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 2021 Concerts – Perception: An Experimental Weekend
Summary:Call for Proposals
Deadline: 20 January 2018
Date Posted: 18 January 2018
Details: Details: 2021 Concerts is calling for proposals to fill the APT Gallery in Deptford for a weekend of experimental music, art and installations in May 2018. Works must explore elements of perception to create a weekend that inspires curiosity, steps outside the normal bounds of audience and performer interaction, and fosters a sense of experimentation. The weekend will take place on 4, 5 and 6 May.

Proposed projects can explore anything from performance practice to harmonic language, motion, dialogue, visual and structural interactions. Performance pieces can be of a huge variety of styles, from traditional musical pairings to anything experimental, unusual or curious, including performance art, installation and theatre pieces - any hybrid or interdisciplinary art forms encouraged. Works can be anywhere from 5-45 minutes in length.

Fee: Performance of work at APT Gallery, Deptford as part of Perception weekend.
Contact: Applications should comprise up to one page performance proposal, 150-250 words on how your project fits the brief, list of proposed collaborators, CVs/bios of primary organising members, and samples of your work. Applications can be submitted to More details can be found at

 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:

 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.

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 for the application form.

 Ise-Shima Spring Composition Workshop
Summary:Workshop in Japan
Deadline: 01 February 2018
Date Posted: 18 January 2018
Details: The workshop in 2018 will be held from 1st until 4th April 2018 in
Toba, a beautiful city facing the sea.

Open to all composers from all nationalities, faiths, and backgrounds.

All invited composers are supposed to complete a 2 to 5 minutes solo instrumental work under a theme announced by the instructor at the first day of the workshop.

While composing the work, it is advisable to discuss with the instructor to complete the work. In addition to that, all invited composers will be offered 1 hour composition lessons per day.

Materials for the application: 1 PDF file of a work, recording of the work (if applicable), short biography

Please send materials to: info[at]

Deadline: 1st February 2018

Participation fee is 30,000 Yen, including three nights hotel and welcome dinner (approximately 250$).

Please contact us for any questions, especially when you did not receive notification message about the acceptance of your application. Basically we send the message within a week after receiving application.

Ise-Shima is a touristic region, famous for seafoods, Ise Shrine, Kumano Kodo (World Heritage), Toba Aquarium,and Ise Sea Paradise.

Other touristic sites in the Mie prefecture include Nabana no Sato, Nagashima Spa Land.

Check our past workshop and a work composed during the workshop:

A Japanese composer , Sumio Kobayashi will be our main instructor in this season.

Having studied with Joji Yuasa and Hiroyuki Itoh, Sumio Kobayashi won plenty of international composition prizes, such as International Composers’ Competition of the European Capital of Culture Wrocław 2016, Toru Takemitsu Composition Award, and Isang Yun International Composition Prize. He has made appearances at festivals such as Takefu International Music Festival, Tongyeong International Music Festival, and Weimarer Frühjahrstage für zeitgenössische Musik.

 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.

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.

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.


 Waterloo Region Contemporary Music Sessions
Summary:Competition with 2 categories
Deadline: 18 June 2018
Date Posted: 18 January 2018
Details: Call for solo saxophone


flute, violin, clarinet, cello, piano, percussion

Full information here:

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 “”

· Composers may submit multiple entries.

· *All submissions must be received by March 1st, 2018.


· 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 “”.

 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

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.

Applications submitted between January 1-March 1, 2018: $35
Application submitted between March 1-April 1, 2018: $45
Payment can be sent to through Paypal. Please include in the subject line "I Creation Application Fee" along with the applicant's name.

Applications will only be accepted via email, to

• 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.

Submissions must be time-stamped by April 1th, 2018, 11:59pm EST.
The first 200 applications will be accepted.

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.

For inquiries in Chinese and English, please contact:
Office for the Competition
Tel: 852-2577 8815


 Creative Music Intensive | Michael Harrison & Friends
Summary:Creative Process Workshop
Deadline: 20 January 2018
Date Posted: 18 January 2018
Details: In early February pianist and composer Michael Harrison will lead a dedicated group of participants to be immersed in the creative process of making music. The week long session will be an exploration in finding new ways to unleash creative potential, and to discover and develop individual voices as creative artists. The program is open to both amateur and professional musicians in any genre (the ability to read music is not required). Michael will customize the session on an ongoing basis to address the needs and wishes of each and every participant. Time will be divided between individual and group activities as needed.

Tilted Arc (pianist Sophia Vastek, and electroacoustic composer/saxophonist Sam Torres) will also be available to coach and perform participant’s works for any combination of piano, sax and electronics. Visiting artists include composer/percussionist Payton MacDonald.

Music making activities that we will explore include:
• Collaborating on the creation and performance of a House concert at ALN
• Learning and performing Terry Riley’s minimalist masterpiece “In C”
• The art and techniques of musical composition
• Improvisation (group and solo)
• Indian classical singing (ragas)
• New World Raga
• Indian rhythmic cycles and patterns
• Polyrhythms and minimalist music techniques
• Just Intonation (theory and practice)
• Chamber ensemble and solo performance
• Creating electronic and electroacoustic music
• Developing a career in music
• Developing interdisciplinary collaborations
• Tuition includes a private lesson for each participant (if requested)
• Workshops and presentations with guest composers and performers

 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 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


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

 ACF Showcase
Summary:Call for Scores for Showcase Concert
Deadline: 01 February 2018
Date Posted: 18 January 2018
Details: In partnership with the acclaimed ensemble Jelloslave (Purple Orange), the American Composers Forum announces a Call for Scores for the fifth annual ACF Showcase concert which will take place at the Open Eye Figure Theatre (Minneapolis, MN).

Three scores from the total applicant pool will be chosen for the performance. The composers of the pieces will each receive hotel stay in Saint Paul, domestic travel to Minneapolis/Saint Paul, and $204.00 per-diem to cover meals during the four days of travel/rehearsals/ performance of their work May 31 – June 2, 2018 (Travel Days May 31 & June 3, 2018) in Minneapolis/ Saint Paul, MN. The performance will take place the evening of Saturday June 2, 2018 at Open Eye Figure Theatre in Minneapolis.


This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund. Additional support is provided by the Dr. Fred Noah Gordon Charitable Fund of The Minneapolis Foundation.

Jelloslave (Purple Orange), a new music quartet comprised of 2 cellos, tablas and drums, is committed to creating original music, weaving cellos and drums in a multi-genre, cross-cultural and rhythmic fabric. The collective diversity of our individual influences fuels the Jelloslave sound, which draws from the European classical tradition reflected in the cellos, the Hindustani classical rhythms of the tablas, and a continuum of international drumming styles with the drum kit.

The submitted work can be for the complete instrumentation or any subset of the ensemble.

What sets Jelloslave (Purple Orange) apart from other ensembles fusing multi-cultural elements, is our unique instrumentation, our unexpected arrangements, and the organic fluency with which we merge our foundational training with modern extended techniques. And last but really foremost, is our passion for improvisation. Over the 12 years of the band’s trajectory, we have evolved to incorporate improvisation within almost all of our compositions, both free and over chord changes, either as a group or in small combos/solos within the quartet.

The American Composers Forum encourages applicants from the full range of musical styles and is committed to supporting a diverse pool of artists whose work demonstrates strong artistic merit. Accordingly, awards for our programs will represent, as far as possible, artists and projects that are diverse in genre, gender, race, and geography.

The collaboration with Jelloslave (Purple Orange), provides a rare opportunity to combine their classical foundation with sonic experimentation and outstanding grooves, resulting in an extraordinary and compelling soundscape.

Specific notes on writing for tabla: Indian drumming is an improvisational system and a player never reads sheet music. Tabla notation is written with syllables that sound like the various drum tones, and written not in time signatures but in rhythm cycles. There are infinite themes and variations derived from those rhythm cycles all of which are memorized by the player. Unless the composer is trained in this notation, probably the best way to incorporate tablas into a composition is with verbal instructions, and allow Gary our tabla player to work with this information, and translate it in the context of the band’s interpretation of the music. The tablas can also be thought about in terms of color and tone, not just as rhythm.

Jelloslave (Purple Orange)’s two drummers often meld into a fiercely connected duo. This is probably best achieved through improvisation with direction from the composer about groove and time signature. Also note that the two cellos meld as a tight duo in melodic and harmonic compliment, contrast and counterpoint, functioning also as bass and rhythmic support.

• Applications must be submitted electronically via the following link:
• Each applicant is limited to one submission.
• There is no fee to enter the competition.
• Pieces should be no longer than 25 minutes in length.
• The piece can be newly-composed (a premiere) or it can have received prior performances.
- It should have been written within the last 5 years.
- If the piece has been performed, it can have received any number of performances. Jelloslave (Purple Orange) instrumentation is two cellos, tablas (one performer), and drums (one performer). The submitted work can be for the complete instrumentation or any subset of the ensemble.

-In addition to the demographic information requested, each applicant will be asked to
o A pdf (up to 10 MB) of the full score of the piece.
o One pdf (up to 10 MB) that includes all individual parts for the piece.
o If available, an mp3 recording (up to 30 MB) of the same piece, or video footage
(up to 60 MB).


 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 The deadline for submissions is February 15, 2018.


 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

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.

If selected as the competition's winner, the commissioned piece will meet the following criteria:

• 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

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.

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.

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 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!

• Late entries
• Incomplete entries
• Illegible copies

Materials must be submitted on or before April 30, 2018. Questions should be directed to Late applications will not be considered.

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.

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.

No materials submitted for this competition will be returned.

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.

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.

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.

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.

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.


 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.

 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.

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.

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.


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 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


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

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

 Curtis Institute of Music
Summary:Young Composer Programme
Deadline: 31 January 2018
Date Posted: 18 January 2018
Details: Experience conservatory-style living with a rigorous musical schedule and opportunities to perform in an intimate, challenging, and supportive environment. The three-week course features personalized attention from celebrated faculty, many of whom are Curtis alumni, with thriving pedagogical or performance careers.

Musicians aged 14 to 22 who have studied privately at the advanced level are welcome to apply.

