of enrolled fellows in the Performance Workshop. If your score is selected, you will be invited and expected to attend the nnSF 2018, during a three-day period determined by the rehearsal and performance schedule. Composers will be given the opportunity to work directly with the fellows in preparation for a performance of their pieces. Selected composers will not be required to pay registration or tuition and will be offered accommodations for two nights and meals for three days. However, travel will not be covered or reimbursed. CALL FOR SCORES APPLICATION REQUIREMENTS: Applicants should submit: 1) Completed Call for Scores Competition Submission Form including submission fee (when you submit the form, you will be provided a PayPal link to pay the submission fee). 2) Email to callforscores@niefnorf.org containing the following items: PDF of the submission(s) PDF of Program Notes and Performance History for the submission(s) A brief explanation of the connection of your submission to the conference theme New Asia (see the Research Page for more details). Submissions without this explanation will not be considered. Audio ( .mp3) recordings of the work(s), or links to on-line recordings, if available (not required, MIDI versions accepted). Video files will not be accepted. If you have a video, post it on-line with a service such as Youtube and send us a link. A brief bio Please scan any hand-written materials. For large files, please use a file-sharing service such as Dropbox or Google Drive. Questions? Send us a note to callforscores@niefnorf.org ++++++++++++++++++++++++++++++++++ SUMMER FESTIVAL THE NIEF-NORF SUMMER FESTIVAL WILL TAKE PLACE JUNE 11-25, 2018 The nnSF Performance, Composition, and Music Technology Workshops invite applications from all instrumentalists, vocalists, and composers over the age of 18 (including undergraduates, graduates, faculty, and professionals). Click or continue scrolling to learn how to apply to the 2018 festival. PRIORITY DEADLINE: DECEMBER 15, 2017 Apply to either the Performance, Composition, or Music Technology workshops by the Priority Deadline (December 15, 2017) to receive: • $100 tuition discount for all applications submitted by the Priority Deadline! • Eligibility for $250 alumni tuition discount. • Eligibility for travel assistance. • Eligibility for scholarships. • Priority consideration for festival admission. • Decision by January 01, 2018. APPLICATION DEADLINE: FEBRUARY 15, 2018 Apply by this date to receive: • Eligibility for festival admission dependent on remaining availability following the Priority Deadline (December 15, 2017). • Decision by February 22, 2018. Please note: Applications submitted after the December 15th Priority Deadline are not eligible for scholarships and travel assistance. Discounts cannot be combined with one another; only one discount per application (this does not include scholarships and travel assistance). All discounts will be documented through the application process and applied to the final tuition payment. • Scholarships will be offered to select applicants following successful acceptance to the festival. Scholarships will be awarded based on talent, instrumental need, and financial need. • Travel assistance may be available for fellows with over $600 in travel expenses for those who apply by the priority deadline. Alumni fellows in good standing from previous nnSF attendance will enjoy a $250 discount for return enrollment. |
| Web Site: | www.niefnorf.org |
| WITOLD SZALONEK International Composers’ Competition 2018 – 1st Edition | |
| Summary: | Wind quartet competition |
| Deadline: | 10 March 2018 |
| Date Posted: | 26 October 2017 |
| Details: |
City: Kwidzyn (Poland) Date: from 6 to 7 June 2018 The International Composers’ Competition WITOLD SZALONEK was born from the idea to create a project that will work on the meeting of the contemporary music of our time, dedicated to the memory of the great Polish composer of the 20th century WITOLD SZALONEK (1927-2001). The organization will select composers who will have the opportunity to participate in the International Composers’ Competition WITOLD SZALONEK from 6 to 7 June 2018 in the city of Kwidzyn (Poland). The composers’ selected works will be performed in two final concerts during the II Kwidzyn Music Spring International Festival. Regulations Article 1 – Object The Phasma-Music Foundation hereby announces the First Edition of the WITOLD SZALONEK International Composition Competition. WITOLD SZALONEK - born in 1927 in Czechowice-Dziedzice, died in 2001 in Berlin, Polish composer. In 1949-56 he studied at the State Higher School of Music in Katowice. Following his first successes at international composers' competitions, he received a grant from Kranichsteiner Musikinstitut in Darmstadt (1960). In 1962-63 he continued his studies with Nadia Boulanger in Paris. In 1967 he began to teach composition at the Katowice School and in 1970-74 was in charge of the Department of Composition and Theory. In the early 1970s he was invited by the Deutscher Akademischer Austauschdienst to work as artist in residence at West Berlin's Hochschule der Künste. In 1973 he won the competition to succeed Boris Blacher as Professor of Composition there. He has conducted numerous seminars and courses in composition in Poland, Denmark, Germany, Finland and Slovakia. In 1990 he received an honorary doctor's degree from the Wilhelmian University in Münster. In 1963 Szalonek discovered and classified the so-called 'combined sounds' generated by the woodwind instruments. He is also the author of theoretical studies on a wide range of subjects, including combined sounds, sonorism, Chopin and Debussy. (Wikipedia) More about WITOLD SZALONEK: http://www.porta-polonica.de/en/Atlas-of-remembrance-places/witold-szalonek Article 2 – Admission requirements The Competition is open to all composers of any age and nationality. Each composer can submit multiple scores for the following instruments (from 1 to 4 players): flute, clarinet, oboe, bassoon. The composition can have been published, performed but not released on professional CD album until the end of 2018. The work must not exceed 10 minutes. All score will be sent by email in PDF format, at info@phasma-music.com . The registration fee is €60,00 for the first work / submission. Other submissions will be registered with the fee of €40,00. Article 3 – Submission date The deadline for the submissions is 10 March 2018. Article 4 – Registration and submission of scores Each email sent to submit a score shall include: – The score and parts in A4 format, (please indicate duration); – A second PDF-file containing the identity of the composer (name and address, nationality, telephone number, email, website, short CV) and a self-certification testifying the originality of the composition, which must not have been recorded, as well authorisation for the performance, publication, recording and broadcasting of the work. Other file formats than PDF will not be accepted! There is no registration form. – Receipt of the payment of the registration fee, via PayPal to info@phasma-music.com (+ PayPal fee) or bank transfer (All transfer and bank charges will be covered by the applicants): Phasma-Music Powiślański Bank Spółdzielczy ul. Kopernika 28, 82-500 Kwidzyn SWIFT: POLUPLPR BANK ACCOUNT EUR: PL 24 8300 0009 0000 6267 2000 0030 The personal details of the composers and their compositions selected for the final will be made known to the public only when the results of the elimination phase of the competition have been decided. Composers who do not reach the final phase will remain anonymous also after the end of the competition. Article 5 – Phases of the competition The competition will consist of two phases: the elimination phase and the final. After the elimination phase, a maximum of 16 scores will be selected by the jury for the final, by March 31, 2018. The final phase of the competition will consist of two evening events open to the public to be held in Kwidzyn on 6 & 7 June 2018, within the concert season of the II Kwidzyn Music Spring International Festival. In the final concert, the Contemporary Ensemble will perform the selected works. After the performances, the Jury present in the concert hall, will meet and decide on the winner. The winning composition will be announced at the end of the evening. Article 6 – Jury and voting procedure After the performance of at least 16 works, the jury will meet to decide on the winner. Jury members: Marcel Chyrzyński (Poland) Mark Hartt-Palmer (United Kingdom) Dariusz Przybylski (Poland) Mirosław Pachowicz (Poland) Michail Travlos (Greece/Poland) Article 7 – Prizes The winners of the competition will be awarded the “WITOLD SZALONEK” Prize, which includes: Prize of 1000 Euros (gross of withholding taxes). In addition, 7 special mentions (including the winner) will be awarded: - A professional recording to be released commercially in 2018, by the PHASMA MUSIC – WILLOWHAYNE (sub-label of Naxos Music Group) as well as a laureate certificate. The decision of the jury is irrevocable. Article 8 – Legal terms Application to participate in the Competition implies the acceptance of the above-stated rules. |
| Web Site: | www.phasma-music.com/projects/... |
| 3rd Peter Rosser Composition Award 2018 | |
| Summary: | Quintet competition |
| Deadline: | 02 March 2018 |
| Date Posted: | 19 October 2017 |
| Details: |
The Hard Rain SoloistEnsemble is a contemporary music group from Belfast devoted to the performance of modern and contemporary music. Greg Caffrey (Artistic Director) Sinead Hayes (conductor), Joanne Quigley (violin), David McCann (cello), Aisling Agnew (flutes), Sarah Watts (clarinets), Daniel Browell (Piano) Hard Rain News: CALL FOR SCORES! We're excited to announce that we are now accepting entries for the 3rd Peter Rosser Composition award! The 1st Peter Rosser Composition Award, in 2016, was jointly established by Hard Rain SoloistEnsemble and the Peter Rosser Foundation in memory of our esteemed colleague and friend. It is supported by the Arts Council of Northern Ireland, The Contemporary Music Centre, Ireland, Cormac O’Kane of Red Box Recording Studio, Belfast as well as through generous donations made in Peter’s memory by friends and colleagues. Submission to the award is open to composers born or domicile in N. Ireland and Republic of Ireland. The competition is open to composers regardless of age. However, the award is aimed at emerging composers. The organisers, therefore, welcome submissions from composers at the start of their careers. 1.1 All submitted compositions should not have been performed before, must not be published and should be written speci cally for the 3rd Peter Rosser Composition Award and the Hard Rain SoloistEnsemble. The following statement must appear in a preface page of the score: “This score was written for submission in the 3rd Peter Rosser Composition Award 2017 and for the Hard Rain SoloistEnsemble”. 1.2 Compositions must use all 5 of the following instruments: Violin, Cello, Flute (optional doubling picc & alto), Bb Clarinet (optional doubling bass clarinet) and piano. Scores that differ in any way from this instrumentation will not be admissible. The use of electronics or a tape element is not permitted. 1.3 The composition should be between 5 and 8 minutes duration and should state the exact duration in the preface page. 1.4 Only composers who can attend the workshop and performance in Belfast on Tueday 27th March 2018 will be eligible for the award. A travel bursary for composers traveling to the event from within NI and ROI will be made available through the Contemporary Music Centre, Ireland. 1.5 The decision of the jury in relation to the shortlisting of works and the bestowing of awards is final. No further correspondence will be entered into. 1.6 The jury reserves the right not to make awards where it feels a minimum required standard has not been met. 1.7 Only one piece may be submitted by a composer. 1.7 Previous winners of the Peter Rosser Composition Award are not eligible to enter the competition. Previous runners up are eligible. Deadline for submission: 4pm Friday 2nd March 2018 |
| Web Site: | www.hardrainensemble.com |
| Too Pretty To Punch | |
| Summary: | Artistic collaboration |
| Deadline: | 31 December 2018 |
| Date Posted: | 19 October 2017 |
| Details: |
CALL OUT 2: Artists + Musicians I’m looking for 3 transgender visual artists or animators and a musician/composer/sound engineer to collaborate with to make animation for a new piece of theatre, Too Pretty To Punch that I’ll be developing throughout 2018. Too Pretty To Punch is a one person celebration of trans visibility and self acceptance; a mix of clown, mime, music, spoken word and video projection focusing on society’s obsession with trans bodies, judging our acceptability on how attractive we are. The idea behind the project is to celebrate gender diversity while dispelling myths about trans people; presenting us as we are, rather than as the monsters the media seems so hell bent on painting us as. Artists: My writing is vibrant, lively, and often full of pop culture references though I’m interested in all styles and mediums of art to collaborate with (digital, 3D, oil, pastel, watercolour, charcoal, collage, sculpture, comic book etc). I’m interested in you bringing your voice to the table, creating and contributing based on your own experiences as a transgender person. In its most basic form this will involve creating a series of still images to accompany poetry and physical theatre, that I will animate by various means depending on the medium and style and then projection map onto a selection of boxes and surfaces around the stage. Sound/Music: This role will involve creating music/soundscapes to accompany the projections and poems. It will also involve helping write the music and record backing tracks for several songs in the show that I’m writing. I’ll accompany myself for some of them on the banjo. One such song is all about different gender identities, set to the powerpuff girls and transformers theme tunes. |
