REGISTRATIONS ARE OPEN FOR THE INTERNATIONAL COMPOSITION CONTEST “MAURICE RAVEL”

	REGISTRATIONS ARE OPEN FOR THE INTERNATIONAL COMPOSITION CONTEST “MAURICE RAVEL”
Summary:	Competition with 3 categories
Deadline:	27 October 2017
Date Posted:	12 April 2017
Details:	Compared to the previous editions, many rules have been changed or modified, also in cooperation with our Spanish partners. We believe that many aspects have been improved, thanks to the experience that we have gained over the years. These new rules, in fact, cover any situation and improve the management of the competition, avoiding any error or delay. CONTEST RULES “Participation in this contest implies acceptance of these rules” INTERNATIONAL COMPOSITION CONTEST “MAURICE RAVEL” (Third Edition) 1 – This Contest is dedicated to the great French composer, but it's open to every musical style, also very far from Ravel's. 2 – This name was chosen because the Contest is organised by the Ravel Association of Novara (Northern Italy). The Association is also responsible for the Ravel Philharmonic Orchestra and Music Academy Maurice Ravel: the choice of the name Ravel, for this Composition Contest, is therefore easily understandable. 3 - The Contest is open to: compositions for symphonic orchestra, bands, jazz orchestras, movie soundtracks, different music styles from everywhere in the world (classic, contemporary, choir and solo singers etc. etc.). The competition is open to any musical expression. From compositions written for a single instrument, to those for large orchestra. 4 - As the contest is open to all forms of musical expression, it is allowed to participate with any kind of compositions. According to latest research, there are at least 1264 music genres all over he world. All genres are admitted, and compositions may be registered for any of the 3 categories of this third edition. Special prizes, in addition to those specified in the rules, will be awarded to the most unusual and interesting music genres, with complete freedom of musical experimentation. 5 – PLEASE NOTE that, unlike the previous editions, only two categories will be judged live, i.e. the compositions of only two categories will be performed directly before the panel of judges by one of our orchestras. The compositions of the third category called "All Existing Instruments" will not be played by the orchestra, but will be rather judged after the reproduction of the audio files and the display of the musical score, by evaluating the files sent by the composers, as happens in the majority of the competitions worldwide. We have added this third category to allow the composers to include any existing instrument, including the ethnic ones and those which are rarely used in Western orchestras. Each orchestra, even the larger ones, has its own limitations from an instrumental point of view, therefore it would be impossible to find musicians able to play any instrument, considering the countless instruments in the world. 6 – Most of the articles included in this regulation provide rules applicable to all the categories, except for some points dealing specifically with one of the three categories, which differ from one another in some aspects, such as the participation fee costs (much lower for the third category). 7 - EACH CATEGORY is an independent international contest, with no connection to other categories. Composers who register in 2-3 different categories are basically participating in 2-3 separate contests. 8 - Each composer can register the same compositions both in one of the first two categories and in the third one, since these competitions are independent and will be judged in a different way. 9 - The experience that we have gained after many competitions has helped us understand that some composers find it difficult to accept the exclusion from the semi-final/ final step of the competition, or from the award ceremony. There is no point in remembering that not everyone can win, or sometimes the compositions of an inexperienced student may be preferred over those of skilled artist. Or stressing that, among hundreds of participants from all over the world, only few composers will be able to achieve the desired goal. Therefore, let us remember that, by taking part in the competition, you will automatically accept every point of this Regulation, being aware that you might be excluded even from the first selection. WHO CAN TAKE PART IN THE CONTEST? 10 – All composers of the world may take part in the contest, from any Country of any continent. 11 – No is required a music diploma. 12 - There are no age limits. Young music students as well as elderly composers are admitted. As always, the jury will not know the name or age of composers, so that all musicians may have equal chances, even the youngest. We cannot exclude the possibility that somewhere in the world there may be a child prodigy, composing great music at a very young age, like Mozart did. All composers younger than 18 years must have a written and signed authorisation by their parents, or legal tutor. 13 - Compositions may have been already played in public and may appear on YouTube or other websites; they may also be recorded on CDs/DVDs. Compositions will not be admitted if they won the first prize in other contests, including first-place winners in any category of the first or second edition of this contest. The semifinal first-place winners of every Nation from the last contests may participate with the same compositions, as well as all other finalists who did not win the first prize. 