• Weekly private lessons with composition faculty David Ludwig, Jonathan Bailey Holland, and Dmitri Tymoczko
• Daily seminar class featuring discussions about the past and future of composition; advice from performers about how to write for their instruments; and conversations about commissions, competitions, publishing, and other issues composers face today.
• Orchestral score study
• A performance and recording of one of your works by Curtis musicians–unique to this program. The chamber work performed by the Curtis Summerfest faculty is written by composition participants before the start of the program. Accepted composition participants are sent specific options for instrumentation. Composers submit scores one to two weeks in advance of arrival. This chamber work will be performed by Summerfest faculty during the composition recitals in the second and third week of the program. Additional works written during the program may be seen by composition faculty during lessons and the daily seminar, and may be workshopped by peers.
• Master class presentations of distinguished composers in a small-lecture format, with opportunities for questions and discussion. Past master class faculty have included Steven Mackey, Efstratios Minakaki, and Joan Tower. In 2017 we were honored to welcome two outstanding guest artists: Missy Mazzoli, “Brooklyn’s post-millennial Mozart” (Time Out New York); and Christopher Rouse, faculty at the Juilliard School and Peabody Institute. Master class faculty for 2018 will be announced soon.

 Brixworth Music Festival
Summary:International Competition for Women Composers
Deadline: 31 January 2018
Date Posted: 18 January 2018
Details: ​The Brixworth Music Festival, England, announces an international competition for women composers.

We are looking for a work that is 6-8 minutes long and is scored for voice (soprano and/or baritone) and three to five instruments taken from the wind quintet formation (flute, oboe, clarinet, horn or bassoon) plus voice. The text should have some reference to William Shakespeare since the winning work will take place during Shakespeare's birthday week. There is no age limit for entrants.

The following prizes will be awarded:

1st Prize: £500
2nd Prize: £200

​​The prize-winning work (1st prize) will be played by the John Clare Wind Quintet at the next Brixworth Music Festival in April 25th 2018. The jury is not obliged to award all prizes.

The jury is made up of the following members:

Vivienne Olive Composer and honorary professor of music theory at the Musikhochschule Nuremberg,joint artistic director of the Brixworth Music Festival.

Gwion Thomas Professional opera singer and concert soloist, tutor at the Birmingham Conservatoire and joint artistic director of the Brixworth Music Festival.

Chloe Willson-Thomas Professional singer, teacher, Rector of the Church of All Saints, Brixworth.

Graham Tear Conductor, professional flautist, woodwind teacher, member of the John Clare Wind Quintet

Peter Dunkley Conductor, professional clarinettist, former head of the Northampton Music & Performing Arts Trust, member of the John Clare Wind Quintet.

External judge of the short-list entries:
Judith Weir Composer and Master of the Queen's Music

​​​The committee of the Brixworth Music Festival reserves the right to find a replacement for absent jury members.

Further Information​
Conditions of entry
a) Only one work may be entered which can, however, consist of several shorter pieces.
b) The entered work may not have previously been performed or published.
c) Performance material (score and parts) must be supplied.
d) Any instructions should be in English.

Closing date: 31st January 2018
Prize winners will be announced at the end of February 2018.
Entry fee: £20.00
Please pay by Paypal

 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

National Information and Counsulting Center for Culture (NIPOS), Non-professional Art Department (ARTAMA).

Contact: Zuzana Kacafírková, kacafirkova(at), +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: 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 ( 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.

 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 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!

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.

July 28 through August 1, 2018 in Santa Cruz, California

Composer Huang Ruo, and Maestros Cristian Măcelaru and Octavio Más-Arocas; with additional participation by Festival composers-in-residence.

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.

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.

 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


 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.

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.

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)

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:

The works must be received by February 28th, 2018.
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.

Ph.D. Adrian Borza
Academia de Muzică "Gheorghe Dima"
Elektro Arts
I.C. Brătianu 25, 400079 Cluj-Napoca

Phone: +40 264 59 12 41


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

In The Subject please write


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

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

 BBC Music – International Women’s Day
Summary:Opportunity for Female Composers
Deadline: 08 February 2018
Date Posted: 11 January 2018
Details: Deadline: 08 February 2018

Details: International Women’s Day takes place on 08 March 2018 and all day BBC Radio 3 will be playing music composed by women. To celebrate, BBC Music Introducing is teaming up with Radio 3 to find unsigned, undiscovered and under the radar female classical composers and the performers who play their music. As well as playing recorded tracks, they will be inviting performers into the BBC studios on 08 March to give a live Radio 3 lunchtime concert of music by women composers.

Fee: Unpaid
Contact: If you would like to get involved upload your music and performances to and select ‘Classical’ as your genre.

 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

 Britten Sinfonia Academy Composer Hub
Summary:Academy for Young Composers
Deadline: 05 February 2018
Date Posted: 11 January 2018
Details: Applications are now open for Britten Sinfonia Academy Composer Hub 2018-19. The deadline for applications is Monday 5 February 2018.

The Composer Hub is a new scheme which aims to support talented young composers aged 11-18 from the East of England. We strive to develop their creative, technical and stylistic skills through a programme of tailored compositional briefs, mentoring from renowned professionals, rehearsals, recordings and public performance opportunities. Each year the Hub is led by a different professional composer, who mentors the students and attends one day of each of the orchestral projects.

The scheme launched in 2017 with four students who were mentored by composer Tom Coult. They attend 1-2 days of each project, roughly 8 days in total across the year, and we aim to fully integrate the composers with the main orchestra. Each project has a compositional brief, which this year has included writing a piece for chamber ensemble to be inspired by and performed at The Fitzwilliam Museum in Cambridge, producing new orchestral arrangements of famous keyboard works, working with electronics in a live composition collaboration with music technology students from Anglia Ruskin University, and writing a piece for the full orchestra to be performed and professionally recorded by a sound engineer.

Who can apply?
We welcome applicants who are:
– Secondary school aged
– live in the east of England
– Open-minded, versatile and keen to challenge themselves
– Willing to travel to projects across the east of England including Cambridge, Norwich, Saffron Walden and London

How to apply
To apply you must submit:
• A completed online application form available online here
• A completed teacher’s statement available online here

In order to fully complete your application your composition teacher must submit a short paragraph for you. Your application is only complete once both of these forms have been received before the deadline on Monday 5 February 2018.

Should you require a pdf version of the application form, please email and we would be happy to supply accordingly.

Audition Information
Successful applicants will be invited to an informal half-hour interview in March, with a panel of professional composers and a member of Britten Sinfonia. They will be asked to bring two contrasting examples of their work and accompanying programme notes to discuss with the panel.

 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’.

 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:

Subject: CompRust2018/name_surname

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 .

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.

• € 500 (sponsor
• A performance of the winning composition at the Guitar Festival Rust 2019
• Professional audio and video recording of this performance
(provided by

Submission to:

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!

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 .

• 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!)


 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.

 FredBrass Composition Competition
Summary:Brass Composition Competition
Deadline: 01 February 2018
Date Posted: 11 January 2018
Details: Inaugurated in 2015, the goal of the FredBrass Composition Competition is to expand brass ensemble repertoire while providing festival participants with the opportunity to showcase new works. The first winner of the contest was Miami-based composer Robert Tindle, whose submission "Where Heroes Lie" was premiered by the 2015 FredBrass faculty/student ensemble in Fredericksburg, VA.

The winner of each location will receive:
A live recording of the premiere performance
Recognition in the corresponding festival programs


The submitted material must be wholly new and written for the purposes of this competition. Arrangements, including arrangements of one's own music, will not be accepted.

Instrumentation may NOT exceed the following:

6 Trumpets (flugelhorn and piccolo trumpet available)
4 Horns in F
3 Trombones
2 Bass Trombones
2 Euphoniums
2 Tubas

The premiere of the winning piece will be performed by participants ranging in age from high school students to college graduates.

Application Materials

An .mp3 (midi is acceptable) and a PDF score for a 1-2 minute excerpt of the composition.

 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
(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.


 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.

• 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
• 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


 Black Bayou Composition Award
Summary:Competition with 5 Categories
Deadline: 08 February 2018
Date Posted: 11 January 2018
Details: Our 2018 Call for Scores is now open! The submission period will run from December 15, 2017, to February 8, 2018. Notifications of acceptance into the festival will be made on March 1, 2018. Below are the 2018 submission guidelines.

A tentative schedule of events is available here. Rehearsal times will be assigned once acceptances are announced. Optional opportunities for tours of local interest are scheduled to allow composers and performers to further engage with our communities should they so desire. This is also a chance to step away from rehearsals and be inspired by the beauty of our area.

Submissions may be made in any of the following categories:
• Due Per Se (Piano and Clarinet)
• Implosion Percussion (Percussion Ensemble [up to 5])
• Trio Melange (Horn, Piano, and Soprano)
• Solo or mixed ensemble
• Digital Media (two-channel only, with or without video)

Performers will be provided. The available instruments are as follows: flute (2), all clarinets/saxophones (3), oboe, trumpet (2), horn, trombone (2), tuba, guitar, piano, soprano (3), percussion (5), cello (2).

Additional Guidelines
• Composers must be present at the concert to have their piece performed.
• Pieces of any length are eligible, but preference will be given to pieces under 15 minutes.
• We encourage electronic media combined with live performance.
• Works composed within the last year are encouraged.
• Composers must be able to provide computer-generated parts for the performers via PDF files.
• For the purposes of impartiality during the judging process for the Black Bayou Composition Award, please do not include your name on your score when submitting.

Two works will be selected to be choreographed by professional choreographers. If you wish your submission to be considered, indicate this in the appropriate box on the application.

Black Bayou Composition Award
The Black Bayou Composition Award will be presented for the piece “that best reflects the connection between music and nature.” This award is sponsored in part by Friends of Black Bayou, and will be adjudicated by composers and performers outside of the festival staff. Read more details about the award.

Travel and Lodging
Recommendations for discounted hotels will be posted as the festival nears. Shuttle to and from Monroe Regional Airport, festival hotels and concert venues, will be offered free of charge to composers and performers.

Professional audio recordings will be provided at no charge to composers after the festival. Professional video recordings will be available at a nominal price. New Music on the Bayou reserves the right to use recordings and images from the festival on our website and promotional materials.

 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 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 – submissions via DropBox, WeTransfer, or other file-sharing service will also be accepted.

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).



 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
By post to P.O. Box 8811, Wichita KS, 67208

Award Announcement: April 30, 2018

 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.