| Web Site: | www.edwardday.co.uk |
| Echofluxx 2018 | |
| Summary: | Call for Experimental Video Works |
| Deadline: | 18 March 2018 |
| Date Posted: | 19 October 2017 |
| Details: |
Echofluxx is a festival of new media, visual art, and experimental music produced by FMErá of Prague. This year it will again present international and Czech performers in a four-day festival at Paralelní Polis in Prague, May 2-5, 2018. Fix Media Works - Works for experimental video (1 channel) and sound (2 channels) selected by a panel of international adjudicators. See Echofluxx 18, 17, 16, 15, 14, 13, 12, 11 Echofluxx, an annual PRAGUE festival of new media, visual art, and experimental music, requests submissions of experimental works for combined 1-channel video and 2-channel sound from artists of all ages. Approximately 1 hour of work will be presented throughout the festival as selected by an international panel of sound and video artists. Pieces of 10 minutes or less will be given preference. Up to three works may be submitted at $15 for the first and $10 each for additional work. Submission deadline is Sunday, March 18, 2018 with hirez resubmission files due in mid April. Works must be uploaded to YouTube or Vimeo for adjudication. Selected works will be delivered via services like WeTransfer.com and preferably in MP4 format. Include the following information in email to: submission@echofluxx.org 1. Your name, phone, YouTube/Vimeo link of piece(s) plus personal website address if available. 2. Title of the piece(s), duration(s) and names/bios of all collaborators. 3. Performance history of submitted work(s). 4. Program notes for submitted work(s). 5. When making PayPal payment, include your name and YouTube/Vimeo link(s) to connect payment and submitted work(s). |
| Web Site: | echofluxx.org/ECHOFLUXX18/FFes... |
| Scottish Awards for New Music 2018 | |
| Summary: | Composer Awards Nominations Open |
| Deadline: | None |
| Date Posted: | 19 October 2017 |
| Details: |
Following on from the inaugural event in 2017, New Music Scotland are pleased to launch the second annual Scottish Awards for New Music. Created by New Music Scotland with support from the National Lottery through Creative Scotland’s Open Project Fund, Help Musicians UK, the Incorporated Society of Musicians, Holiday Inn Glasgow Theatreland, Steinberg, and EVM Marketing, the awards will celebrate and champion the highest standards and achievements of Scotland’s composers, musicians, sound artists, programmers, producers and ensembles. They will highlight and showcase the innovative, experimental and ground-breaking work taking place in Scotland, as well as the depth and breadth of the country’s contemporary music scene. The Scottish Awards for New Music are welcoming nominations for music being made by Scottish and Scottish-based creators and facilitators of new music. The eleven categories, including three new ones for 2018, are listed below. Partnerships with Hands Up for Trad and Jazz from Scotland have enabled the creation of new categories which focus on experimental and ground breaking traditional and jazz music. Nominations are open from Saturday 7 October 2017 until Monday 11 December 2017 and can be made by both members of the public and industry professionals. Nominations can be made via the website where details of eligibility and submission criteria can be found: www.newmusicscotland.co.uk/awards2018. An international panel of composers, performers, programmers and music industry experts will meet in January to discuss the nominations, following which a shortlist will be announced. Profiles of the shortlisted entries will be available on New Music Scotland’s website in the weeks leading up to the awards evening on Wednesday 7 March 2018. New Music Scotland Chair, composer Oliver Searle said, “The Awards offer a fantastic opportunity to raise the profile of new music in Scotland and further afield, spreading news of the innovative new music scene to potential audiences around the globe. Rarely do you manage to gather so many of the key figures and institutions of new music making in Scotland together in one room. Coupled with the high profile supporters and partnerships involved in making this event a reality, the Scottish Awards for New Music 2018 promises to be an exciting event for Scotland’s new music sector.” Alan Morrison, Head of Music, Creative Scotland, said, “Music is an art form that never sits still – it is always pushing back barriers and reshaping the cultural landscape. The Scottish Awards for New Music celebrate such experimentation and throw a spotlight on our most talented composers, musicians, sound artists and ensembles. Scotland is one of the most vibrant and collaborative countries in the world for new music, and these awards raise the profile of this exciting sector both nationally and internationally.” COMPOSER ELIGIBILITY Composers must have been born in Scotland, or have been ordinarily resident in Scotland for at least two years prior to 1st July 2017. Non Scottish or Scottish based composers can have works nominated as part of the Award for Creative Programming. Composers may be any age. Composers do not have to be members of New Music Scotland. Students are eligible WORK ELIGIBILITY To qualify, new works must have received their première in a public performance, either live or broadcast/online, between 15 December 2016 and 15 December 2017 The community/education project category: For Projects that may be nominated, they can have started prior to, but must have been concluded between 15 December 2016 and 15 December 2017. Recorded works must have been publicly released on any format between 15 December 2016 and 15 December 2017 Works do not have to have been published. Nominations may be submitted by anyone, including from the composer, performer, audience or organisation. If self nominating, you must also nominate 2 other works (in any category) that are not by yourself. AWARD CATEGORIES The nominator should choose the category which most closely fits the work. NMS reserves the right to move the work to a different category if appropriate. NMS reserves the right to add, remove or redefine categories if necessary. Electroacoustic/sound art work For a new work or installation written and/or performed during 2017 that can be described as either electroacoustic or sound art (or both!) Dorico Award for Small/Medium Scale Work sponsored by Steinberg (1-10 performers) A piece of new music, of any style or instrumentation, written and/or performed in 2017 by 10 performers or fewer. Large Scale New Work A piece of new music, of any style or instrumentation, written and/or performed in 2017 by 11 performers or more. Recorded New Work A recording of new music for commercial release in 2017 for CD/LP, TV, film, digital/online platforms, or other audio-visual medium. This may include the recording of an existing work released within the calendar year. The ISM Award for Collaboration Celebrating collaborative new music in 2017, including projects that are cross-genre, cross-art form, multi-disciplinary, or those that bring together unique combinations of partners. Collaboration should have taken place between two or more active parties to the extent of which the work would not exist without the partnership. Community/Education project Music-making, listening, appreciation, participation projects taking new music as their medium, and widening access to those in Scottish communities and/or education settings. This may take the form of a one-off event, or an ongoing project with or without specific outcome over the calendar year of 2017. Contribution to new music in Scotland Marking the contribution made by an individual or organisation that has contributed significantly to the new music sector in Scotland during 2017. Help Musicians UK Award for New Music Performer(s) of the Year An award to celebrate musicians who perform new music at the highest standard. This could be the best one off performance or a number of performances that adds to a portfolio of work over 2017. Award for Creative Programming An award to celebrate Creative Programming. This could be a one off production/commission, a festival programme, a programme series, or an audience development initiative that has been of an exceptional standard and demonstrates genuine imagination in its execution. Award for Innovation in New Folk Music in association with Hands Up for Trad Traditional Music plays an important role in Scotland’s musical scene. This award, in partnership with Hands Up for Trad, celebrates the musicians who use elements of both traditional and new music (as defined at the start) in an original and experimental way. Award for Innovation in New Jazz Music in association with Jazz from Scotland Scotland’s vibrant jazz sector regularly sees experimentation and creative projects come to fruition . This award, in partnership with Jazz from Scotland, celebrates the musicians who use elements of both jazz and new music (as defined at the start) in an original and experimental way. SUBMITTING AN ENTRY All nominations are to be submitted online via the New Music Scotland website newmusicscotland.co.uk/awards2018 There is no limit to the number of works which may be submitted. Self-nomination is allowed but must be balanced by the submission of two other nominations (i.e. not self-nominations) in any categories. Nominators will be asked to provide: Creator name, work title, performers, when & where heard, reason for nomination (depending on category max 200 words), links to supporting reviews, recordings, articles, online information, nominator name and contact details, demographic information of nominator JUDGING Judging will be made by a specially appointed panel, the members of which will be chosen by NMS. In each category there will be a final shortlist, announced in advance of the award ceremony. NMS reserves the right not to make an award in any category. The final decision regarding all aspects of the Scottish Awards for New Music, including the interpretation of these rules, resides with the Board of NMS. AWARD CEREMONY The presentation of the awards will take place at a reception on Wednesday 7th March 2018 at the Drygate in Glasgow In each category the winning individual/organisation will be presented with a Scottish Award for New Music |
| Web Site: | www.newmusicscotland.co.uk/sco... |
| COMPOSITION COMPETITION “TORRE DELLA QUARDA” – 2018 | |
| Summary: | Competition with two categories |
| Deadline: | 15 April 2018 |
| Date Posted: | 11 October 2017 |
| Details: |
The composition competition “Torre della Quarda” is an international event; it will be a key element of Festival Internazionale di Musica di Savona and it will contribute to enrich an artistic proposal which has reached in 2018 its sixth edition. The principal objective of the competition is to give support to the composition of new musical pieces and to promote the creativity in the musical field. Our hope is to bring the best emerging talent of composition from all over the world to Savona. The participation will be open to competitors from all the world countries, without limits of age, aesthetical trends and compositional styles. Our aim is to stimulate a dynamical relationship between an active audience and authors sensitive to creative innovation. The winners will receive their awards in a special ceremony during the Festival and their compositions will be played as concerts, parts of the Festival itself. A further aim of the competition is to act as a significant occasion of cross interaction, overcoming generational and geographical divides. Different generations of composers will have the opportunity to meet and compare their various perspectives. The same will happen between musical schools of different origins, born from different cultures but sharing the universal language of sound. The Musical Edition Da Vinci Publisher (https://amiosaka.com/da-vinci-classics/), with office in Osaka in Japan, will publish the winner musical piece. This support is further confirmation of the international profile of the competition. For the 2018 edition the jury is as follows: STEFANO GERVASONI (Composer, President of the Jury Panel) PIERRE RIGAUDIÈRE (Musicologist – France) ANDREA CAVALLARI (Composer) GIORGIO COLOMBO TACCANI (Composer) MARCO LOMBARDI (Composer) Section 1 – Chamber music Formations admitted: • Piano solo (also prepared with discretion) • Solo Flute (the performer may use: piccolo, flute in C, flute in G) • Solo Clarinet (the performer may use: Eb clarinet, clarinet in Bb, clarinet in A, Eb alto clarinet, bassett horn, bass clarinet) • DUO: Flute (piccolo, flute in C, flute in G) + clarinet (Eb clarinet, clarinet in Bb, clarinet in A, Eb alto clarinet, bassett horn, bass clarinet) • DUO: Piano (also prepared with discretion) + flute (piccolo, flute in C, flute in G) • DUO: Piano (also prepared with discretion) + clarinet (Eb clarinet, clarinet in Bb, clarinet in A, Eb alto clarinet, bassett horn, bass clarinet) • TRIO: Piano (also prepared with discretion) + flute (piccolo, flute in C, flute in G) + clarinet (Eb clarinet, clarinet in Bb, clarinet in A, Eb alto clarinet, bassett horn, bass clarinet) The length of the composition must be between minimum 2 minutes and a maximum of 10 minutes. Each candidate may present one or more compositions in the same category and/or different categories. Section 2 – Orchestra composition Instrumentation available. It is required the use of no fewer than 15 instruments: 2 Flutes in C 2 Oboes 2 Clarinets (Bb/A) 2 Bassoons 2 Horns in F 2 Trumpets (C/Bb) Timpani (1 player – 3 timpani: 32'' - 28'' - 26'') Strings (7/6/4/4/2) The length of the orchestra composition must not exceed 15 minutes and it has no limit of minimum length. Not admitted production of compositions for solo instrument and orchestra. People applying for section 2 can send one only composition. It is possible to propose compositions for solo string orchestra. In both sections (chamber music and orchestra) the use of electronic disposals is not permitted, at all. |