14 – THE NUMBER OF PLACES IS LIMITED to max 30 composers of each registered Nation (for each category), or Independent State. No additional registrations will be accepted from Nations which already reached this number of contestants. This rule aims to allow enough time to evaluate all compositions in the best possible way, which would be impossible to do in the time frame available, if contestants are too many. This way, the Contest will be better manageable and will represent many different Nations. 30 composers of each registered Nation is the maximum number allowed for each category of the contest. 15 – THE CONTEST IS DIVIDED INTO 3 CATEGORIES (three different composition contests) 16 – CATEGORY: “LIVE FULL ORCHESTRA”: Compositions with at least 8 different instrumental or vocal parts, with the possibility to use identical or different instruments for each part. Example: violin 1, violin 2, cello, double bass, flute, horn 1, horn 2, oboe. In this case, the minimum number of 8 instrumental parts is reached, although there are only 6 types of different instruments (violin, cello, double bass, flute, horn, oboe). Of course, composers are free to choose any combination of instruments to reach the minimum number of 8 parts. All vocal, choral and soloist parts are also valid. These 8 (or more) parts may also be played by an orchestra of 100 or more elements, with many instruments or choral voices playing the same part. Example: 18 first violins, 20 second violins, 8 cellos, 30 choristers, several percussion instruments etc. 17 - Compositions of this category may include maximum 50 different instrumental or vocal parts, with all possible mixed combinations. The expression “instrumental parts” especially refers to the number of musicians, considering that the same musician may sometimes play several instruments at the same time, such as percussionists. For example, if the same musician plays 4 different percussion instruments, which alternate during the song, these 4 instruments will count for one (instead of 4 different parts). Similarly, if the same musician plays the flute and the piccolo, and these instruments alternate in the track, they will count for one, instead of two. 18 – CATEGORY: “LIVE SMALL GROUPS”: Compositions from 1 to 7 different instrumental or vocal parts, with the possibility to use identical or different instruments for each part (as in the example of the first category). In this category is possible to partecipate also with the compositions for solo instrument (1 part), for example solo compositions for piano, harp, guitar, violin, cello, accordion etc. 19 – LIST OF INSTRUMENTS ADMITTED IN THE FIRST TWO “LIVE” CATEGORIES Flute Piccolo Alto Flute Bass Flute Oboe Oboe d'Amore English horn Clarinet in Bb-Eb-A Bass Clarinet in Bb Soprano Saxophone Alto Saxophone Tenor Saxophone Baritone Saxophone Bassoon Contrabassoon Harmonica Bagpipes Didgeridoo Horn in F/Bb Trumpet in C- Bb-Eb Trombone in Bb/F Bass Tuba in Bb Violin Viola Cello Double Bass Harp Classical Guitar Acoustic Guitar Lute (13 stringed) Sitar Pianoforte Harpsichord Celesta Organ (32 Pedals) Accordion Bandoneon Timpani Snare drum Bass drum Cymbals Tambourine Triangle Xylophone Glockenspiel Tubular Bells Marimba Vibraphone Orchestral Bells Crotales Large Gong Medium Gong Tam-tam Sleigh Bells Bongos Congas Timbales Cabasa Castanets Hand claps Maracas Rain Stick VOCAL PARTS Soprano Mezzo-soprano Contralto Countertenor Tenor Baritone Bass Choir 20 – In case of doubts, or if you wish to add instruments that are not included in the list, please send us an email. 21 - It will be up to conductors to decide how many identical instruments will play the same part together, for example 12 violins – 6 cellos – 4 double basses, etc. Composers may also give their own suggestions about which orchestra formation they consider to be the most suitable. 22 – CATEGORY: “ALL EXISTING INSTRUMENTS”: Compositions of this category may include from 1 to 50 different instrumental or vocal parts, with all possible mixed combinations, from one single instrument or voice up to big orchestra. 23 - This category is extremely different from the other two "LIVE" categories. The main differences are: The compositions of this category will not be played by our orchestras; To evaluate the compositions, the judges will listen to the audio files previously sent and examine the musical score; All the existing musical instruments can be used; The participation cost is much lower than the other categories, because the orchestra is not included and the single parts must not be printed. 24 - Almost every point included in this Regulation also applies to the third category, except for two important aspects: 1) It is mandatory to send the audio file (which is optional for the first two categories); 2) Only the musical score must be sent, i.e. the one generally used by orchestra conductors, which includes all the instruments on the same page "without sending the single parts" of each instrument (which is, conversely, mandatory for the other categories). More information:
Web Site:	composercompetition.weebly.com/contest-rules.html