 Heartland Symphony Orchestra
Summary:Orchestral Competition
Deadline: 02 February 2018
Date Posted: 11 January 2018
Details: The Heartland Symphony Orchestra is seeking composers from around the country to submit original compositions for the 2018 Composers’ Competition. Works that have previously received a prize or have been performed more than three times are not eligible. The deadline for submissions is February 2, 2018. Winners will receive a $1000 monetary prize, an opportunity to work with HSO and its conductor, and a performance CD and DVD. Call 1-800-826-1997, or email for additional information. The winning score will be premiered by the HSO at its Spring 2018 concert series to be presented in three central Minnesota communities: Crosslake, (April 6) Little Falls (April 7) and Brainerd (April 8). The winner will also accompany Conductor, Alexander Corbett in educational outreach to area schools in each concert area.

1. Total duration must be between 6 and 10 minutes.
2. Instrumentation must not exceed: 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horns, 3 Trumpets, 3 Trombones, 1 Tuba, Timpani +2 additional percussion players (available instruments: snare drum, bass drum, tam-tam, glockenspiel, xylophone, crash cymbal, suspended cymbal), strings.
3. Only one work per composer will be considered.
4. Leave title and name on the score.

Application Package Must Include:
1. Application form – Please fill out form below and submit.
2. PDF file of the score
3. One single page biography, detailing your musical studies to date.
4. MIDI sound file of the composition


Postmark Deadline: February 2, 2018
Participant will be notified by February 16, 2018 and the First Prize winner must supply Parts (PDF File) by February 28, 2018. Scores and parts must be legible and ready to play. The Heartland Symphony reserves the right to refuse to read any work that does not adhere to these guidelines.

Call Alexander Corbett, the Music Director of Heartland Symphony at 317-473-7996, email alexandermcorbett@gmail.comor the HSO office 1-800-826-1997.

 Call for proposals: cross-arts weekend at APT Gallery
Summary:Call for Proposals
Deadline: 20 January 2018
Date Posted: 11 January 2018
Details: Perception: an experimental weekend

2021 Concerts is calling for proposals to fill the APT Gallery in Dept ford for a weekend of experimental music, art and installations in May 2018. We are looking for work that explores elements of perception to create a weekend that inspires curiosity , steps outside the normal bounds of audience and performer interaction, and fosters a sense of experimentation.

Dates: May 4 - 6 → Friday evening , Saturday all day, Sunday afternoon performances. Development /rehearsal space will be available in the week prior by scheduling.

Works can be anywhere from 5 - 45 minutes in length .

Required materials:
1. Up to one page performance proposal about your piece: what does it look like? Tell us what we might experience as an audience member. Include 150 - 250 words on how your project fits the brief, and how it explores perception in its own way.
2. List of proposed collaborators; please be realistic about how many people you can involve.
3. CV s/bios of primary organising members (composers, directors, choreographers etc) as well as performers, if possible.
4. Samples of your work . Anything is suitable from photographs to videos and recordings.
We will be looking for proposals that demonstrate the following elements:
• Quality of the proposal: shows thoughtful preparation , a consideration of the brief and of the flexible nature of the gallery space
• Collaboration: consideration of the possible performers involved in the work, productive collaborative processes
• Originality and creativity!
• We want to encourage proposals from minority applicants
Propositions for family-friendly works encouraged for Saturday afternoon!

DEADLINE: January 20th 2018
Applications can be submitted to

 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,

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 in January 2018)
• One PDF of anonymous 8.5” x 11” score sent as an attachment to an email addressed to 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 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
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:
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 (
o Note: Royalties go to the USAIHC to support the competition.


 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
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.


 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

Open to all composers. There are no age restrictions.

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.

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.

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 with “ATTN: Commissioning Competition” in the subject field.

Visit the Chapter homepage at for information and submission guidelines.

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.


"INK STILL WET" Composer Conductor Workshop with Ryan Wigglesworth at Grafenegg Festival 2018
17th - 21st August 2018


Please complete the application form and send it to usw[at] together with your letter of motivation, your artistic CV and the full score of the work you have composed and submitted for the workshop.


 Symphony in C Competition
Summary:Young Composers' Competition
Deadline: 01 February 2018
Date Posted: 04 January 2018
Details: As demonstrated by Symphony in C’s core mission, the Symphony has a strong commitment to fostering the careers of young musicians and composers. Each season Symphony in C offers composers the opportunity to submit an original composition for consideration by the Symphony’s artistic staff. Following are the rules and eligibility, application procedures and the winning prize. Also see past winners of the competition and their winning compositions.

• Performance of the winning work by Symphony in C, conducted by Maestro Stilian Kirov, on April 28, 2018.
• Professional archival recording of the performance.
• Subsequent broadcast/webcast by WRTI-FM and
• Round-trip domestic airfare to attend rehearsals and concert.
• Winning work to be considered by Theodore Presser Company for inclusion in its rental library.

• Only composers born after April 28, 1988 may apply.
• Works with a performance history are eligible.
• Instrumentation may not exceed 2-2-2-2 (incl. standard doublings), 4-2-3-1, Timp., 2 Percussion, Harp, and Strings. Please note the maximum orchestration is slightly different from previous years. Works with soloists are not eligible. Click here for a FAQ about instrumentation details.
Percussion instruments should not exceed the following large instruments: xylophone, glockenspiel, chimes, small bass drum, large bass drum. Smaller instruments such as snare and smaller are allowed.
• Only US citizens, permanent residents, and current foreign students at American schools may apply.
• Duration should be between 8 and 15 minutes.
• The winning composer must provide 2 full scores and a full set of parts, with a sufficient string count.
• The winning composer may be asked to participate in educational outreach programs during the week of rehearsals. Composer must be present for rehearsals and concert to be eligible
• Scores must be legibile and suitable for efficient rehearsal and performance. Parts must be carefully proofread, with good page turns, and ample rehearsal numbers and cues. We recommend that all entrants consult our guidelines for preparing score and parts. Click here to view.
• Previous winners are not eligible.

• Email submissions to:
• Submit the following Items:
• Full Score
• Sample Instrumental Part
• Audio Recording (live performance, piano or midi demo) as an MP3 or link from a Dropbox/Google Drive, etc.
• Composer biograpy
• Entry Form / Application

Any questions about the application process should be directed to Joe Hart, VP of Artistic Operations, at 856-240-1503, or


 Darmstadt Summer Course 2018
Summary:Call for Projects: Workshop Composer-Performer
Deadline: 31 January 2018
Date Posted: 04 January 2018
Details: Tutors: David Helbich and Jennifer Walshe
Workshop with selection procedure
For participants of the Darmstadt Summer Course 2018
Maximum capacity: 8

Deadline for applications: 31 January 2018
First Meeting 26-30 March 2018 at 
Performing Arts Forum (PAF) in St Erme Outre et Ramecourt / France

The composer-performer workshop invites people who work with a performative approach to composition and research, those who are curious about the performativity of sound and music.

• composer as performer
• physicality & theatre as compositional elements

We are interested in composition which is deeply inspired by the history and state of sound and music as well as by the outcomes of many years of performance art, theatre, dance and much more. We believe that this necessarily re-
quires a strong focus and a different, very open and challenging way of com-posing and preparing pieces for performance.

The people we want to bring together for this workshop are those who seek to move fluidly between the positions of writing and performing, making and doing, planning and trying. Open to re-defining how composing and performing might work, open to becoming someone different through that process.

We will choose a group of people with the potential to work and create together. Our focus is on work, on the process, rather than the finished product. We will though, of course, finish the workshop in Darmstadt with a performance night.

During the workshop we will work on the physicality of sound and music, on the body on stage, on the relation to audience(s), on observation and self-performativity. Next to exercises, experiments and mini-pieces every participant will produce a piece, either by themselves or in collaboration with other members of the workshop.

Questions we are interested in:
What is our practice? How do we work, research, consume art? How do we keep fit for art? How do we train to make and perform it? How are we the audience of our own works? How do we experience the works of others? What are forms of collaboration? What is constructive criticism of this new type of working (out-side-ear/eye)? New kinds of pieces demand new ways of producing and preparing – how do we ask what a piece needs? What are the conditions for production and how do they influence what the piece is? What is the theater of concert situation?  

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.
- 1-2 pages: brainstorm of ideas which you would like to try out, either by yourself or with others during the workshop. These don’t need to be concrete proposals for the piece you will present in the final performance (though they might end up in that piece); we are simply looking to see how you think.
- include maximum 3 links to specific works of yours we can see/hear online.

The title of the file should contain your name and “CP” to indicate the call, i.e. “Rosaleen_Murphy_CP.pdf” etc.

The workshop begins with a meeting 26-30 March 2018 at 
Performing Arts Forum (PAF) in St Erme Outre et Ramecourt in France. Students will pay for their travel to PAF. Accommodation at PAF costs 20 Euro per day, plus a 12 Euro once-off membership fee. PAF is self-catering and we will all cook together as a group. Please familiarise yourself with the ethos of PAF here:

IMPORTANT: Please do only apply if you are able to come to PAF for the meeting in March, as well as to Darmstadt. If you cannot come in March, you will automatically be excluded from the selection procedure.

Please send the PDF with all necessary information to:
by 31 January 2018 the latest.

The selection by Jennifer Walshe and David Helbich will be announced mid of February 2018.

All selected artists must be registered participants of the Summer Course and will be given preference during registration. Registration will start mid / end of January 2018.
No scholarships will be granted for this project.

Before you apply, please take note of the Darmstadt Summer Course conditions.
Web Site:www.internationales-musikinsti...

 Gstaad Menuhin Festival
Summary:Duo Call for Scores
Deadline: 31 March 2018
Date Posted: 04 January 2018
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.

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.

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.

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.


 Invitation to a Nordic Culture Point Residency Programme at EMS in 2018
Summary:Residency Programme
Deadline: 31 January 2018
Date Posted: 04 January 2018
Details: EMS is happy to announce a new residency programme, made possible with a grant from Nordic Culture Point. The programme will run in 2018.
Composers and sound artists, both Nordic and International, who are resident in the Nordic and Baltic countries (excluding Sweden) are eligible to apply.

Residency periods of 6-8 weeks are preferable, but the period can be divided into two parts. Travel and accommodation costs will be covered,
and we offer a per-diem fee of 60 EUR per day.

To encourage composers with children who would otherwise not be able to apply for a long term residency, we offer family accommodation options.
EMS values gender equality and would also like to see applicants from all geographical areas covered by by the Residency Programme.

EMS has seven studios, each with its own particular profile:
To work in the studios it is advisable to be familiar with the Pro Tools, Logic X, Reaper or Ableton Live software.