| Web Site: | www.ensemblenuovemusiche.eu/en... |
| The Greater Bridgeport Symphony 2018 Emerging Composer Competition | |
| Summary: | Orchestra Competition |
| Deadline: | 27 April 2018 |
| Date Posted: | 11 October 2017 |
| Details: |
The Greater Bridgeport Symphony announces a national competition for innovative composers of orchestral music. The winner may premiere his or her composition during a concert conducted by the Symphony’s dynamic maestro, Eric Jacobsen, during the 2018-2019 GBS season at the Klein Auditorium in Bridgeport, Connecticut. This competition embraces Maestro Jacobsen’s goal of premiering new works, and his vision of bringing orchestral music to a new generation of fans. Application and Digital Submission Deadline: Friday, April 27, 2018 Finalists: Notified by June 29, 2018 Three finalists will be chosen to have their works rehearsed by the orchestra. Each finalist is eligible for up to $250 in travel reimbursement to attend a reading rehearsal. 1st Prize: $1000 plus the opportunity to Premiere Composition at a GBS 2018-2019 Concert 2nd Prize: $500 3rd Prize: $250 Open to all orchestral composers ages 18-32 who are residents of the U.S.A. Application with digital file deadline: Friday, April 27, 2018 Please go to the “Emerging Composer Competition” link on http://GBS.org for application and rules. |
| Web Site: | www.bptsym.org |
| Carl Orff Competition | |
| Summary: | Themed competition |
| Deadline: | 28 February 2018 |
| Date Posted: | 11 October 2017 |
| Details: |
A composers contest based on a predetermined theme The Carl Orff Competition will change its theme on an annual basis and invite composers from around the world to create their very own variations. The entries will be published online, on a specified date, and reviewed by the public. The Top-10 compositions will then be performed in concert where a jury selects 3 winners who are presented with cash prizes. The composition should contain an excerpt from the poem ''Orpheus.Eurydice.Hermes'' by Rainer Maria Rilke. In the poem, Orpheus leads his beloved Eurydice in the company of the God Hermes out of the underworld. The plan can only succeed if he doesn't turn around to her. Otherwise Eurydice will not be permitted to leave the underworld. The sculptures appearing below by Antje Tesche-Mentzen should serve as a source of inspiration (see website link, below). It should also be noted that Monteverdi in his opera ''Orfeo'' used a rhythm during the song ''Nehmt mich auf Ihren stillen Wälder'' which corresponds to the initials of Carl Orff ''CO'' in Morse code. On the occassion of the renaming of the competition this is a fact which could be taken into account but is not obligatory. The composer may choose freely with regard to the melody and harmony of the composition. The prerequisites for a competitive entry are as follows: • The text must be fully completed. It is only a part of the poem ''Orpheus.Eurydice.Hermes'' not the entire poem. It can be in German, English or Spanish (Poem texts have already been provided in PDF format). • The work must between 4 and 6 minutes in duration. • The work must be written for solo baritone (alternatively solo soprano), harp (alternatively piano) and a frame drum. The singer should be able to play the frame drum. • The work must be written in a manner that it is also playable (see harp) • The work must be written using one of the following music notation programs: Capella, Finale, Sibelius, Primus, MuseScore, Encore, Lilypod or ABCplus |
| Web Site: | www.carl-orff-competition.com |
| 2018 Earplay Donald Aird Composers Competition | |
| Summary: | Chamber Call for Scores |
| Deadline: | 31 March 2018 |
| Date Posted: | 11 October 2017 |
| Details: |
Deadline: March 31, 2018 Earplay sponsors the annual Earplay Donald Aird Composers Competition, open to composers of any nationality and any age. Earplay performs the prizewinning piece and presents a cash prize of $1,000 to the winning composer. The competition honors the late composer/conductor/Earplay board member Donald Aird, an ardent supporter of the creation and performance of new music. A list of past competition winners, finalists, and honorable mentions is here. You can submit an Aird competition application electronically or by mail. Please send mail if you have questions or comments. Eligibility: • Applicants may be of any nationality. • Applicants may be of any age. Compositions: Works are limited to 1 to 6 players (at most 1 of each, e.g., not 2 violins) from Earplay's ensemble: • flute/piccolo/alto flute • clarinet/bass clarinet • piano • violin • viola • cello Works may include electronics. Works may be of any duration (8-15 minutes preferred). Works may have been previously performed. Each composer may submit any number of pieces. Award: Cash prize: $1,000. Performance by Earplay during our next season. Earplay will announce the winner in fall 2018. All entries will be considered for future performance. Deadline: Applications must be submitted online or postmarked by March 31, 2018. Application: Earplay strongly encourages you to use online application, but if you prefer you can print an application form, fill it out, and mail it instead. You can use online application even if you intend to mail some parts of your application (composer bio, score, program note, recording, or payment). Sorry, mailed submission materials cannot be returned. Checklist: • Completed online application (preferred) or application form • Brief composer biography • Score (all composer identification removed) • Brief program note • Recording (not required but strongly recommended) • Application fee US $26 per score (cash, check payable to Earplay, or PayPal payment) Mailing address: Earplay 2018 Earplay Donald Aird Composers Competition 560 29th Street San Francisco, CA 94131-2239 USA Further information: aird@earplay.org |
| Web Site: | earplay.org/www/competition.ph... |
| Mostly Modern Festival (MMF) Institute | |
| Summary: | Composition Programme |
| Deadline: | 01 March 2018 |
| Date Posted: | 05 October 2017 |
| Details: |
The Mostly Modern Festival (MMF) Institute is the educational component of the Mostly Modern Festival, offering a combination of intensive one-on-one instruction and professional performance experience. The institute has over 100 students & over 20 faculty members. There will be an orchestra, a choir, 4 chamber ensembles, masterclasses, lectures, and private lessons. The Institute is open to musicians 18 and older, and welcomes people in all stages of their career. APPLY HERE: Early-Bird Deadlines Dec. 1 and Jan. 1st. MMF takes place at Skidmore College at the Arthur Zankel Music Center. Skidmore College is ideally located in Saratoga Springs, New York, three hours by car from NYC, Boston, Philadelphia and Montreal. All public performances take place at the stunning Helen Filene Ladd Concert Hall, a 600-seat acoustically tuned space. Instrumentalists (up to 70 instrumentalists accepted) • Perform in the American Modern Orchestra. • Participants perform alongside the faculty with different conductors each week, Maestros Christopher Rountree, TBD, and Kent Tritle. • Receive private lessons from performance faculty. • Access to all masterclasses, and a pass to everything at the festival. • Check this page for American Modern Orchestra instrumentation. Singers (up to 60 vocalists accepted) • Perform in the American Modern Choir. • Work under the baton of Maestro Kent Tritle and Nicol Matt. • 4 rehearsals/coachings per week, dress rehearsals and 2 performances. • Access to all masterclasses, and a pass to everything at the festival. • Visit this page for details on the American Modern Choir. Composers (up to 30 composers accepted) • Receive a fully-professional, live performance from: American Modern Ensemble, one of the three Guest Ensembles, or the American Modern Choir. (ensemble determined during the acceptance process). • Composers can also apply for an orchestral reading with the American Modern Orchestra. • Two composers will be chosen to a have their work performed by the American Modern Orchestra. • Receive top-of-the-line 4 camera-shot video (video posted on the MMF YouTube page) and audio WAV file of your performance. • Professional ensembles work intimately with composers in rehearsals, the dress and the performance. • Receive meetings/lessons with the Composition Faculty. • Access to all masterclasses, and a pass to everything at the festival. Conductors (up to 8 conductors accepted) • Conduct the American Modern Ensemble or the American Modern Choir. • Conduct the readings with the American Modern Orchestra. Readings will be mentored by the Faculty Conductors and Composition Faculty. • 2 conductors conduct a piece for the American Modern Orchestra, one each week. • Group seminar with all conductor faculty members. • Receive top-of-the-line 4 camera-shot video (link to video posted on the MMF YouTube page) of your performance(s) at the festival. • Access to all masterclasses, and a pass to everything at the festival. All performances are recorded and fully edited for participants: both audio and video. Composers and conductors receive audio WAV files and links to polished videos of their performances (shot with 4 cameras) posted on MMF's YouTube channel. Composers who take part in the orchestral readings receive un-edited audio recordings of their readings (editing available for an additional fee). There will be two "ad hoc" concerts that will provide an opportunity for participants and faculty to showcase modern repertoire of their choice. Performers will be given guidelines and may submit proposals for pieces they'd like to play. Works will be chosen on a first-come first-serve basis, based on time and programming considerations. |
| Web Site: | mostlymodernfestival.org/about... |
| Young Composers' Competition 2018 | |
| Summary: | Young Composers’ Competition |
| Deadline: | 30 April 2018 |
| Date Posted: | 27 September 2017 |
| Details: |
Your entry is now invited to the CSO Young Composers' Competition for 2018. The aim is to encourage young musicians to compose works for full symphony orchestra. The winning composition will be played by CSO as part of the programme for their public concert in Cheltenham Town Hall on 20th October 2018. A recording will be made and given to the winner. Rules and requirements You 1 must be born or normally resident in the United Kingdom; (This notice is initially being circulated in Gloucestershire and surrounding counties, but recipients are free to forward it to others.) 2 must be aged under 19 on 1st September 2018; 3 must not have been on any Higher Education course before September 2018. Your work 4 -should be written for orchestral ensemble (woodwind, brass, strings, timpani) up to a maximum of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, strings, timpani; -must be original, and must not have been published or broadcast publically. Adjudication Results -with an entry fee of £15 payable to Cheltenham Symphony Orchestra; 10 must be received by secretary@cheltenhamsymphonyorchestra.info -postal address: 1 Moorend Grove, Cheltenham GL53 0EX by 30th April 2018; all entries will be acknowledged. -will be completed by 30th June 2018. -will be announced on the CSO website, and sent to all entrants, in July 2018. is required to produce a full set of parts by 31st August 2018; should last between 4 and 5 minutes; Your entry -must include a separate document with your name and contact details; - must also include a certificate of authentication, as for A level exams, together must be submitted in the form of a pdf and mp3/mp4 audio track; The Winner -is expected to attend the final rehearsal and concert, on 20th October 2018 -may also attend other rehearsals of their work. The Winner also -grants Cheltenham Symphony Orchestra a perpetual, irrevocable, non-exclusive and royalty-free right to perform, broadcast and record your entry and to reproduce the score for such purposes; and, Runners-up -where your entry is subsequently published, broadcast or recorded by yourself or a third party under licence, you will agree and procure that included below the title will be the following inscription: "Winner of the 2018 Cheltenham Symphony Orchestra Young Composers' Competition" The first and second runners-up may ask for their works to be played by the orchestra at a Thursday evening rehearsal on dates to be agreed with each composer; a full set of parts will have to be provided two months in advance. For further enquiries, please contact -secretary@cheltenhamsymphonyorchestra.info Cheltenham Symphony Orchestra wishes all entrants the best of luck and the finest of ideas. |
| Web Site: | cheltenhamsymphonyorchestra.in... |
| OPERA CREATION LAB for Composers and Singers | |
| Summary: | Opera writing course |
| Deadline: | None |
| Date Posted: | 27 September 2017 |
| Details: |