Assistance from our technical staff is available Monday to Friday 09.00-16.00.

If you are interested in a residency at EMS in 2018 please fill in this link:’

The following information will be requested:
• basic personal and contact info
• availability
• a brief bio that includes professional achievements
• a brief statement of your proposed plan for work at EMS

Please add ”NCP Application” to your text in the Comments-field.

The last day for applications is 31 January, 2018.


 Composition Contest and Residency for Acoustic Instrument and Sampo
Summary:Composition Residency
Deadline: 31 January 2018
Date Posted: 04 January 2018
Details: Composition Contest and Residency for Acoustic Instrument and Sampo
Bourges 23 - 29 June 2018

Musinfo is pleased to announce the fifth edition of the Composition Contest and Residency for Acoustic Instrument and Sampo. With this initiative Musinfo supports the work of contemporary composers in the field of live-electronic. The residency will take place during the 2018 Art & Science Days in Bourges.

The winning composers will receive a commission from Musinfo to compose a new work for an acoustic instrument and Sampo. Sampo is an electronic device made for any musician or composer to expand the sound field of an acoustic instrument.

The writing of the new composition will include two phases:
• First, the winners will work with the P-Soft software which emulates Sampo. They will exchange with the performers of OpusCentrum ensemble, who will prepare the works on their Sampos.
• The winners will then be invited to carry out their residency in Bourges for one week to finalize their compositions and prepare the closing concert of the 2018 Art & Science Days together with the performers. Sampos will be made available to composers during the residency.

Applications must contain the following elements:
1 - Short biography (1500 characters maximum)
2 - Photo (for publication at the announcement of residents)
3 - Letter of motivation
4 - Short sketch to demonstrate the composer’s understanding of the work with P-Soft and Sampo. One page maximum in PDF format, composed for P-Soft and a solo acoustic instrument of their choice, accompanied by the "bank" file of their configuration.
5 - 1 to 2 scores of recent compositions

Candidates are invited to send their applications by January 31, 2018 by Wetansfer to: concours-bourges2018[at]

Rules of participation:

Deadline for sending files: January 31, 2018.
The competition is open to composers of all ages.
Winners of previous editions of the Contest cannot apply.
The P-Soft software emulating Sampo is available for download here:
The writing examples for Sampo and help can be found at: Software and Manual
An international jury will nominate the winners of the contest during February 2018.
The attendance of the laureates during the residency is compulsory.
The jury may decide not to nominate any winners.

Financial conditions:
1 Registration is free of charge.
2 Musinfo will support meals, accommodation and domestic travel to and from Bourges.
3 International travel costs will be borne by the winners.


1 The winners will receive a commission to write a new composition.
2 The winners will carry out a residency of one week, from 23 to 29 June 2018 in Bourges.
The new composition will be premiered at the end of the residency during the Art & Science Days 2018 by Opus Centrum ensemble.

 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:

 CALL FOR PROPOSALS: “The Beauty of the Line”
Summary:Musical and Visual Arts Collaboration
Deadline: 31 January 2018
Date Posted: 04 January 2018
Details: Opens: December 1, 2017
Deadline: January 31, 2018

The Boston New Music Initiative announces a call for proposals of new works to be written in collaboration with visual artists. The theme of BNMI's Tenth Season, which runs from 2018-2019, will be “The Beauty of the Line” and will aim to illuminate the relationship between visual art and music. Chosen proposals will be presented at a gallery show/performance to take place in Spring of 2019. Proposals must be for a new collaborative work created by a composer and visual artist team. Proposals from an existing composer/visual arts teams are encouraged, but composers do not need to have a visual artist already attached to their proposal to apply. Submitted musical proposals without an attached artist will be offered to a group of visual artists already committed to participating in this project. Visual artists who do not have a composer to work with, but are interested in participating in this project should contact BNMI directly.

Incorporated in 2010, BNMI aims to advance the careers of its members in the field of new music by serving as a resource for networking, professional development, commissioning, collaboration, and programming. The call is open for acoustic, electro-acoustic, and multimedia works. The competition is open to all composers with no restrictions.

We strongly encourage all composers to download and review the BNMI Submission Guide ahead of submitting to this competition.


The proposal should be no more than 1000 words, and should include the following information:
1. Instrumentation.Works should include at least one member of BNMI’s core ensemble, which consists of Flute (doubling Piccolo, Alto Flute, or Bass Flute), Clarinet in B-flat (doubling Clarinet in A or Bass Clarinet in B-flat), Violin, Violoncello, Piano, and Percussion. Works may not use unusual or large percussion instruments (including, but not limited to, 5-octave Marimba, Tubular Bells, and Timpani). Completely or partially electronic works are acceptable.
2. Duration. Works can be of any duration, and the finished product may be a fixed-media installation or performance art.
3. Electronics. Works involving electronic elements must include information on the specific technical requirements for performance as far as they are known.
4. Description of Composer’s Style. Please briefly describe and give examples of your influences and interests, both musical and extra-musical as they apply to this project. Please also tell BNMI what you as a composer hope to gain or learn through this collaboration.
5. Description of Proposed Work.Please describe in as much detail as possible, the final product that would emerge from the proposed work.


1. Number of Entries. There is no limit on the number of proposals a composer may submit; however, each proposal should be submitted as a separate entry.
2. Anonymity. All submissions must be anonymous. Scores, proposals, or other materials with names or other identifying marks will not be considered. Please remove all identifying marks from all materials (except the composer information page, see submission process below) before submitting. Please make sure no meta-data including names or identifying marks remain in submitted files. No pseudonyms or code numbers are necessary. If you have a supporting visual artist involved, please remove their names as well.
3. Membership. Composers wishing to submit scores must become members of BNMI; Associate Membership is free and Full Membership is $20 a year. Information on membership benefits can be found here.
4. File Formats. The only acceptable file formats are:
o For the proposal: .doc, .docx, .txt, .rtf, .odt, or .pdf
o For the score: .pdf
o For (optional) audio recordings: .mp3 or .m4a
o For (optional) video: .mov or .m4v
o All other materials: .doc, .docx, .txt, .rtf, .odt, or .pdf
5. Delivery of Music. Selected composers are required to provide electronic copies of the full score and parts eight (8) weeks before the final concert. If electronics or multimedia are involved, all files required for performance and rehearsal must be submitted within the same time frame.
6. Permission for Use. By submitting to this call, the composer gives permission to record audio and video of any and all concerts and events hosted by or associated with BNMI in which the submitted piece is included. BNMI shall possess ownership of recorded audio and video and maintains the right to publicly distribute audio and video for promotional purposes. BNMI shall not publicly distribute the recording of any performance for financial gain.
7. Questions? Please address any questions to Note: Please do NOT send submission materials to this email address as the materials cannot be submitted using this method. When submitting inquiries, please be as generic as possible, and do not include the title of your piece in the query in order to preserve anonymity.

Submission Process
Composers are asked to use our submission portal to upload the following materials (each as separate documents). If this is your first time submitting, please review our submission guide prior to starting the submission process.

1. An anonymous file of the proposal (less than 1000 words).
2. One (1) anonymous score, in PDF format only, of a representative work from the composer.
3. A recording of the representative work (not required but encouraged)
4. An entry fee for each submission. The entry fee for this competition is $5 for Associate Members, and free for Full Members. Membership information can be found here.
5. An information sheet containing the following:
o Composer’s contact information (name, phone number, physical mailing address, email address, and website URL, if any)
o Visual Artist attached to the proposal’s contact info, including links to representative works for the artist (if applicable)
o Performing rights organization (ASCAP, BMI, etc.) associated with the work and/or composer, if any
o Composer’s year of birth (for program information only)
o Composer biography (maximum 300 words), to be used if the proposal is selected. BNMI reserves the right to truncate the composer biography if it exceeds the word limit.


Summary:Choral Music Composing Course
Deadline: None
Date Posted: 04 January 2018
Details: For Composers and Conductors of Choral Music

June 22 - 29 2018

• 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


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.


 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.


 Alchemy in Sound
Summary:Sound art symposium and call
Deadline: 24 January 2018
Date Posted: 04 January 2018
Details: Details: Listen to the Voice of Fire is a symposium/concert for research in sonic arts though alchemy. The symposium is open to all and seeks compositional and theoretical approaches drawing on: sound art, improvisation, noise, sound scape, field recordings, databending, drone, electroacoustic, no input mixing board, electronics including novel/hybrid/hacked instruments and/or new musical interfaces, and live coding approaches. Sound art which responds to any of the indicative themes below are particularly welcome:

· Sound art responses to the works of Thomas Vaughan (1622-1666)
· Alchemy composition and visual scores, historical and new approaches
· Sonification of alchemy and or its alchemical emblems
· Error, alchemy and generative aesthetics
· Alchemical composition and cybernetics
· Alchemy sound art and psychogeography
· Sonic alchemy and mysticism-the phenomenology of revelation
· Alchemical narratives and compositional approaches
· Alchemy and the aesthetics of immersion into noise/drone music
· Alchemy, annihilation and sound art

Music/sound art should not exceed 12 minutes in length.

Fee: £25 registration fee

Contact: Submissions should be e-mailed to Dr Dafydd Roberts,, using SOUND in the subject field. Please include abstract/programme notes (500 words), link to work (stereo wav.) via Soundcloud or Bandcamp, and biography (250 words).

 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.


 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.

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

(1) Submissions should be made online, using the Google form found at:
(2) The form requires the user to log into a Google/Gmail account. If you are unable to log in, please email 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.

All submissions must be received by 11:59pm (CDT) on May 13, 2018

(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


If you have questions about the Young Composers Competition, please contact Dr. Zachary Cairns at Thank you!


 4th fourth edition of the UQAM and RVQC’s Montreal International Film Music Composition Competition
Summary:Film Music Competition
Deadline: 24 January 2018
Date Posted: 27 December 2017
Details: December 19, 2017 - The Specialized Diploma Program in Film Music at the Université du Québec à Montréal (UQAM) and the Rendez-vous Québec Cinéma (RVQC) are proud to announce the fourth edition of the Montreal International Film Music Composition Competition. Three short films are proposed to composers of all parts of the world to inspire their creativity. Multiple awards shall be awarded to the composer of the best score for each of the following films: Gardien de nuit, Noumnoum et Réflexion, as well as to all finalists of the competition, thanks to our amazing sponsors at XLN Audio et Arturia.

The music by the finalists in each of the categories will be diffused or interpreted, with the associated film, during the 36th edition of the Rendez-vous Québec Cinéma in Montreal, Canada.

Montreal International Film Music Composition Competition
According to Mathieu Lavoie, the competition’s director, UQAM professor and composer at Vibe Avenue: « The three first editions of the competition were an amazing success! To this day, nearly 700 submissions from composers of two dozen countries have been received. This confirms that Montreal is a key player on the international scene of the movie industry.”

Stages of the Competition
• Competition opens
December 2017. Three short films are available online on the website of the Montreal International Film Music Composition Competition.
• Deadline for composers to submit their entries
January 24th, 2018, 11:59 PM (EST). Composers may submit up to three entries in the competition (one piece per film) if they so desire.
• Finalists announced
February 22th, 2018.
• Winners announcement

March 1st, 2018, at 7 pm. During the Rendez-vous Québec Cinéma at the Bistro SAQ of La cinémathèque québécoise. Montreal Brass, a brass quintet under the direction of Thierry Champs, will interpret the three finalist scores for the movies Réflexion et Gardien de nuit, as well as entertain guests during the award ceremony with multiple film music pieces. The finalists’ versions of Noumnoum will be screened.

The contest is open to any composer of any age and is worldwide. There are no registration fees. Past winners are not eligible for the competition. It is possible to participate up to three times to the competition by submitting music for each of the three films.

The movies
We are proud that all three films proposed for this competition have been directed by students of Université du Québec à Montréal (UQAM) and Université du Québec en Abitibi-Témiscamingue (UQAT).

More info:

 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:

Summary:Orchestral competition
Deadline: 04 June 2018
Date Posted: 27 December 2017
Details: Total value of prizes: 4000 €
Deadline for entries: June 4th 2018.

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.

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

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)


 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 ( 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.

 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 if you are interested in participating!

Daily Schedule:
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.

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.

 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.

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


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.


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


If you have any questions regarding the institute or how to apply, please contact:

Jeremy Van Buskirk
Acting Chair of Composition and Theory


 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 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 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:

 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.


- 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.


 Alion Baltic International Music Festival 2018 July 10 - August 7, 2018
Summary:Composition Programme
Deadline: 01 February 2018
Date Posted: 27 December 2017

AB Composition Program is extensive, intensive. and unique. It is designed with elements of the Russian school of composition boost students to the next level of composing.

Special emphasis is given to chamber music writing, choral considerations, and symphonic orchestration based on studying the scores of the greatest orchestrators of the past: Rimsky-Korsakov, Ravel, Mahler, etc. The beauty of Tallinn surroundings and cultural experience is ideal source of inspiration.

Program includes:
- 2 individual lessons with Professor per week
- 1 Master class (open to public) per week
- 2 chamber music coachings per week
- Your music is performed at the daily student concerts in Tallinn
- Your music is performed in Estonia, Latvia, and Finland
- Orchestra Program (if student composer plays instrument)
- Attendance of concerts by Outstanding Artists
- Accommodation and meals
- Sightseeing tours around Tallinn and beyond

Each student receives two private lessons + 1 master class per week with an internationally-renowned artist faculty member.

If a student composer plays an instrument, he/she may be part of chamber groups and assigned to partners and repertoire choices according to level, matched well in advance. Instrumentalists receive two fourty-five minute chamber coachings per week with Alla Aranovskaya and Boris Vayner, Members of reknown Sankt-Peterburg String Quartet.

Alion Baltic International Music festival gives its compositional students a unique opportunity to have their music performed by lion Baltic Festival Orchestras, The Sankt-Peterburg String Quartet, or other ensemble combinations.
All performances will be recorded and can be used for future references amd compositional resume.

Each year, many of the artist faculty give Master Classes on subjects of their choice. The subjects of these Master Classes vary. In the past we have had lectures on Integrating the Musical and the Technical, Projection in Performance, Stage Presence, Jazz Improvisation, Orchestral Repertoire, Eurythmics, etc. More info - List of Master Classes »

Student composers will have an ample amount of time and space to make a statement with their next brilliant idea or to rehearse their works with other participants at the festival.

With concerts almost every night, students are exposed to a high level both from artist faculty and their colleagues as they watch each concert. Student-composers will have an opportunity to have their music perform on the ssame stage with Outstanding Artists, including Sergei Stadler, and Members of Sankt-Peterburg Quartet. Concert trips are combined with sight-seeing to Narva, Parnu, Tartu, Riga (Latvia), and Helsinki (Finland).

We are now accepting applications 2018!
Early applications: by January 3, 2018 receive 10% discount.
Application deadline: February 1, 2018.
Orchestra Program Application, click HERE
Composition Program Application, click HERE


 The Albi Rosenthal Visiting Fellowship in Music, 2018-19
Summary:Song commission opportunity
Deadline: 12 February 2018
Date Posted: 21 December 2017
Details: Composers are invited to apply for the 2018-19 Albi Rosenthal Visiting Fellowship at the Bodleian Libraries. The Fellowship provides for a period of residence in Oxford and research in the Special Collections of the Bodleian Libraries which should act as a stimulus for the Fellow’s composing activity. The Fellowship also marks a collaboration with the Oxford Lieder Festival, one of the world’s leading song festivals.

Oxford Lieder will commission a significant new song or song cycle from the Fellow. The precise nature of this will be open to discussion, but it is anticipated that that the work will be 15-20 minutes duration, and a commission fee (in the region of £2,000) will be paid by Oxford Lieder. This will be for performance in the Festival in October 2019. In addition, there may be the opportunity to programme one or more of the Fellow’s existing works in other Oxford Lieder performances.

It is also intended that, during their tenure, the Fellow will join in the academic life of the University and participate in at least one lecture and one composition workshop, held jointly with the Faculty of Music.

Applications are open to all and composers at an early stage in their careers are encouraged to apply. There are no geographical restrictions, but note that it is the responsibility of any candidate who is invited to take up the Albi Rosenthal Fellowship to secure any necessary UK visa to enable the period of residence required in Oxford.

The Fellowship provides funds of up to £5,400 to enable a period of continuous residence in Oxford for three months, to be taken between October 2018 and April 2019.

The Bodleian Libraries’ music collections are among the largest in the country and contain printed music from the 16th century onwards and large numbers of music manuscripts from medieval times to the present day. The Oxford Lieder Festival is well established as one of the world’s leading song festivals and the biggest in the UK, attracting many of the world’s greatest artists (

The application deadline is 9.00am GMT, Monday, 12 February 2018 (extended from Friday 9, February).


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

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.

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 ( 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 (

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.

 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.


 CMC Library Residency
Summary:Library Residency
Deadline: 05 February 2018
Date Posted: 21 December 2017
Details: The CMC national library contains some 25,000 works by nearly 900 composers—the CMC Library Residency is designed to shine a light on exciting works. In many ways, the resident artists act as interpreters of the CMC collection, offering a personal glimpse into the historical, cultural, and artistic significance of various pieces.

What biographical information about the composer and performers should Canadians know? Do these works impact you as an artist/listener today? In 2018, CMC – Ontario will provide an honorarium to two artists to actively engage with the CMC library and generate blog posts highlighting various pieces in the collection, and injecting life into pieces that are often forgotten or overlooked.

You can click here for examples of blog posts from the 2015-17 residencies.
Eligibility: Any artist living in Ontario*

Composers, performers, conductors, choreographers, poets and artists in other disciplines who are interested in discussing contemporary music are eligible. Artists living outside of Toronto can remotely access the CMC digital archive (including scores, audio, articles, and other material) in collaboration with the Director of Ontario Region. Library scores can also be mailed to participating artists.

Residency details:
Following the application process, two artists will be selected. Each artist will engage in the residency process as outlined below.

• Duration: 4 months (scheduled with input from selected artists)
• Contribution: 4 blog posts (minimum 500 words), posted monthly
• Honorarium: $300

• Each blog post represents a different composer and a different composition.
• Represent a wide variety of composers (gender, age, region, aesthetic), styles, media
• Featured composers must be CMC Associate Composers
• Where possible, integrate digital content including score samples, audio/video streaming, and Centrediscs releases
• Where possible, connect blog posts with content featured in CMC programming in Ontario region
• Curate a small physical display/exhibit at the CMC in Toronto (in collaboration with the Director of Ontario Region) to mirror select blog posts, integrating physical artifacts, commercial CDs, physical scores, and other material
• Explore possibilities for replicating the archival display in other communities in Ontario.

Deadline: February 5, 2018

Application Requirements:
Complete the online form embedded below and provide the following:
• CV
• Links to recent writing samples (a minimum of 2 samples are required)
• Artistic Statement: What do you hope to achieve as part of the library residency program? Suggest possible composers/pieces that you might want to write about, and themes you would like to explore (a reminder that this proposal is speculative, and if selected you can deviate from your proposal).
• Promo: Discuss how you can promote your blog posts through personal channels.

For more information:
Matthew Fava
Director – Ontario Region
416-961-6601 ext. 207


 PREMIERE|Project Festival
Summary:Choral opportunity
Deadline: 01 February 2018
Date Posted: 21 December 2017
Details: Hey, you! We want to commission you. Launching in Summer 2018, our inaugural PREMIERE|Project Festival will provide selected composers with a remarkable workshop-commission experience by offering in-depth seminars, mentoring sessions with renowned composers, and interactive rehearsals with a choral ensemble.

What is the PREMIERE|Project Festival?
A composer's dream destination: Imagine a place where you could come to finalize a composition in a workshop setting with a chorus, talk about the business side of living as a composer, learn with renowned composition faculty, receive a commission scholarship for the completed work, have the work premiered, and establish a distribution deal with a music retailer. In less than a week. Welcome to PREMIERE|Project.

I'm Interested. What's the Criteria to be a Composition Fellow?

The criteria for Composition Fellows is simple. We don't like trying to sort composers by "emerging" or "emerged." Rather, if you consider yourself a learning composer regardless of age or career status, PREMIERE|Project is the place for you. The application requirements are:

• A portfolio of three compositions, at least one of which must be for chorus.
• Recordings for all three works (at least one of which must be a live performance; MIDI recordings are okay).
• A list of prior works and performances.
• A biography and resume.
• A statement for the piece you intend to write or complete as part of the PREMIERE|Project Festival.
• You must come to the PREMIERE|Project Festival with an unpremiered work that is in progress, near completion, or a finalized work in draft form which you are willing to potentially adjust in the workshop setting. In addition, you must complete the composition within the PREMIERE|Project Festival timeline to receive its world premiere.
• The composition must be for SATB chorus (with or without divisi) and appropriate for high school, collegiate, or professional chorus. The work may either be a cappella, with piano accompaniment, or with a solo accompanying instrument.