Program Dates: July 5-15, 2018 COSI 2018 is pleased to offer its OPERA CREATION LAB for Composers and Singers, directed by Dean Burry, in combination with members of COSI’s magnificent artistic teams. Apply for this summer’s COSI OPERA CREATION LAB for Composers and Singers via COSI’s YAPtracker link. FOR COMPOSERS: In receiving your application for the program, you will then be contacted by us to submit two examples of your compositions. Vocal and/or instrumental pieces are welcome, though examples of previous operatic writing are encouraged. Successful composer applicants will: Submit a vocal composition or opera scene before the program. Collaboratively create a scene while at the program. Receive a final public presentation and recording. For composers, the summer Opera Creation Lab includes: • Vocal masterclasses that will inform about writing for the voice, and the particular considerations for each voice type and differences within those voice types (writing for different kinds of sopranos, for example). • Dramaturgy and the libretto – how to work with a libretto or consider writing one. • Building a Composing Career in Opera • Elements of Design • Private lessons with Dean Burry. • Interactive sessions with Music Director Shannon Hiebert and the performers of your music. • Making important connections with singers and opera professionals with whom you may work in the future. • Access to all COSI opera performances and courtyard concerts for the duration of the Opera Creation Lab. “COSI’s Opera Creation Lab exceeded all my expectations. It was incredible to hear my music so soon after writing it. The singers were wonderful, engaged and creative. Seeing our scenes brought to life gave me a new understanding and appreciation for all the dramatic work that goes into making opera work. This, in turn, will forever affect how I approach the combined forces of music and drama. Thank you so much!” Katherine Saxon (COSI 2017), University of California Santa Barbara. “The week that I spent at the COSI Opera Creation Lab for Composers and Singers was a completely enriching experience. There is nothing more inspiring than working in an environment surrounded by young driven performers and seasoned instructors. I look to forward to seeing the growth of this amazing program and am proud to have participated in its inaugural year.” Ryan Henwood, Dalhousie University. |
| Web Site: | www.co-si.com/opera-compositio... |
| The Molinari Quartet's Seventh International Competition for Composition | |
| Summary: | String Quartet Competition |
| Deadline: | 01 April 2018 |
| Date Posted: | 20 September 2017 |
| Details: |
The Molinari Quartet's Seventh International Competition for Composition Through its Composition Competition, the Molinari Quartet wishes to encourage young composers to write for string quartet. Over the past centuries, the string quartet has become, thanks to the great masterpieces written for it, a highly valued but dreadful form to write for, for composers. But even today, in 2017, the string quartet is as alive and exciting as ever ! The Molinari Quartet contributes to the development of the string quartet literature by encouraging composers to send new original scores to its Competition. The Molinari Quartet is pleased to announce its Seventh International Competition for Composition for string quartet. Composers are invited to submit an original work for string quartet by April 1st 2018. The winning compositions will be played in concert during the Molinari Quartet's Twentieth and Beyond series to be held in Montreal (Quebec, Canada) during the 2018-2019 season. The jury will be comprised of the Molinari Quartet's artistic director and its musicians, in addition to well-known Canadian composers Brian Cherney, Denis Gougeon and Maxime McKinley who will determine four winners. The winning compositions will be performed by the Molinari Quartet during a special concert during the 2018-2019 season. After the concert performance the jury will deliberate and choose the order of the winners. The First Prize winner shall receive a $3000 grant as well as a silkscreen by renowned Canadian artist Guido Molinari. The second prize winner will receive a $2000 grant and the third prize winner a $1000 grant. The fourth finalist will receive and Honourable Mention. The jury reserves the right not to grant all prizes. The winners will be invited to work with the Molinari Quartet prior to the concert and to participate in the Dialogues sur le Plateau series, a public workshop of discussions and analysis produced by the Molinari Quartet. Rules for Eligibility: • Candidates must be 40 years old or less as of April 1st 2018, the due date for registration. • The work must not exceed 20 minutes. • Only works for string quartet that have neither been performed professionnally nor published as of April 1st 2018 shall be accepted. • Works for quartet and electronics are accepted. • Scores must be received by the Molinari Quartet at the latest April 1st 2018. (The post office stamp shall be recognized as the receiving date) • Scores in pdf format are also accepted and must be received at the latest April 1st 2018 at the following address : qm@quatuormolinari.qc.ca • USB keys are also accepted • Registration fees of $30 CAN must accompany all scores. * • A candidate may submit more than one work, but each work must be sent separately. • Parts and scores shall remain the property of the Molinari Quartet. • The candidate must send a score as well as separate playing parts to the Molinari Quartet. • All scores must be sent anonymously; only a pseudonym can appear on the score pages. • The candidate shall also send a sealed envelope bearing his or her pseudonym which will contain his or her name, postal address, e-mail address, telephone number, birth date, nationality (for statistics), resumé as well as a statement as to the fact that the work is yet unpublished and that it has never been performed professionnally. • The composer whose work has been chosen as one of the winning compositions, will not receive any extra payment for the execution or recording of the work. • The winners of the competition commit themselves to find the necessary funding for a stay in Montreal to work with the Molinari Quartet and assist to the performance in the 2018-2019 season. * The registration fees may be paid by cheque (to Molinari Quartet), Paypal (qm@quatuormolinari.qc.ca) or cash. We also accept US dollars and Euros but you must add 5$ to cover the bank’s conversion fees. Competition Calendar: Competition launch: September 2017 Due date for registration and receiving scores: April 1st 2018 Jury: May 2018 Announcement of winners: May 2018 Winners Concert: 2018-2019 season Please send the scores to : Molinari Quartet P.O. Box 56536 Montreal, Quebec Canada H1W 3Z3 For more information write to : qm@quatuormolinari.qc.ca or call 514-527-5515 |
| Web Site: | quatuormolinari.qc.ca/en/conco... |
| Ret Frem Ensemble | |
| Summary: | Rolling Call |
| Deadline: | None |
| Date Posted: | 20 September 2017 |
| Details: |
New contemporary music ensemble Ret Frem are calling for composers of all ages to submit scores for chamber ensemble. We will accept both new scores and pieces that have been performed before. Successful submissions will be added to our repertoire through rehearsal and performance. THE CALL We accept scores in two categories: Category 1: Scores for quartet of flute, clarinet, violin and cello (with standard doublings). Category 2: Scores for any combination of flute, clarinet, violin, cello and piano/electric keyboard (with standard doublings). There is no fee for submission. Scores can be in any style and of any duration. Scores for solo instrument are just as valid as a quintet or anything in between, in Category 2. We will contact composers whose scores we wish to perform as and when our programme permits. The call is ongoing and there is no deadline: scores will be selected based on the curation of specific concert programmes. Selected scores may be performed several times during our season. Please fill in the attached Submission Form and send to: admin@retfrem.com or Ret Frem Ensemble,Top Flat, 79 Brighton Road, London N16 8EQ << N.B. NEW ADDRESS N.B. Not all our performance venues have pianos. |
| Web Site: | www.retfrem.com |
| Opportunity: New Voices, Talent Development Programme | |
| Summary: | Register interest for programme |
| Deadline: | None |
| Date Posted: | 20 September 2017 |
| Details: |
Date: Registration closes, noon on Tues 17th Oct Produced by: Sound and Music New Voices: a new Talent Development Programme for new ideas, new sounds and new music Do you create or compose your own music or sound? Then this could be the opportunity for you! Taking the successful models, wonderful partnerships and expertise from our previous Embedded and Portfolio Programmes, as well as our Pathways Programme we are thrilled to announce and introduce you to New Voices, Sound and Music's reimagined Talent Development Programme. We are looking for composers and artists creating their own original new music and sound to be part of New Voices New Voices aims to be representative of the diverse range of composers working across the UK today. Overview Become part of New Voices, an 18 month Talent Development Programme tailored to your needs Get the benefit of 6 months of bespoke, external and expert coaching and mentoring Explore and realise your creative ideas and ambitions, in your own style, in your own way Join a network of your creative peers from across the UK, who will be going through the New Voices programme at the same time as you Be part of a unique supportive residential weekend with these peers and with Sound and Music staff Make public facing work for audiences, through your own creative activity and collaborations, and/or through working with other organisations Receive a bursary of £1,500, travel and accommodation expenses, plus a production grant of up to £6,000 if you are organising the final public outcome yourself Work with Sound and Music to explore digital as well as live outcomes of your work Sound good? Great. At this stage, you only need to register your interest, and then we will get in contact to discuss and to find out if this opportunity is a good fit. If you need any other support to access this opportunity, or need this information in another format then we’re here to help, so please do contact us: Director of Programmes, richard.whitelaw@soundandmusic.org Keep reading to find out more. |
| Web Site: | www.soundandmusic.org/projects... |
| Risuonanze 2018 | |
| Summary: | Competition with Several Categories |
| Deadline: | 19 March 2018 |
| Date Posted: | 06 September 2017 |
| Details: |
Associazione Culturale TKE is calling for pieces to be performed at the “Risuonanze 2018 - incontri di nuove musiche” Festival, which will take place in Friuli Venezia Giulia region - Italy. The Call is open to composers of any nationality and age. Pieces should be written or the specified instruments and chamber groups (please see below); use of tape and/or electronics is not allowed. The submitted works should not have been premiered in any public performance in Italy; if selected, these works will be presented as “world premieres” or “Italian premieres”. Works of any aesthetic and stylistic direction, not longer than 6 minutes in duration may be submitted. All music performed in the Festival will be radio-broadcast and professionally recorded; composers will be given a copy of the recording of their works. 18 Euros (non-refundable) must be payed via bank transfer or PayPal as a donation for contribution to costs; this amount allows to submit 1 to 6 different works. Festival “Risuonanze 2018” is based on the direct relationship between composers and audience, so composers attending the performances are much appreciated. In that case, there is no refund for travel and lodging fees. Associazione Culturale TKE may select one or more pieces in each category; it may also decide not to choose any composition. GUIDELINES o Submission deadline: March 19th, 2018; o Works written for: a. UNACCOMPANIED: o solo Piano o solo Violin o solo Flute [C Flute, Piccolo, G Alto Flute] o solo Oboe o solo English Horn o solo Clarinet [Bb/A/Eb Clarinet, Bass Clarinet] o solo Trombone o solo Concert Accordion o solo Voice [mezzo-soprano, range: F3 to Fa5 (piano dynamics) or Ab5 (forte dynamics)]; b. DUOS: o Voice [mezzo-soprano, range as before] and Piano o two Violins o Flute [C/Piccolo/G] and Clarinet [Bb/A/Eb/Bass Clarinet] o Flute [C/Piccolo/G] and Oboe [English Horn] o Clarinet [Bb/A/Eb/Bass Clarinet] and Oboe [English Horn] c. TRIO: Flute [C/Piccolo/G], Oboe [English Horn] and Clarinet [Bb/A/Eb/Bass Clarinet] o Regarding vocal works, the text should be in the public domain, otherwise the composer should be authorized for its utilization; o Works not longer than 6 minutes in duration; o All submitted works must be “world premieres” or “Italian premieres” in the Festival; o Submissions via email only; o Each submission consists in: a. one to six scores, b. payment proof 18 Euros (bank transfer: IBAN IT58P0634067684510701023136, BIC/SWIFT IBSPIT2U, beneficiary: Associazione Culturale TKE, or Pay Pal: please click the button below - as Description of payment please write “Call for Scores Risuonanze 2018”) c. a short biography (170 words max.); o The scores must be attached as PDF files; o The biography (in Italian or English) must be pasted as text in the body of the email, together with first name, last name, date of birth and nationality; o The payment proof (bank transfer or PayPal) must be attached as PDF file; o In the body of the email, please specify whether the pieces, if selected, should be presented as “world premiere” or “Italian premiere”; o Send the submission via email to callrisuonanze2018@gmail.com The results will be announced not later than May 7th, 2018 on the Risuonanze website, and composers of the accepted works will be notified by email. For any further information, please email: tkecallforscores@gmail.com |
| Web Site: | www.risuonanze.it/calls/call20... |