 MATA Festival
Summary:Festival Call for Scores
Deadline: 12 February 2018
Date Posted: 21 December 2017
Details: MATA seeks submissions from composers in the early stages of their careers for our 2019 Festival of New Music in New York City and additional concerts during our 2018-19 season. We accept all music from fully notated to improvised, sound art, video, electronic, found instruments, toys, installations and everything in between. Approximately 30 composers will be selected to have their work presented at our Spring 2019 MATA Festival. Composers are selected on the strength of their overall portfolio, and will receive either a performance of a pre-existing work or a commission to write a new piece. Performers are among the world’s finest ensembles and in the past have included chamber groups large and small, vocalists, soloists, and much more.

Please submit links to scores and recordings of your two best works; a one-page resume; a list of compositions; and contact information through our website We will only accept digital submissions. There is no entrance fee.

Audio: we accept either links to recordings hosted on a personal website, through SoundCloud, YouTube or other streamable service. Please provide direct links to the works submitted. Links must be streamable. YouTube and Vimeo links are acceptable if your work involves visual elements.

Scores: we accept links to PDF documents either hosted on a personal website, Dropbox, GoogleDocs, or other host.

Please be sure that your links remain in operation indefinitely, as the review process will take place in the spring and summer of 2018. Do not provide links that will expire after any period of time. If we cannot access your links, we are unable to evaluate your work.

Composers selected for the 2019 MATA Festival will be notified by September 2018.

If you have any questions about the submission process please read our FAQ. If you can’t find an answer there, email .


• Recordings of two recent works: No more than two works are to be submitted. While our focus is primarily chamber music, you are welcome to submit an orchestral work. Please send what you think are your best pieces. MIDI recordings are discouraged but will be accepted.

• Scores to accompany the above recordings: If scores are not pertinent to your work, please link to a pdf explaining how the sound is created / produced.

• Resume or C.V.: Please limit to one page

• A list of works: Please include instrumentation and duration for all works

• Contact Information and answers to additional questions

An application form should appear below. Should you have difficulty viewing it, the form may be accessed here. If you are having trouble viewing the form please be sure that you are using an up-to-date version of one of the following browsers: Chrome, Safari, Firefox, Internet Explorer, and that cookies and javascript are enabled.

FOR COMPOSERS BASED IN CHINA: Our submission form is hosted through Google Forms. If you are unable to access the form, please e-mail us at for assistance.

By applying to this call for submissions, you consent to be placed on MATA’s mailing list to receive notice of events and future calls for submissions. MATA will never sell, loan, or trade your contact information.

All submissions must be filed on this site by 11:59PM U.S. Eastern Time, Monday, February 12, 2018. Once the online submission form stops accepting submissions, the call is closed. You will not receive email confirmation of your application.

Applicants must be in the early stages of their career or have had limited access to American concert stages.

We are only accepting DIGITAL submissions. You cannot save this form, so be sure to have all of your materials ready before you begin to fill it out!

PLEASE NOTE: You cannot upload files into this form. We are only able to accept LINKS to your work samples, not actual audio or PDF files. We do not have the storage capacity to hold everyone’s files.

 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 ( 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.

All composers and arrangers, without any restriction, are welcome to submit scores. You may submit only one piece.

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).

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.

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.
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 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.

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 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).

 Toronto Creative Music Lab
Summary:Professional Development Programme
Deadline: 01 February 2018
Date Posted: 21 December 2017
Details: The Toronto Creative Music Lab (TCML) 2018 is an 8-day artistic and professional development workshop for self-identified early-career musicians and composers. The workshop runs from June 9-16.TCML is a peer-mentored workshop. 40 participants will be selected from a pool of applicants and placed into working groups of 1 composer and 3-6 performers—10 composers and 30 performers in total. Working groups will participate in TCML facilitated discussions prior to the workshop that will inform a new 6 minute piece developed by the composer.

TCML 2018 Professional Development sessions will be a series of workshops, lectures, panel discussions and activities that bring together artists from across disciplines to explore accessibility, inclusiveness, anti-oppression, career development, and community building in contemporary chamber music.

// Application information //

Ensembles // Performers who apply as part of an ensemble will be required to play in two working groups—one will be the ensemble with which they applied and the other will be a working group with other TCML participants. An individual representative for an ensemble should apply on behalf of the group. This person will be responsible for communications between TCML organizers and ensemble members. If selected, each ensemble member will complete individual registration, and pay the $160 fee.

Individual performers and composers // If you are interested in participating in TCML as both a composer and as a performer, you are permitted to submit two separate applications—one in each category—and both will be considered. However, you can only be accepted in one category.

// TCML 2018 Experience //

• 13 hours group rehearsal time
• housing for artists who visit from outside of Toronto*
• breakfast and lunch for each day of the workshop
• transit in Toronto (tokens and a one-week metropass for the transit system)
• 4 professional development activities
• 2 performances of TCML works
• 2 high quality audio recordings of TCML works
• 1 high quality video recording of final performance
• final concert livestreamed by the Canadian Music Centre
• 1 showcase opportunity for TCML participants
*TCML organizers cannot guarantee housing for a partner or guest of a participant, unless that person is providing specific support for the involvement of the participant.

If accepted, participants can anticipate

• a $160 registration fee
• providing their own transportation to and from Toronto
• 2 volunteer hours—assisting in the preparation of TCML communal meals
• providing their own dinners
• paying for extra-curricular activities outside of the workshop
Financial Support // Participants selected for TCML 2018 can identify particular accessibility needs with organizers during registration, such as child care expenses, that TCML will endeavour to support.Venues // TCML 2018 will be held between three main venues: 918 Bathurst Centre for Culture, Arts, Media and Education; Canadian Music Centre; and Array Space.

Language // TCML 2018 is delivered in English. Certain TCML organizers can communicate and correspond in French.

Accessibility // information on language, venues, and finances is available through the accessibility page on our site.

General // You can contact at any point regarding accessibility measures that can support your involvement in the workshop.


 Ligeti Quartet Workshop Opportunity
Summary:String Quartet Workshop
Deadline: 12 February 2018
Date Posted: 21 December 2017
Details: Professional Development Opportunity for Composers

Application Closing Date: 12th February 2018

• Opportunity to work with the Ligeti Quartet towards a new 6-minute piece for string quartet over two workshops (first workshop Friday 27th April 2018, second workshop Autumn 2018 date tbc, held at The University of Sheffield)
• Open to UK residents of any age, not currently registered for a music degree (or have already submitted your portfolio if still registered). Diversity policy in place (see details below).
• Support will be given for travel and accommodation. Also includes bursary for attendance at a concert featuring the Ligeti Quartet in Sheffield on Thursday 26th April, and the Sound Agendas Composers’ Conference 27th-29th April

For further detalls:


 Sound Agendas Composers’ Conference
Summary:Conference for Composers
Deadline: 29 January 2018
Date Posted: 21 December 2017
Details: The University of Sheffield
Friday 27th April – Sunday 29th April 2018

Keynote Speaker: Christopher Fox

The inaugural conference of Sheffield’s Centre for New Music will be a platform for composers sharing music, processes and methods, exchanging ideas about the value of what we do, and contemplating the future. The conference is open to composers in and outside academia and themes are deliberately left open to let composers set the agenda. The conference will be held over two days as the finale to Sheffield ConcertsSound Lab Week (20-28 April) and official launch of the Centre for New Music (CeNMaS) and one-day workshop with the Ligeti Quartet.


Note: all concerts and events are included in the conference fee, including the CeNMaS launch concert on 26th April

THURSDAY 26th APRIL 7.30pm Ligeti Quartet, Sarah Watts concert of works by Sheffield composers and CeNMaS launch, Firth Court, University of Sheffield

FRIDAY 27th APRIL from 10am Ligeti Quartet Workshop, Humanities Research Insititute, University of Sheffield (CALL NOW OPEN)

FRIDAY 27th APRIL 7.30pm Crippled Symmetry – Philip Thomas (piano), Upper Chapel, Norfolk Street, Sheffield

SATURDAY 28th-SUNDAY 29th APRIL (9am-5pm both days) Sound Agendas Composers’ Conference, Humanities Research Institute, University of Sheffield

SATURDAY 28th APRIL 1pm Rare Earth – Lucas Fels (cello) Lunchtime Recital, Firth Court, University of Sheffield (incl.Ferneyhough, Furrer, Ker)

SUNDAY 29th APRIL 3pm Soundings – Sarah Watts (bass clarinet) Afternoon Recital, DINA, 32A-34 Cambridge Street, Sheffield


 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.

• 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, 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.


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.

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.

- 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.

- 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.

A jury assembled by Culture Meeting Point and Vienna Richard Wagner Conservatory will judge scores.

- 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

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


(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:

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.

Culture Meeting Point
Office Classic Pure Vienna
Diefenbachgasse 54/2c+d
A-1150 Wien Austria
Deadline: 23 March 2018
Entry Fee: 25.00
Currency: Euro (EUR)

 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 (

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.



 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.

 New Music • New Video
Summary:Piano Competition
Deadline: 01 May 2018
Date Posted: 14 December 2017

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 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 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 ( 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
• 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

 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 :

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.

 Call for Applications: Artistic Research as Compositional or Performance Practice
Summary:Composer/Sound artist workshop
Deadline: 31 January 2018
Date Posted: 14 December 2017
Details: Workshop with selection process
For performers, composers and sound-artists who
• are interested in enriching their artistic practice through rigorous self-reflection,
• search for ways to indulge deeply into a specific topic based on methods of artistic research,
• wish to develop new performance models through artistic research.
(Participants of the Darmstadt Summer Course 2018)
Tutors: Marko Ciciliani & Barbara Lüneburg
Maximum number of participants: 10-12
Passive participation: possible upon arrangement
Deadline for submission of applications: 31 January 2018

1. Discussion about the nature of artistic research. What is artistic research? What means of expression does it offer? How can an artist gain from artistic research for his or her own artistic practice?
2. Introduction to different concepts, methods and procedures of artistic research.
3. Application and implementation of principles of artistic research in the participant’s own project.
4. Development of unconventional forms of presentation of the research’s findings, e.g. through fusions of lectures and concerts, hybrids of methods of artistic practices or other alternative formats as discursive audience participation, public intervention, transmedia presentation (online/offline) or other formats.
Artistic research is a young discipline which has stirred up not only academic but also artistic discourse. It is based on the notion that knowledge is inherent in aesthetic experience and practice. This knowledge is not necessarily directly accessible through reason; it often evades the logic of language, and can therefore not be approached through regular research methods alone.