| Youth Music Tutor - Lyric writing raps/songs/poems, Aptitude Organisation CIC | |
| Summary: | Teaching Post |
| Deadline: | None |
| Date Posted: | 06 September 2017 |
| Details: |
Closes: 11th September 2017 Location: West Midlands Type: Part time Salary: Paid (£25k-30k pro rata) Description Youth Music Skills Tutor - lyric writing £15-£25 per hour (depending on qualifications and experience)1-year Fixed, Term time only (38 weeks), 2 hours per week Days & Hours: Thursdays 6-8pm. Additional hours may be available on an ad-hoc basis. Actual salary for 2 hours per week term time: £1140 - £1900 Fixed Term End Date: 30/10/2018 (Initially) Lead delivery of an accredited young people’s music programme which uses the tool of lyric writing songs and raps to support positive emotional development. Hold relevant a qualification and/or experience in Music Performance Song/Poem writing, Sound Engineering, Music Technology, DJ Skills, Composition or other relevant music qualification This post is subject to full enhanced DBS Service Check. Location: The Crez, Jubilee Crescent Community Centre, Radford, Coventry CV6 3EX Return Completed Application form to: tara@aptitude.org.uk Closing date: Monday 11th September 2017 Interview Date Monday 18th September between 4.30pm-8pm (30 minutes time slot)W ebsite: www.aptitude.org.uk Tel: 07871 917936 We are also recruiting for: Youth Programme Casual/Bank Staff £9 - £25 per hour (depending on qualifications and experience) 1 year fixed Term Contract: Zero hours (bank staff) 1 year fixed Days & Hours: ad-hoc basis. Main Purpose of role: Delivery of a specialist skill that contributes to a new exciting programme to engage young people to be empowered through various activities that are fun, safe, social and educational (team building, developing self-confidence). Where appropriate you will cover staff annual leave, sickness and when added support is required for trips and events. • To develop, deliver, facilitate and participate in games, activities and discussions with young people • To supervise young people and ensure general health & safety and rules of conduct. • Build positive links with young people and promote active participation in activities such as planning and delivery of group work programmes on health, fitness, smoking, drugs, gangs, violence, relationships and bullying. Hold relevant a qualification and experience in Music Performance Song/Poem writing, Sound Engineering, Music Technology, DJ Skills, Composition or other relevant music qualification. |
| Web Site: | www.aptitude.org.uk |
| Email: | tara@aptitude.org.uk |
| Ablaze Records | |
| Summary: | Multiple Opportunities |
| Deadline: | None |
| Date Posted: | 06 September 2017 |
| Details: |
Orchestral Masters, Vol. 6 APPLY Calling for Orchestral Scores for our Sixth Volume of Orchestral Masters to be recorded in Brno, Czech Republic with the Brno Philharmonic in summer of 2018. CLOSING DATE: February 1, 2018 New Choral Voices, Vol. 3 APPLY Calling for Choral Scores (up to 16 voices divisi, a cappella) for our third volume of New Choral Voices CD to be recorded in Cincinnati, Ohio with the excellent Ablaze Records Choir Coro Volante directed by maestro Brett Scott in winter, 2017/18. **NEW** CLOSING DATE: October 1, 2017 Electronic Masters, Vol. 7 APPLY Calling for new recordings of Electronic or Electroacoustic works for our seventh volume of Electronic Masters. CLOSING DATE: April 1, 2018 Millennial Masters, Vol. 9 APPLY Calling for new recordings of Chamber music works for our ninth volume of Millennial Masters. CLOSING DATE: April 1, 2018 Stage and Screen Series, Vol. 2 APPLY Calling for new scores of music written for stage or screen to be recorded by full professional symphony orchestra in 2018. CLOSING DATE: February 1, 2018 Pierrot Ensemble Series, Vol. 3 APPLY Named after the ensemble created by Schoenberg for his landmark work Pierrot Lunaire, this is a call for scores for Pierrot ensemble (flute, clarinet, piano, violin, cello) but without voice and with the possible addition of one percussionist and/or fixed format electronics to be recorded by principal players of the stunning Brno Philharmonic Orchestra. CLOSING DATE: February 1, 2018 Sinfonia Series, Vol. 2 APPLY This is a call for scores for Brno Philharmonic Ensemble, a large 15 member group consisting of one of each orchestral instrument (flute, oboe, clarinet, bassoon, horn, trumpet, trombone, bass trombone, tuba, piano, percussion (1), 2 violins, viola, cello and double bass) to be recorded the stunning Brno Philharmonic Ensemble. CLOSING DATE: February 1, 2018 Composer Monograph CD—APPLY Ongoing, submit your proposal anytime. Performer Portrait CD—APPLY Ongoing, submit your proposal anytime. |
| Web Site: | www.ablazerecords.net/submissi... |
| THE MATAN GIVOL INTERNATIONAL COMPOSERS COMPETITION 2018 | |
| Summary: | Chamber Call |
| Deadline: | 01 April 2018 |
| Date Posted: | 30 August 2017 |
| Details: |
Meitar Ensemble announces the 3nd Matan Givol International Composers Competition. -Composers from all over the world are invited to present works for Meitar Ensemble. -The competition is an open call for composers of all ages and nationalities. -The promotion of New Chamber and Ensemble Music was Meitar Ensemble’s goal and ambition for many years. With this competition we take on yet another path to find those hidden jewels of New Music and bring them to the front stage . I. PRIZE FOR THE WINNING COMPOSITION 2,000 euro and one public performances on June 30th 2018. The piece will be conducted by Ilan Volkov and recorded live. II. CONDITIONS FOR ENTRY AND APPLICATION There are no age limit or nationality restrictions for composers. -Instruments: The compositions submitted for the competition must use any combination of the following instrumentation, with a minimum of five performers: flute (doubling on picc and alto flute), clarinet (doubling on bass clarinet), violin, viola, cello, piano, percussion: vibraphone, 4 octave marimba, glockenspiel (any other requirements for percussion instruments should be discussed in advance). -Usage of prepared pianos should be discussed with the ensemble. -No usage of additional instruments (instruments which are not on the list, live electronics, etc.) is allowed. -Scores submissions via email only. Scores will not be accepted if they do not meet the conditions for entry. -The works duration must be between 8 to 15 minutes. -Pieces that have won awards in other competitions will not be accepted, never the less, pieces subjected to the competition are not obliged to be new compositions. Deadline for entries: The scores, the registration application and the enclosed documents must be sent no later than April 1st 2018 (23:59 Jerusalem time) to the following email address: ceme.meitarensemble@gmail.com A COMPLETE APPLICATION WILL HAVE THE FOLLOWING ITEMS: -A full online Application Form (see at bottom of the page) -Scores (in PDF form) to be under pseudonym (the committee will not receive the participants names) + Short description of the work -An artistic and academic curriculum A copy of the Entry Fee payment document -The jury will consist of Meitar Ensemble members and the ensemble’s composer in residence, Mr. Philippe Leroux and the ensemble’s conductor in residence, Mr. Pierre-Andre Valade -The jury’s decision is final and cannot be legally challenged. Furthermore, the jury reserves the right to award no prize. -The entry fees are non-refundable. -The results of the Matan Givol International Composers Competition 2018 will be published on the web site www.meitar.net and the social networks no later than May 15th 2018. DEADLINE FOR SUBMISSION OF COMPLETE APPLICATIONS: APRIL 1ST 2018 (23:59 JERUSALEM TIME) |
| Web Site: | www.meitar.net/composers-compe... |
| 2018-2019 Association of Concert Bands Young Composers Composition Contest | |
| Summary: | Concert Band Competition |
| Deadline: | 15 June 2018 |
| Date Posted: | 23 August 2017 |
| Details: |
This composition contest is intended for young composers who are writing music for concert band. There are over a thousand community bands in the United States and more across the globe who are performing concert band music. These ensembles play music from across the spectrum - show tunes, patriotic selections, marches, transcriptions, new works for band. These bands are looking for new music that fits a more traditional style of concert band literature that audiences will enjoy. Composers should keep this audience in mind for their submission to this contest. Eligibility: • Composers under 30 years of age on submission deadline date. • Composers must not be contractually obligated as an employee or under contract to any publisher or publishers. ineligible: Current Members of the ACB Board and their family members Guidelines • A 3 - 5 minute duration piece of original composition for concert band at a grade level of roughly 4. • Submissions must not have been previously published. • Submissions must have been written within the past 18 months. • Submissions must not have been previously performed in a public venue. • Only one submission per composer will be accepted. • Suggested Instrumentation: o C Piccolo; 1st & 2nd Flute; Oboe; Bassoon;1st, 2nd, & 3rd Clarinet; Bass Clarinet; 1st & 2nd Alto Saxophone; Tenor Saxophone; Baritone Saxophone; 1st, 2nd, & 3rd Trumpet; 1st, 2nd, 3rd & 4th Horn; 1st, 2nd, & 3rd Trombone; Euphonium (BC/TC); Tuba; Mallet Percussion; Timpani & Percussion (expanded) Optional: Eb Clarinet, 2nd Oboe, 2nd Bassoon, Contrabass Clarinet, Piano o Special Considerations: Extensive cross-cueing (always on solos for Horn, Bassoon, Oboe, Bass Clarinet); composers are encouraged to use expanded percussion, particularly mallet and accessory instruments. Plan for maximum of five percussionists. Submit via email to acbcontest@gmail.com • Cover Sheet with Composer's name, mailing address, email address, school affiliation (if current student), birth date, names of all files submitted (as a word document or PDF file). • One PDF of the score labeled with the Title. Other identifying information must be removed. • An .mp3 recording if available, MIDI files from the composing software are acceptable. • Program notes. (separate from the score as a word document or PDF file) • Naming conventions for files: TITLE_Initials_score.pdf TITLE_Initials_recording.mp3 (or .mid) TITLE_Initials_prognote.pdf (or .doc) For lengthy titles, truncate to the first 10 characters. • If the composition is selected as the winner, a complete set of parts in PDF form is to be provided. • Application fee of $25 by credit card ("buy now" below) or by check made out to the Association of Concert Bands with a copy of the cover sheet mailed to: Association of Concert Bands c/o Sarah McElfresh 905 4th Avenue Extension Farmville, VA 23901 |
| Web Site: | www.acbands.org/compositioncon... |
| Los Angeles Master Chorale | |
| Summary: | Choral competition |
| Deadline: | None |
| Date Posted: | 09 August 2017 |
| Details: |
The Los Angeles Master Chorale is pleased to sponsor its third Young Composers Competition and seeks a new work to be premiered at its annual High School Choir Festival on May 18, 2018, performed by 16 members of the Master Chorale. The Los Angeles Master Chorale High School Choir Festival, now in its 29th year, is the culmination of a year-long education program in which 900 high school students come together to sing as a massive choir under the direction of Artistic Director Grant Gershon at Walt Disney Concert Hall in Los Angeles. For more information about the HSCF please visit this page. SUBMISSION DEADLINE: 2018 Deadline TBD For full details: |
| Web Site: | lamasterchorale.org/young-comp... |
| “Key to the Future” – Opera Composition Competition 2018 | |
| Deadline: | 22 August 2018 |
| Date Posted: | 02 August 2017 |
| Details: |
Objectives of the Competition: Creating a forum for and drawing attention to new "popular operas" conceived in the spirit of the Artistic Manifesto of Bartók Plus Opera Festival, that are capable of luring back large audiences to the opera house. Eligibility of Applicants: Any natural persons who are contemporary composers can submit their work to the competition, irrespective of their nationality, country of residence or age. The competition is not “anonymous” - one can only apply with full name and address. Advertiser of the Competition: Miskolci Operafesztivál Nonprofit Kft. (Seat: 3525 Miskolc, Déryné u. 1; Reg. No: Cg: 05-09-016624, represented by Beáta Farkas, managing director). The Advertiser intends to advertise the Competition on a yearly basis, in accordance with its means and purposes, first in the year 2012. Works to be submitted: Completed Work not yet performed on stage with an orchestra. There are no restrictions concerning the topic, language and the length of the Work. One composer can submit several Works and several authors can submit one joint Work. Preliminary Registration and the Application Process: Application is possible by submitting the Application Form downloaded from the website. In the course of Preliminary Registration, this Application Form should be sent to the email address composersecretary@gmail.com. Completion of each point of the Application Form is mandatory. The amount of the Application Fee: 150 EUR, payable to Advertiser's following bank account at OTP Bank: HU44 1176 3347 5721 7886 0000 0000. Submission of the Work: Application documents can only be sent by way of postal delivery. The following information should be indicated on the envelope, postal parcel etc. • The name of the Advertiser: Miskolci Operafesztivál Nonprofit Kft. • Its postal address: Miskolci Operafesztivál Nonprofit Kft., 3501 Miskolc, Pf. 634 • The name of the Competition: “Key to the Future” – Opera Composition Competition • The Sender, in other words the Applicant • Materials to be submitted: 1., The full score of the Work on paper and electronic media. 2., A synopsis of the Work summarising the story in maximum 1 page in A/4 format. 3., The duly signed original copy of the Application Form. 4., The banking document verifying transfer of the Application Fee to Advertiser’s bank account. In addition to the Work (score) Applicants may choose to submit (non-mandatory): • The Orchestral Part of the Work, but in case the Work is shortlisted for the Finals, within 5 working days from the receipt of the notification thereof; Applicant shall submit the finished Orchestral Part to the Advertiser by electronic mail. • Any other Sound Recording. Application deadline: 00:00 hours CET, 22nd August, 2018 The Application Deadline means Delivery to the Advertiser of the Competition. Professional pre-selection: Works will be judged by a professional Jury consisting of 4-7 experts. The Jury will select 3 or more of the submitted Works that they consider to be most in compliance with the principles of the Artistic Manifesto of Bartók Plus Opera Festival. These Works shall be the Finalists in the competition. The decision of the professional Jury and the list of the Works shortlisted for the Finals shall be published on 1st October, 2018, on the www.operafesztival.hu website. Advertiser shall have Works shortlisted for the Finals performed at the Liszt Ferenc Academy of Music in partially staged versions with piano accompaniment in the fourth quarter of the year 2018. The Jury will select and Advertiser will announce the winning Work from the pieces performed in the Finals at the Liszt Ferenc Academy of Music. The Winner will be announced on the www.operafesztival.hu website within 1 working day following the performance at the Academy. Advertiser will present the entire winning Work in a fully staged opera performance with orchestra at the festival in Miskolc in the year following that of the Competition. Advertiser, however, is not obliged to have the winning Work performed at the Miskolc Opera Festival. Prizes and Usage Rights: Each Work shortlisted for the Finals will be awarded 1500 EUR. The winning Work will be awarded additional sum of 4000 EUR and the Advertiser will use its means and purposes to present this Work in a fully staged complete opera performance, at the Bartók Plus Opera Festival the following year. Usage rights of the Works are treated in detail in the Competition Call: All payments related to the Competition Prizes shall be effectuated until 31st January, 2019. Payment of all prizes shall be effectuated by Advertiser to the bank accounts specified in the Application Form. Taxation shall be in accordance with the legal regulations effective with respect to the Applicants’ nationality or country of residence. Further questions about the Competition, Participation Criteria or Application Documents can be addressed to: Sára Szakács, Competition Secretary, at the following email address: composersecretary@gmail.com. |
| Entry Fee: | €150 |
| Web Site: | operafesztival.hu/index.php/en... |
| 2018 ISB Composition Competition | |
| Summary: | Bass with various categories |
| Deadline: | 01 June 2018 |
| Date Posted: | 02 August 2017 |
| Details: |
The International Society of Bassists biennial composition competition is dedicated to the memory of double bassist David Walter, longtime ISB member, performing artist, composer and renowned educator. DEADLINE: Online entries due by June 1, 2018. The goal of the Competition is to encourage the creation of new repertoire and/or the discovery of unknown repertoire for the double bass. There are four divisions of the competition, open to all composers. There are no restrictions regarding past performances, publications or recordings of a work. However, widely known works that are deemed to have entered the standard double bass repertoire, based on the judgement of a panel of judges, will not be considered. Entries can be in any style, between 6 to 15 minutes long. WINNERS WILL BE ANNOUNCED ON OR SHORTLY AFTER SEPTEMBER 1, 2018. • UNACCOMPANIED SOLO DOUBLE BASS DIVISION • CHAMBER DIVISION: For one double bass in an ensemble from two to five players. Entries may consist of a prominent bass part plus additional players drawn from the following: piccolo, flute, alto flute, oboe, English horn, clarinet, bass clarinet, bassoon, saxophone, French horn, trumpet, trombone, euphonium/tuba, percussion (1 player), harp, guitar, piano/other keyboard instrument, violin, viola, cello and/or voice. Normal woodwind doubles are acceptable: flute/piccolo/alto flute, oboe/English horn, clarinet/bass clarinet. • BASS ENSEMBLE DIVISION: A new work for two to eight double basses • DOUBLE BASS AND ELECTRONIC MEDIA DIVISION: Includes video, live electronics, backing tracks, computers, etc. GRAND PRIZE: $1,000 U.S. for each division, made possible by the generous support of The Ned and Frances Black Fund, and performances at the 2019 ISB Convention. |
| Web Site: | basschurch.com/event/2018-isb-... |
| The John Sanders Memorial Competition for Young Composers | |
| Summary: | Liturgical Choral Competition |
| Deadline: | 23 March 2018 |
| Date Posted: | 19 July 2017 |
| Details: |
In order to encourage the composition of music suitable for the liturgy, The Sanders Society will develop a biennial competition for young composers under the age of 30 years. The winning composition, a choral work of up to 6 minutes in length for SATB choir suitable for performance within a cathedral setting, will – if of sufficiently high quality – receive a first performance at a Choral Evensong at Gloucester Cathedral during the summer of 2018. In addition the winning composer will receive an award of £1000. The next composition competition for young composers will be judged in April 2018: • Closing date: 23rd March 2018 • Judging: April 2018 • The winning composer will be notified by email, (confirmed by letter) and details of the winning composition will be announced on 15th June 2018 on this website • First performance of the composition: Choral Evensong at Gloucester Cathedral: Summer 2018 • Judges: o Dr. Christopher Robinson o Bob Chilcott o Adrian Partington o Tim Rogers (Encore Publications) Full rules of the composition competition for young composers and an entry form may be downloaded below: • Competition Rules • Entry Form Entry forms for UK entries can be obtained by post, enclosing a stamped (93p) C5 envelope, from: The Sanders Society, 144 Tuffley Avenue, Gloucester GL1 5NS Overseas applicants please contact info@sanderssociety.org.uk. |
| Web Site: | www.sanderssociety.org.uk/Comp... |
| College Light Opera Company | |
| Summary: | Opera opportunity |
| Deadline: | None |
| Date Posted: | 12 July 2017 |
| Details: |
New Works Initiative The College Light Opera Company is seeking submissions for its 2018 New Works Initiative as part of its 50th jubilee celebrations. The winning one-act piece will be selected by a committee of judges. The winner of this competition will be awarded a prize of $2,000 and production of the new work as part of the 2018 festival season. The prize and production are contingent on the composer and librettist agreeing to the terms of the agreement. The CLOC New Works Initiative is intended to support emerging composer-lyricist teams. Competition Rules There is no entry fee. Please follow these guidelines in preparing your manuscript: 1. This contest is restricted to music-theatre works written in the English language. 2. Each composer and lyricist team may submit only one piece. 3. Submissions must be original, unpublished one-act operettas or music-theatre works written in English. Translations, and children’s operas are not accepted. 4. Works that have been professionally produced, published or had a workshop, concert or non-professional production are not eligible. 5. Works may not be under option, commissioned, or scheduled for professional production or publication at the time of submission. 6. Works must be submitted digitally in PDF format as well as using MIDI or equivalent format. 7. Works must utilize the full CLOC orchestra: 1 flute (doubles piccolo), 1 oboe (doubles english horn), 2 clarinets (doubles E-flat and/or bass clarinet), 1 bassoon, 2 horns, 2 trumpets, 1 trombone, 1percussion (drum set, timpani, etc.), 4 violins, 1 viola, 1 cello, 1 double bass, possible piano (note: we are an acoustic house and do not normally use synthesizers) 8. Works must utilize the full CLOC ensemble of 16 women and 16 men, include a solid balance of male and female roles and provide a strong and active role for the chorus. All principals must be drawn from this group of performers. 9. Works must not exceed 60 minutes in length and should be an appropriate piece to be used as a curtain-raiser for a Gilbert and Sullivan or other English light operetta. 10. The CLOC New Works Initiative reserves the right to reject any manuscript for any reason. |
| Web Site: | www.collegelightoperacompany.c... |
| Call for Works for Solo Recorder | |
| Summary: | Solo recorder works |
| Deadline: | None |
| Date Posted: | 21 June 2017 |
| Details: |
Kethryn Bennetts is looking for pieces for solo recorder for an ongoing concert series starting Oct 2017. Can involve microtonality, especially quarter-tones and fixed media, preferably for one performer but other instrumental combinations can be considered. E: kathrynbennetts@mac.com WEB: www.bennettsbowman.org.uk |
| Web Site: | www.bennettsbowman.org.uk/ |
| SOUND LAUNCH | |
| Summary: | Composition Courses |
| Deadline: | None |
| Date Posted: | 14 June 2017 |
| Details: |
SOUND LAUNCH provides tailor-made courses and projects in performance, composition, technology and the music business. These are run by professional and qualified tutors. In the courses musicians are given the opportunity to improvise & jam, compose, arrange, write & co-write; whilst being infused with an awareness of different musical styles, genres and tastes & obtaining a fully accredited qualification. Its nurturing arena is the perfect setting in which to explore and challenge personal creativity & confidence, as well as refining performance techniques and stage presence, through regular playing and gigs. The recording sessions offer the ultimate experience and an unmissable opportunity in which to fuse all the effort and achievements that have been made during the various courses. It is an invaluable space to collaborate & meet with other like minded musicians, working hard but having fun! SoundCheck Jam, Improvise & Compose with Melody, Harmony & Rhythm Experts. An essential guide for all performers & songwriters. Rising Artists’ Platform (RAP) Weekly courses held at Schools, Colleges & Music Centres. In Songwriting, Performance & Music Technology with live Recording Experiences and Gigs. Development of Recording Artists (DORA) Age 15+ Weekly Courses & Masterclasses in Performance, Songwriting, Recording & Media. With Recording Sessions, Gigs & Festivals and Media Live Lounge sessions. The Perfect Platform to Launch From & Become a Well Informed, Fully Equipped & Supported Artist. Media Live Lounge Be Filmed, Photographed & Recorded for your Media Channels. Refine Your Stage Presence & Confidence, Air Your Music on Radio & Learn How to Interview, Present Yourself, & Market Your Music. Recording Studio Experiences Production and Sound Engineering. Mixing, Mastering & Mic Positioning. Build A Studio. • Banners/Backdrops & Album Art Workshop • Training, Mentoring & Apprenticeships • The Music Dr - How to survive & support yourself • in the Music Industry • Voice Coaching • One to One Consultancy available |
| Web Site: | www.soundlaunch.co.uk/music-co... |
| Bromley Symphony Orchestra | |
| Summary: | Orchestra Competition |
| Deadline: | 24 March 2018 |
| Date Posted: | 17 May 2017 |
| Details: |
The BSO committee is seeking a new work for full orchestra to celebrate our 100th anniversary. (Works previously performed in concert will not be considered.) The adjudicator will be Professor Robert Saxton, whose decision will be final. He will choose the winners from the top three finalists, as voted on by the orchestra. The winner, who must be a UK resident, will receive £1500. The winning work will receive its first public performance in our 2018-2019 season (concert planned for March 2019). The second prize will be £500. The committee reserves the right to select additional works for performance and may assign additional prize money for this purpose. The work must be ‘celebratory’ in nature, no longer than 12 minutes in duration and composed for symphony orchestra including triple wind (with normal doublings available). Please limit percussion to a maximum of three players, and check with us at the email address below before including unusual instruments, electronics etc. For level of difficulty, composers should be guided by excerpts on our website. Scores must be submitted by 24th March 2018. Electronic realisations may be appended. Shortlisted works will require parts prepared and printed for a workshop in June 2018. The recording made of each of the finalist’s works at the end of the event will be sent to the finalists, but the rights will remain with the Bromley Symphony Orchestra. At the workshop final, our playing members will vote on the shortlisted works, so it is crucial that parts be prepared to a high standard, including rehearsal marks and/or bar numbers. The works will be judged on musical merit as well as on practicality of performance. They will all be conducted on the day by our conductor, Adrian Brown. Scores may be submitted from our contact form, by email (PDF attachment) to competition (at) bromleysymphony.org or by post to PO Box 1065, Bromley BR1 9QD. Please include contact details (name, email and phone number), a brief biography and a programme note for your work. However, personal details must not appear on the score or parts, as the works will be judged anonymously. |