Artistic research does not follow a fixed set of procedures. Its practitioners typically work across scholarly and artistic disciplines, drawing from methodologies of other domains while adding an inside perspective specific to their individual artistic practice.

In this workshop, Marko Ciciliani and Barbara Lüneburg will shed light on various forms of artistic research and point out possible practices, methodologies, research goals and forms of presentation. Participants will be assisted to find and select the research tools that are appropriate for their project. Furthermore, they will be helped to find ways to share the gained knowledge through unconventional artistic expressions.

Important note on the call for applications
Please submit a written project proposal with a maximum length of 1,000 words to until 31 January 2018 at the latest.

Applicants are asked to submit project proposals that
– show how they aspire to gain, extract, or investigate any sort of knowledge through their artistic practice
– search for unconventional forms to make their research not only academically but also aesthetically accessible and tangible for others.
In addition, please submit two examples of your artistic works/performances (each not exceeding ±5 minutes), preferably (however, not necessarily) relating to the project. Please send everything either as weblinks, via, not exceeding a total of 100 MB.
Marko Ciciliani and Barbara Lüneburg will select ten to twelve submissions until mid of February 2018 at the latest.

All selected artists must be registered participants of the Summer Course and will be given preference during registration. Registration will start mid / end of January 2018.

No scholarships will be granted for this project.

Web Site:www.internationales-musikinsti...

 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.


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


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.


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...

Summary:Choir competition with two categories
Deadline: 31 March 2018
Date Posted: 14 December 2017
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.

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 ( 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
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.

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.

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.

 14th Composition Competition Contemporary Spiritual Music
Summary:Sacred Choral Competition
Deadline: 01 February 2018
Date Posted: 14 December 2017
Details: For the promotion of contemporary sacred music, the Festival of European Church Music has been holding an international composition competition since 1990, alternating with a composition commission.

For the festival theme 2018 "With all senses" a composition for choir a cappella (SATB) is to be created, which refers to the Bible verses Preachers 9, 7-10. The duration of the work should be 8-12 minutes. The composition has to be submitted by 1 February 2018 (postmark) at the latest. Detailed information can be found in our invitation to tender for download (see PDF).

 ENGLISH SCHOOLS' ORCHESTRA Composing Competition 2018
Summary:Young Composers' Competition
Deadline: 31 January 2018
Date Posted: 14 December 2017
Details: 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.

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.

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.

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.

You can complete an online entry here. Alternatively, send your completed composition as a Sibelius file to together with a completed entry form. Please read the terms and conditions before entering.

• 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 together with the completed entry form.
• The Competition is open from 14th October 2017 until 31st January 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 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...

 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


 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)!

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.

 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.

• 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.

• Online application is through the website. Click here to apply:
• 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

 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
(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 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.

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 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 site will be created for each one of the honorable mention works - composers.


 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
(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 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.

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 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 site will be created for each one of the honorable mention works - composers.


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.

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
Sofia Pametnik Levski
Sofia, 1, Yanko Sakazov Blvd.
IBAN: BG23 UNCR 7000 1522 4504 49

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.

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
no later than MONDAY, 1 OCTOBER 2018.


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.


Up to 35 years of age – born after 1.01.1983
1st prize 4000 BGN,
2nd prize 3000 BGN,
3rd prize 2000 BGN,

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:

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: and no later then MONDAY, 1st OCTOBER 2018

Adrress of the competition:
Sofia – 1000, 10, Yuriy Venelin str.

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

 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”

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.
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:

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:
Further inquiry please contact:

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.

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.


 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:
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

The permanent link from which it is possible download the materials must be sent by email to the email address:
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.


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

The permanent link from which it is possible download the materials must be sent by email to the email address:
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.


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 ( 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:

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, 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


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 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:
(more info on

- 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:
(more info on

- by bank transfer using the following international banking coordinates:

Account name: Taukay Edizioni Musicali


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:
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:

Or email us at:

 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.

 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:

 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
• String quartet
• Violin
• Viola
• Cello
• Bass

• Wind quintet
• Flute (piccolo, alto, bass)
• Clarinet (bass clarinet)
• Oboe (English horn, oboe d’amore)
• Bassoon
• Saxophone

• Brass quintet
• Trumpet
• French horn
• Euphonium
• Trombone
• Tuba

If your work includes prepared piano, please contact us before submitting.

If your work includes percussion, please contact us about intended instrumentation. Percussion instruments available for the festival are limited.

Questions may be sent to with the subject line: “From Page to Stage – Emerging Composers”

 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 ( to be held June 20-23, 2018 at Grace-St. Luke’s Episcopal Church ( in Memphis, Tennessee. The festival is sponsored by Luna Nova Music ( and the Beethoven Club (


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.

Contest Announcement and Guidelines:



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 by April 1, 2018. Composers of winning entries must provide full score and parts by May 1, 2018.


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.


Up to three winners will be named. Winning compositions will be performed by members of the Luna Nova New-Music Ensemble ( 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 of the Luna Nova Ensemble are available at

Questions may be sent to Patricia Gray, Luna Nova Music President at or 901-493-0958.

 2018 Grand Valley Wind Band Commission
Summary:Wind Band Commission
Deadline: 01 February 2018
Date Posted: 23 November 2017
Details: Grand Valley State University announces the Grand Valley Wind Band Commission. One composer will be commissioned to compose a work for the Grand Valley State University Symphonic Wind Ensemble.

The world premiere will be given by the ensemble during the 2018-2019 concert season, during a residency of the winning composer. The performance will be broadcast live on the web, will be included on promotional videos by GVSU ensembles, and may be included in a future album. The current wind band repertoire reflects a discrepancy between the diversity of the contemporary composer community and the catalog of regularly performed and newly commissioned works. We believe that diverse experiences are an intellectual asset and that a range of thoughtful perspectives and a commitment to open inquiry strengthens our liberal education tradition. Therefore, all composers are invited to apply, but we would like to especially encourage women and/or composers who are from underrepresented populations at GVSU.

February 1, 2018, 12:00 AM Eastern Standard Time


All composers are invited to apply, but we would like to especially encourage women and/or composers who are from underrepresented populations at GVSU. Current Grand Valley State University students, faculty, and staff may not participate.

We are interested in commissioning the strongest composer, regardless of having written for wind band previously. You may submit works of any instrumentation that demonstrate your highest level of accomplishment.
1. Applications not adhering to these guidelines will not be considered.
2. Applications must be sent as attachments to If you must link to a cloud service, place ALL files in ONE folder and submit the folder link.
3. Composers must submit 2 representative compositions.
4. Compositions may be of any length or instrumentation, with or without electronics.
Applicants should prepare the following for each submission:
1. Information sheet with composer's name, pseudonym, email address, phone, title of works submitted, instrumentation, duration, name of performers/ensemble on recording.
2. One PDF of each score submitted labeled with the title and pseudonym.
3. A recording from a live performance or studio recording for each submitted score. No MIDI or other computer realizations. No exceptions.
4. Program notes (separate from the score as a PDF file).
5. Naming conventions for files:
a. TITLE_Pseudonym_score.pdf
b. TITLE_ Pseudonym _recording.mp3, recording.wav, recording.aif
c. TITLE_ Pseudonym _prognote.pdf. For lengthy titles, truncate to the first 10 characters.
d. Composer_LastName_First_Name_Information Sheet
Submission deadline: February 1, 2018, midnight EST.

$5000 (U.S.) Commission

 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

• 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

• $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)

• winners will be notified in mid-June 2018, with an official announcement made by the end of that month

• 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 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.

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

 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.


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
(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 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.

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 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 site will be created for each one of the honorable mention works - composers.

 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 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]

 Bridges Composition Competition
Summary:Jazz/classical fusion composition competition
Deadline: 01 February 2018
Date Posted: 15 November 2017
Details: In celebration of the 30th anniversary of RSMI, Ravinia is pleased to announce Bridges: An International Jazz and Classical Fusion Composition Competition. This fusion of jazz and classical music and will exhibit works for strings and jazz trio written by young artists, awarding winners the David Baker Prize—named for the late jazz great who served as the first director of the RSMI Jazz Program. Bridges is an exciting venture into the fusion of jazz and classical music and will exhibit works for strings and jazz trio written by young artists, awarding winners the David Baker Prize—named for the late jazz great who served as the first director of the RSMI Jazz Program.

Submissions will be judged by a blind jury comprising the directors of RSMI’s Program for Jazz: Grammy award–winning pianist Billy Childs, saxophonist Nathan Davis, and bassist Rufus Reid. Bridges winners will have their compositions performed in Ravinia’s prestigious Martin Theatre during a concert on Saturday, June 9, at 8:30 p.m.

Up to three competition winners will be selected, and each will be awarded a prize of $2,500. Entrants must be between ages 18 and 30 and must submit a new piece written for string quartet and jazz rhythm section at a length of 10 minutes. Submissions must include the full score and all instrument parts and will be accepted between November 1, 2017, and February 1, 2018. Complete instructions can be found here. If there are no submissions that meet the application or judges’ requirements, there will be no winners.

More Information:

 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 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:

 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.

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


 Arcady Emerging Composer Competition
Summary:Voice with piano competition
Deadline: 30 January 2018
Date Posted: 09 November 2017
Details: Arcady is pleased to present the third annual Arcady Emerging Composer Competition for new works for voice and piano.

The award: The winner of Arcady’s 2018 Emerging Composer Competition will have their work premiered during the 2017/18 season by a member of Arcady’s professional chorus. They will also receive a professional quality recording of the piece and one on one sessions with esteemed Canadian composer and Arcady’s Resident Composer and Artistic Director, Ronald Beckett (in person or via Skype).

Submission criteria:
• Works must be written for solo voice accompanied by piano
• 3-5 minutes in duration
• May be secular or sacred
• Unpublished and unperformed works only
• Rights to texts must be cleared, and evidence of copyright holder’s permission provided
• Composer will retain the copyright of the piece
• Composer may submit up to two compositions
• Arcady will retain winning manuscript for future performances
• Arcady retains the right to not pick a winner if there is no suitable winner

• Composers must self-identify as an emerging composer.