| Web Site: | www.bromleysymphony.org |
| 7th Harerubeke International Composition Competition (International Composition Competition Harelbeke) | |
| Summary: | Wind Orchestra Competition |
| Deadline: | 01 April 2018 |
| Date Posted: | 10 May 2017 |
| Details: |
For the seventh time, the International Composition Competition Harelbeke will be organized in Harelbeke (Belgium). The aim of this competition is to encourage talented composers to integrate the achievements of contemporary music and current composition techniques into wind orchestra compositions. Contemporary music, more specifically in the sector of music for wind and percussion instruments, deserves permanent backing. As town council, our aim is to motivate composers and performers and to provide a window onto the world. Building a musical bridge between international communities is essential for the future of mankind. This competition contributes to this goal. A unique feature of this competition is that the works of the three finalists will be performed live by the wind orchestra Koninklijk Harmonieorkest Vooruit Harelbeke. General provisions 1. The competition is open to composers of all ages and from all countries. 2. Each composer can enter only two works. 3. The duration of the work must be between 15 and 25 minutes (to be stated on the score). 4. The submitted works must be original in every respect: only unpublished works that have never been performed in public nor broadcast on radio or television and that have never won a prize at any national or international competition will be accepted. Adaptations of existing compositions or rearrangements or re-orchestrations of known tunes or folk songs will be rejected. 5. Only music compositions for wind orchestra will be accepted. Works for brass band or chamber music groups will not be accepted. 6. Compositions using electronics will not be accepted. 7. As the three shortlisted compositions will be performed live during the final, the orchestration of the work must not exceed the following instrumentation: Piccolo; Flute 1&2; Oboe 1&2; English horn; Clarinet Eb; Clarinet Bb 1,2&3; Bass Clarinet Bb; Contra-Alto Clarinet Eb; Contrabass Clarinet Bb; Soprano Saxophone; Alto Saxophone 1&2; Tenor Saxophone; Baritone Saxophone; Bassoon 1&2; Contrabassoon; Cornet Bb 1&2; Trumpet Bb 1,2&3; French Horn F 1&2, 3&4; Tenor Trombone 1&2; Bass Trombone; Euphonium Bb; Tuba C; Double bass; Timpani; Percussion (max. 6 parts); Piano; Harp The works will be performed by an orchestra from Harelbeke with this instrumentation. 8. The score must bear a title and a pseudonym instead of the composer’s name. The submitted score must be accompanied by a scanned application form and a signed declaration of authenticity. The application form can be downloaded from the competition’s website: www.icch.be 9. The name of the composer must not appear anywhere on the score. Nor may the score contain any details that might lead to the identification of the composer. 10. The score should meet the following requirements: (1) realized in digital format (music notation software) and (2) submitted in PDF-format by uploading it onto the website www.icch.be 11. The composer must also include a short written preface to explain the work. If the composer has used an alternative music notation system, it must also be explained. 12. The jury reserves the right not to award all three prizes if the desired level is not reached. 13. The organization will preserve two copies of the score: (1) to be kept in the archive of the competition in Harelbeke, (2) to be kept in the music library of MATRIX in Leuven (http://www.matrix-new-music.be/). 14. The jury will announce the finalists on Monday 16 April 2018. 15. The finalists will be asked to attend a rehearsal with the orchestra on the day before the final. This rehearsal will take place in the presence of the jury members. Each finalist will have one hour to work with the orchestra. Travel expenses will be reimbursed by the organization. Hotel and subsistence expenses however must be borne by the composer. 16. If a prize-winning composer decides to have his work published by a music score publisher, the score must carry the words: with this work the composer was a finalist at the 6th International Composition Competition Harelbeke (Belgium). 17. If one of the finalists is disqualified, another candidate will be selected to take his or her place. 18. The jury’s decisions are final. 19. Entries submitted after the deadline will not be accepted 20. By entering the competition the candidate accepts the competition rules. Entry to the competition 1. The competition is open to composers of all ages and from all countries. Each composer can enter only two works. 2. All inscriptions are done using the website www.icch.be 3. The submitted score must be accompanied by a scanned application form and a signed declaration of authenticity. The application form can be downloaded from the competition’s website: www.icch.be |
| Web Site: | www.icch.be |
| Soundfly's new online course with Tim Hansen teaches you the fundamentals of Composition | |
| Summary: | Composition Course |
| Deadline: | None |
| 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? |
| Web Site: | soundfly.com/courses/introduct... |
| Andrew S. Way Music Foundation | |
| Summary: | Funding Opportunity |
| Deadline: | None |
| Date Posted: | 31 August 2016 |
| Details: |
The Andrew S. Way Music Foundation is committed to the composition, education, and performance of new music. The process by which this is achieved has two major components: first the grant selects composers to write new music (for a school or organization), then music educators apply for the opportunity to perform the music with their ensembles in live concert. When the two are matched, the foundation will also help facilitate and encourage communication between the composer, the educator, and the ensemble. Currently accepting all applicants from the Bay Area. The Andrew S. Way Foundation welcomes composer and school/organization applicants from all walks of life and musical paths, and is dedicated to supporting all types of music. |
| Web Site: | aswaymusicfoundation.org/appli... |
| New Music Message Board | |
| Summary: | Opportunity to connect with performers |
| Deadline: | None |
| Date Posted: | 31 August 2016 |
| Details: |
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!! Aaron |
| Web Site: | www.facebook.com/groups/939142... |
| BBC Introducing | |
| Summary: | Showcase Opportunity |
| Deadline: | None |
| Date Posted: | 12 April 2016 |
| Details: |
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. |
| Web Site: | www.bbc.co.uk/programmes/p010j... |
| Sorodha Composition Competition 2016: String quartet | |
| Summary: | String Quartet Call |
| Deadline: | None |
| Date Posted: | 04 November 2015 |
| Details: |
Sorodha is proud to announce the fifth edition of its annual composition competition. For this festive edition, we welcome compositions for string quartet and have the utmost pleasure to be able to work with the Tana String Quartet on this occasion. Their leader, Antoine Maisonhaute, was one of our judges last year, and this year they all join us as performers. The submission deadline is Monday 29th of February 2016, and the entry fee is € 10,00. The jury will select five works, which will be executed at a public concert on Saturday 23rd of April 2016 by the Tana String Quartet, after which the jury will award two prizes (€ 1,000.00 and € 500.00). The winning piece will be performed by the Tana String Quartet at the Académie du Festival d'Aix-en-Provence on the 20th of July, 2016 (details forthcoming). Please keep following checklist in mind before sending us your score: • is your work written for string quartet (2 violins, viola, cello; no electronics, either)? • was it originally written for string quartet? • has is not been performed, broadcasted or prized in another competition before? • is your score anonymous? • will we be able to tell it apart from the others based on the title only? Ok, then; otherwise please add a motto, code or other distinctive sign. • is it formatted as PDF file and A4 pages? • does your second PDF file contain all the necessary data? • has the entry fee been paid by PayPal (an extra € 1 will be charged to cover the transfer costs)? • have you checked the time zone if filing on the last day before the deadline from elsewhere than Western Europe? Please take notice of the fact that we cannot accept submissions by regular mail, only by email! |
| Web Site: | www.sorodha.be/EN/contest.php |
| DALLAS SONGWRITERS ASSOCIATION SONG CONTEST | |
| Summary: | Song Writing |
| Deadline: | None |
| Date Posted: | 27 August 2015 |
| Details: |
How can I enter? It’s easy! You can enter online at any of these sponsoring sites: Broadjam or on the DSA website or download an entry form here and print out, and mail your entries to: Dallas Songwriters Association (DSA) 2011 Song Contest Director Sammons Center for the Arts 3630 Harry Hines Boulevard #20 Dallas, TX 75219 How much is the entry fee? $25 each entry. Please note EACH entry must have an accompanying form sheet. If you are a member of DSA or plan to join, you can get a $5 discount off your membership or renewal for each song contest entry. To join DSA or renew your membership, go to dallassongwriters.org. We’d love to have you as a member! Who owns the songs I enter? You do! You retain all rights. What has to be on the lyric sheet? The song Title and Category appear at the top of the sheet. Your lyrics, marked with “Verse” “Chorus” etc., follow the Title. For a sample, click here. Do not write your name on the lyric sheet or on the outside of the CD case -- simply fold your lyric sheet white-side out (so that the back side shows) and legibly write the song Title and Category on the back of the lyric sheet, and place it inside the CD case so that the song Title and Category show through the CD case. If I don’t write my name on my lyric sheet, how do you know which one is mine? Song Contest staff keeps track of which name goes with which song – all names are withheld from the judges so that the judges can select the winners with the highest level of fairness possible. Once the judges select the semifinalists and winners, the song contest staff reveals the names of the winning artists. |
| Web Site: | faqdsasongcontest.blogspot.co.... |
| CALL FOR SCORES 2015 – Cello and Contrabass | |
| Summary: | Electroacoustic Call |
| Deadline: | None |
| Date Posted: | 20 May 2015 |
| Details: |
1. Call for Narrator/Speaker/Vocalist/Actor plus Electronic Music Scores (performer and "tape") 2. Call for "tape" pieces that have explicit political meaning Narrator/Speaker/Vocalist/Actor plus Electronic Music Scores (performer and "tape") Composer/performer Rodney Waschka II is looking for works for narrator or actor or speaker and electronic music fixed on two channels. Works will be considered for performance on the Arts NOW Series and elsewhere. You can read a review (http://www.cvnc.org/reviews/2009/022009/ArtsNow.html) by the Classical Voice of North Carolina of a concert of this type of music performed in February, 2009. Waschka has performed works by Alden Jenks, Pertti Jalava, Mansoor Hosseini, Stephen Pope, Allen Strange, Pauline Oliveros, Mara Helmuth, and others. If you have composed such a piece or are interested in composing such a work, please contract me. "Tape" pieces that have explicit political meaning Pieces of this type are needed for programming for the Arts NOW Series. Please contact me if you have a piece that you think might be appropriate. Thanks. |
| Web Site: | www.waschka.info/call_for_scor... |
| Sarasota Opera Request For Submission of New Youth Works | |
| Summary: | Opera for Young People |
| Deadline: | None |
| Date Posted: | 15 April 2015 |
| Details: |
Sarasota Opera is pleased to invite composers to submit works for a new opera for possible production in November 2017 by Sarasota Youth Opera, one of the most comprehensive programs in the United States. This invitation is open to any living composer or librettist, of any age, who is a United States citizen. The submission deadline is Wednesday, September 30, 2015, at 5 pm. Click HERE to download submission form About Sarasota Youth Opera: Since 1984, Sarasota Youth Opera (SYO) has given young people age 8 to 18 an opportunity to experience the magic of opera through participation in after-school choruses, Sarasota Opera mainstage productions, summer workshops, and the Youth Opera's own full-scale productions. Regarded as a leader in the commissioning and producing of works for young voices, SYO is the only program in the United States committed to presenting annual, full-scale opera productions for young voices with professional musicians, direction, and costume and scenic design. Since 1986, five commissioned world premieres and over 20 additional youth opera productions have been presented. Past commissions include: 2012 Little Nemo in Slumberland (music by Daron Hagen, libretto by J.D. McClatchy) 2004 The Language of Birds (music by John Kennedy, libretto by Peter Krask) 1998 Eye of Ra (music by Tom Suta, libretto by Diana Colson) 1993 Her Lightness (music and libretto by Polly Pen) 1989 Deadline Our most recent commission, Little Nemo in Slumberland, featured over 106 young people and used a ground-breaking projection technology called SCRIBE (Self-Contained Rapidly Integratable Background Environment) to bring Winsor McCay’s comic strips to life. Since it’s 2012 premiere, Little Nemo in Slumberland has been performed by The University of Kentucky Opera Theatre, Tulsa Youth Opera, La Sierra University, and Pittsburgh High School for the Performing Arts. In November 2014, SYO presented Dean Burry’s The Hobbit. Based on the writings of J.R.R. Tolkien, this classic adventure was brought to life with a cast of over 95 young people and 12 professional musicians on the stage of the Sarasota Opera House. Both Little Nemo in Slumberland and The Hobbit performed to sold-out audiences. Basics: -English Libretto -60 minutes of playing time. One Intermission optional. -10 to 15 solo youth roles in treble voice -Optional 1 to 3 adult players. Adults may portray more than one character. -SSAB youth chorus ensemble that is featured predominately throughout the work -Chamber orchestration of no more than 13 instruments, may include piano -Roles with specific physical requirements are best avoided -Entirely sung (minimal spoken narration or dialog optional) Aesthetics: "Sarasota Opera is dedicated to performing classic works of opera in a manner that is true to the composer’s intentions. In the years that we have been doing productions with our Youth Opera, I have found there are few works of substantial musical value for young people to perform. In our desire to increase the repertoire we are looking for music that is rooted in the classic music style, reflecting how that music is written today without the influence of other genres such musical theater, jazz or other popular idioms. "The Youth Opera was begun as a way to get young people interested in art music. The works we are looking for should help achieve that goal and be musically sophisticated enough to appeal to adults while still accessible to children." --Maestro Victor DeRenzi Artistic Director, Sarasota Opera Guidelines: -Copyright clearance must obtained prior to entry -Submissions must be unpublished works not currently accepted by a publisher for publication or rental -Works may have been workshopped, but should not have received a premiere performance -Works should show an awareness of the practical realities of rehearsal and performance -Sarasota Opera will hold the rights for the premiere performances and one subsequent production Submission: -Piano-Vocal format -Minimum 30% complete (approximately 20 minutes of music) -Submission must include at least one (1) chorus ensemble number -Each composer may submit up to three (3) works -Manuscripts should be legible if hand-written Submission should include: -Submission Form -Letter of Introduction -Resume -PDF of PV and Libretto -Each score must have a title page containing characters, voice types, and brief synopsis for proposed work -If submitted in hard copy, please include a self-addressed stamped envelope for return -Inclusion of a recording of work-shopped scenes, full opera, or midi recording is optional If no entry is deemed appropriate, the panel reserves the right to not make a selection and no fee will be awarded. Submissions May Be Sent To: Sarasota Opera New Youth Works Submission 61 N. Pineapple Avenue Sarasota, FL 34236 youthopera@sarasotaopera.org Materials may be submitted electronically via this Dropbox link: Submit Materials. If submitting electronically, please include “Composer Last Name, Composer First Name” at the beginning of each file name (eg: "Doe_Jane_Opera_Title"). Timeline: September 2015 Submission Deadline December 2015 Finalists Announced May 2016 Finalists Submitted Completed PV August 2016 Final Selection(s) Announced – Winner(s) Complete Orchestration November 2017 Premiere Production Fee: Composer $15,000 Librettist $10,000 Composer/Librettist (wrote both) $20,000 |
| Web Site: | www.sarasotaopera.org/Request_... |
| School of Music of Azusa Pacific University and J.W.Pepper Music | |
| Summary: | High School Competition |
| Deadline: | None |
| Date Posted: | 11 March 2015 |
| Details: |
This High School Composition Contest is offered jointly by the School of Music of Azusa Pacific University and J.W.Pepper Music. It’s intent is to encourage the composition by high school students of high quality music that is accessible to reasonably well-developed high school music ensembles and performers. While this is the first year of the Contest, it is intended that it be an annual event. The prizes for the winning composition in each category are: 1) $1000 cash 2) Public performance and recording by the appropriate Azusa Pacific University music ensemble. 3) Consideration for publication by J.W.Peppers publishing arm, Wingert-Jones Publications. 4) A complimentary subscription for J.W.Pepper’s My Score® self-publishing platform, valued at $99. There are five categories of music being sought for the Contest. They are listed below, along with the length limitations for each category. 1) Orchestra 5 to 8 minutes 2) Choral 4 to 6 minutes 3) Wind Ensemble 5 to 8 minutes 4) Jazz Ensemble 5 to 8 minutes 5) Chamber 5 to 8 minutes Plan to submit a properly notated score and demo recording. The winner in any category will be expected to provide clear, readable parts for the appropriate ensemble. Details are at the “How to Enter” tab above. The choral composition may be accompanied or unaccompanied. It can be for mixed chorus, women’s choir, or men’s choir. Any accompaniment should be limited to piano and/or no more than two other common instruments. The chamber composition may be for string quartet, string quintet, woodwind quintet, brass quintet, piano trio, piano quintet, guitar ensemble, guitar with bowed strings, or any common solo instrument. Other small groupings may be considered. If you would like to compose for a non-standard chamber group, it is suggested that you send email to musiccontest@apu.edu with a description of the ensemble to get approval of the ensemble for which you wish to compose. Instrumentation for the other ensembles follows. Orchestra: Wind Ensemble: Jazz Ensemble (big band): Please see the “Contest Rules” tab above for further details, and the “How to Enter” tab for instructions about how to apply for the contest and submit your composition(s). The contest is not yet “live.” It will be opened on April 1, 2015. After that time, questions not answered at the Contest Rules and How to Enter tabs may be directed to musiccontest@apu.edu. |
| Web Site: | www.apumusiccontest.com/?page_... |
| CALL FOR SCORES | |
| Summary: | Ongoing Chamber Call |
| Deadline: | None |
| Date Posted: | 04 December 2014 |
| Details: |
rarescale has an ongoing call for scores and are interested in hearing from composers of all ages and nationalities. We are seeking quality chamber works for any combination of the following instruments: flute/alto flute/bass flute (Kingma System) oboe/cor anglais clarinet/bass clarinet bassoon violin viola cello piano guitar soprano electronics Please note that due to the high volume of works received we are unable to perform all the works sent to us, but we will keep details of all submissions in our database for future performance opportunities. Please send scores and all performance materials as PDF or Sibelius 6 files to rarescalescores@gmail.com Recordings are preferable but not essential, and please bear in mind rarescale's charitable remit to promote the alto and bass flute. |
| Web Site: | rarescale.org.uk/section468038... |
| Flexible Persona | |
| Summary: | Journal seeks compositions |
| Deadline: | None |
| Date Posted: | 13 August 2014 |
| Details: |
The Flexible Persona, a literary journal, is looking for the work of minimalist composers for our audio issues. We would feature a 10–20 second clip of your work before the story is read and then a work up to five minutes in length at the end of the broadcast with credit to you and link to your website/work. For questions or to submit links to your work, please e-mail us at: theflexiblepersona@gmail.com. Please do not send audio attachments. http://www.theflexiblepersona.com |
| Web Site: | www.theflexiblepersona.com |
| Email: | theflexiblepersona@gmail.com |
| Duo Scordatura "Call for Scores" | |
| Summary: | Violin and Viola Duet Call for Scores |
| Deadline: | None |
| Date Posted: | 28 May 2014 |
| Details: |
Want to have your composition performed next year?.... Yeah you do!!! Through out the the 2014-2015 season WE will be selecting and performing new works for the Duo of violin and viola. 1. There are no guidelines or fees!! 2. Your composition must be awesome. (very very important!!!) 3. You can use scordatura tuning (but not required...read rules #1 and #2) 4. Summit compositions to us through our email address icon at top right corner 4a. include a resume/bio 4b. include PDF of composition....score and individual parts 4c. recommended to also summit any recording or midi of the piece 4d. last but not least your contact info. |
| Web Site: | www.duoscordatura.com/call-for... |
| Wild Rumpus New Music Call | |
| Summary: | Chamber Music Call |
| Deadline: | None |
| Date Posted: | 22 May 2014 |
| Details: |
Deadline: Rolling. Wild Rumpus is happy to consider pieces by young/emerging composers that match our instrumentation (or a subset of it) for performance by the ensemble. Our instrumentation is: flute clarinet trombone piano percussion electric guitar soprano violin cello double bass Eligibility Composers who fall under at least ONE of the following categories are eligible to apply: (a) Composers under 40 (b) Composers of any age who are not regularly commissioned by ensembles of national or international prominence Application Materials For each piece, submit: Score (PDF) Recording (MP3) — some exceptions possible; please see our FAQ. A bio (suitable for printing in a concert program) and resume/CV There is no fee to apply. Please note that this call is rolling. We’ll select pieces from the general call as needed, depending both on our interest in the piece and the logistical demands of the concert for which we’re programming. |
| Web Site: | wildrumpusmusic.org/general-ca... |
| 11th Joan Guinjoan International Prize for Young Composers | |
| Summary: | Prize for ensemble |
| Deadline: | None |
| Date Posted: | 31 October 2012 |
| Details: |
1.The contest is open to composers of every nationality under the age of 35 at December 1st, 2012. Former winners of this award are not allowed to submit again. 2.Each participant may submit an unlimited number of works, which cannot previously have been published, premiered or commissioned. Works performed in the educational context of conservatories and schools of music will not be considered premieres. 3.The work, in a contemporary style, should be 10 to 15 minutes long. 4.The work must be written for an open formation of 6 to 15 instruments, with optional electronics, chosen from among those in an orchestra, piano, accordion, guitar, voice and typical jazz –electric guitar, bass and keyboards– instruments, “cobla” instruments, and instruments of early music: harpsichord, recorder, viola da gamba, cornet, sackbut, early bassoon and plucked string instruments. It is also possible to include a small choir of four voices (SATB, 4-4-4-4), which will be considered as four different instruments. There may not be more than two instruments the same, except for violins, for which there is a maximum of 10, violas and cellos, for which there is a maximum of 4. 5.The composer must submit six copies of the score and one registration form for each work presented. The work must be written and printed with a notation software which allows automatic extraction of parts, or the participants must commit to send the parts in case of being winners. Once the winner has been chosen, the composers may collect 5 copies of their works within one month from date of the award. One copy will remain in the archives of the School. 6.The amount of the award is 3.000 €. The chosen work will be premiered by the Escola Superior de Música de Catalunya with the option to be professionally recorded on CD by the School. 7.Apart from the winning work, the jury may decide to give honorific mentions to other works submitted which are considered of special interest. The works worthy of this distinction will be premiered together with the winning work. 8.The Escola Superior de Música de Catalunya will have publishing and distribution rights to the score, the CD or any other format of the winning work. 9.All written or audio-recorded editions of the winning work will be marked “Premi Joan Guinjoan de l’Escola Superior de Música de Catalunya, 2012”. 10.The jury will be made up of five composers chosen from the Department of Theory and Composition of the School. The names of the members of the jury will be announced once the award decision has been made public. Their decision may not be appealed. The decision will be announced before January 10th, 2013. 11.The deadline for submitting scores is December 1st, 2012. 12.The works will be submitted under pseudonym. |
| 2nd Prize: | Euro 3000 |
| Age Limit: | 35 |
| Duration: | 6 to 15 minutes |
| Web Site: | www.esmuc.cat/eng/Departments/... |
| C4 Ensemble | |
| Summary: | Call for choral scores |
| Deadline: | None |
| 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. |
| Web Site: | www.c4ensemble.org |
| North/South Consonance | |
| Summary: | call for scores (various combinations) |
| Deadline: | None |
| Date Posted: | 20 April 2011 |
| Details: |
- All composers are eligible for consideration - Solo, chamber ensemble and chamber works up to 18 performers will be considered - Vocalists, percussion and/or electronics are acceptable - One work will be selected for recording on the North/South label - $25 non-refundable fee per composition submitted required (Checks must be negotiable through a US bank) Complete submission guidelines posted at http://www.northsouthmusic.org Mail submissions to NORTH/SOUTH CONSONANCE, INC. P.O. Box 698 - Cathedral Station New York, NY 10025 – 0698 USA |
| Web Site: | www.northsouthmusic.org |