Submission process:
• Scores must be submitted via email to no later than January 30, 2018 (by 11:59 PM EST at the latest). The subject of the email should be “Arcady 2018 Emerging Composer Competition submission”
• Travel expenses to the premiere are the responsibility of the prize recipient (though composers attendance is not required at the premiere)
• Composer must include a biography and list of works with their submission
• The winner will be notified by March 1, 2018.

For additional information contact:

Deadline: 30 January 2018, 11:59 PM EST

Application Form: Arcady 2018 Emerging Composer Competition Application Form
Guidelines: Arcady 2018 Emerging Composer Competition Guidelines

There is no fee to enter the competition, but applicants may make a donation to the non-profit organization to support the competition if they wish.

 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

• 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


 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

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.

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.


 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.

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 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 Please notify the administrative office ( if payment via Paypal is not possible.

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 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
Tel: +81-42-689-5641

 Civitasolis Reed Quintet Composition Contest
Summary:Reed quintet competition
Deadline: 01 February 2018
Date Posted: 26 October 2017
Details: What:The Civitasolis Reed Quintet, comprised of graduate students at Florida State University, is hosting a composition contest for new pieces for reed quintet.

How to Apply: Submit an original piece for reed quintet (oboe, clarinet, saxophone, bass clarinet, bassoon), no more than eight minutes in length. Doubling/auxiliary instruments are acceptable, as long as they are in the same instrumental families (i.e. b-flat clarinet/e-flat clarinet, alto sax/soprano sax, etc.). Submission pieces should not have been performed or published prior to the competition deadline.

Submissions will be accepted through our website until 11:59pm on February 1st. Late submissions will not be accepted.

Prizes: 1st Prize: $200 and a recording and live performance of your piece.
2nd Prize: $100 and a recording and potential live performance of your piece.
*Honorable Mention: Recording of your piece.

Winners will be announced no later than March 1st.

By submitting your piece for consideration, Civitasolis Reed Quintet will have exclusive performance rights for four months. In addition, the winning pieces will be granted performance rights to Civitasolis Reed Quintet.

Feel free to email us at with any further questions. A full list of rules and regulations is available on our website

 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

 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

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.


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.


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)
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.


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:


To enroll in the contest, each participant must send an email to 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.


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.


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.


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.


The contestants accept the present regulations in all parts, unconditionally and integrally.


In case of controversy, the Contest Announcement in Italian is to be considered the official text.

 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:

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.

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)
double bass
flute (all family)
clarinet (all family)
saxophone (all family)

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
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.


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 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




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.

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.

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.


 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.


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)


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 .

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 (+ PayPal fee) or bank transfer (All transfer and bank charges will be covered by the applicants):

Powiślański Bank Spółdzielczy
ul. Kopernika 28, 82-500 Kwidzyn
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.

Summary:International Choir Competition
Deadline: 31 January 2018
Date Posted: 19 October 2017
Details: VocalEspoo Festival has announced an international choral composition competition 2018 together with the choirs Tapiola Choir, Spira Ensemble, EMO Ensemble, Female Choir KYN and YL Male Voice Choir. The aim of the competition is to find new and interesting compositions for children’s choirs, mixed choirs and male voice choirs. The results of the competition will be published during the opening concert of VocalEspoo Festival, June 3, 2018, where the best compositions will be performed and awarded. The prize money, 15 000 euro, will be divided between the winners according to the jury’s decision. The members of the jury are Kaija Viitasalo, Cecilia Damström, Kari Turunen and Pasi Hyökki.

1. The organiser of the competition is Espoo Music Festivals Association together with Tapiola Choir, Female Choir KYN, Spira Ensemble, EMO Ensemble and YL Male Voice Choir.

2. The competition is open to all nationalities with no age limit. The number of submissions is not limited but each submission should be under separate pen name. The participation fee is 50 Euro for each composer regardless of the number of submissions. Payment should be transferred to Espoo Music Festivals IBAN: FI60 8000 1770 8312 96, BIC: DABAFIHH. Reference: Surname, first name & date of birth. Participation fees are non-refundable.

3. The last date of submission is 31 January 2018 at 24.00 (UTC +3). Any entries that reach the Competition Office after that date will be disqualified.

4. Categories: Children’s choirs (SSA), women choirs (SSAA), male choirs (TTBB) and mixed choirs (SATB). The composition may be either an a cappella or an accompanied (max. 5 musicians) piece. The instruments that may be employed are those of a symphony orchestra, big band, rock band and the computer.

5. The composition must be previously unperformed and unpublished, and its duration is to be between 4 and 8 minutes. The text of the composition may be sacred or secular and in any language. If the text is not in the public domain, and the composer is not the author and copyright holder of the text, it is the responsibility of the composer to obtain permission from the copyright holder before the application deadline.

 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:


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

 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.

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.

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.

 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 and preferably in MP4 format.

Include the following information in email to:

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).

 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:

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.”


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


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.


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.

All nominations are to be submitted online via the New Music Scotland website
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 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.


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

 Southeastern Composers' League
Summary:Chamber Competition
Deadline: 29 January 2018
Date Posted: 19 October 2017
Details: Arnold Salop Memorial Competition for Undergraduate Students
Philip Slates Memorial Competition for Graduate Students

Arnold Salop and Philip Slates were SCL members from some time in the past. They must have been beloved members, great leaders or highly active composers to have a competition named for them.

1) Submit one chamber music composition for 8 or fewer performers. It may be vocal, instrumental or electronic. Compositions may also combine acoustic and electroacoustic sounds. Works submitted must be original musical compositions which have received no previous award at the time of submission. Only one submission per student is allowed.

2) Composers who submit compositions must either (a) study with a person who is a member in good standing of SCL, or (b) become a student member of SCL. There are no other curricular or age restrictions.

3) A cash prize for First and Second place winners in each competition will be awarded. The judging panel reserves the right to grant no award.

4) Submissions must be received by noon eastern time, on 29 January 2018.

5) All submissions must be done electronically. Please submit one score in PDF format and one audio file, if available, in MP3 format.
a) Complete the online application.
b) Submit score in PDF format.
c) Submit audio in MP3 format (optional)
Web Site:www.southeasterncomposersleagu...

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 (, 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)

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
• 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.


 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 for application and rules.


 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


 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.

• Applicants may be of any nationality.
• Applicants may be of any age.

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.

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.

Applications must be submitted online or postmarked by March 31, 2018.

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.

• 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:
2018 Earplay Donald Aird Composers Competition
560 29th Street
San Francisco, CA 94131-2239

Further information:

 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.

Summary:Quintet Competition
Deadline: 31 January 2018
Date Posted: 05 October 2017


Krakow Branch of the Polish Composers’ Union announces 1st Krzysztof Penderecki International Competition for Young Composers. Composers from every country, who will not be over the age of 35 at the moment of its closing, can take part in the Competition.


The subject of the Competition is a composition for flute, clarinet, violin, viola, and cello,
with a duration from 9 to 14 minutes. Flute and clarinet cannot be modified.


One participant can submit no more than two compositions. A composition cannot be earlier performed, published in any form or awarded in any competition.


3 copies of a score together with parts for performance as well as score in pdf format on
a compact disc, marked with an emblem and a title, with duration written, and a sealed envelope marked with the same emblem, containing an application form, a short bio note,
a note about the piece and a photo (in jpg format), should be sent to the address:

Związek Kompozytorów Polskich

Oddział w Krakowie

ul. Dunajewskiego 5

31-133 Kraków

With annotation: 1st Krzysztof Penderecki International Competition

for Young Composers

not later than on 31 January 2018 (the date of submitting the score decides).


The Jury of the Competition: Marcel Chyrzyński (chairman), Zbigniew Bargielski, Ivan Buffa (Slovakia) and Wojciech Widłak, grants one Main Prize – 1000 USD. What is more,
the awarded composition will be performed in April 2018 on the concert during
30th International Festival of Krakow Composers.

The Jury may not award the Main Prize. Honorary awards may be granted. The decision of the jury is irrevocable and will be announced not later than on 15 February 2018.


Participating in the Competition, a composer declares that the composition can be recorded for purposes of the Organisers of the concert, without any financial claims from his side.

Copies of the score and parts of compositions will be further the property of the Krakow Branch of the Polish Composers’ Union.


Application for the Competition means that a composer agrees to these Regulations. Compositions not meeting the requirements of the Regulations will not be taken into account during the Competition.


Organisers of the Competition have the right to change the date or to cancel the performance of the awarded composition from independent causes.

Any questions send to the Secretary of the Competition – Aleksandra Patalas, e-mail address:

 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
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.


-with an entry fee of £15 payable to Cheltenham Symphony Orchestra; 10 must be received by
-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,

-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

Cheltenham Symphony Orchestra wishes all entrants the best of luck and the finest of ideas.

 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.


 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 :

• 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 ( 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 : or call 514-527-5515

 Laura Schwendinger Residency
Summary:Residency Opportunity
Deadline: 21 January 2018
Date Posted: 20 September 2017
Details: Residency Statement
I welcome the opportunity to explore and discuss the act of creating art music, through discussion with my fellow composers and to listen to and talk about, the music we create. I am fascinated with what inspires composers and the techniques they use in their compositions, and would welcome composers who are interested in discussing these questions, and any other ideas related to them. When I present my own works, I try to describe my personal approach and its intersection with visual arts, as well as my efforts to create a music in which craft and inspiration meet to make something that goes as deeply into expressivity as possible.

I suggest that if you are also a performer, that you bring your instrument, so we can experiment with ideas as they come during our sessions, and try out works in progress together.

Application requirements
Prospective Associates should submit:
1. two representative PDF scores with corresponding sound files (no larger than 15 mb) or web links (.doc, .docx, .pdf)
2. a brief resume (.doc, .docx, .pdf)
3. short bio, 400-word max. (.doc, .docx, .pdf)
4. If you are planning on bringing an instrument, a sound file sample of your playing would also be encouraged, if it is to be part of your participation in the residency.

Residency Fee: $900
Includes a $100 administration fee, weekday meals and housing; does not include artist materials, transportation, or weekend meals.

Scholarships / Financial Assistance
Only accepted Associate Artists may apply for financial assistance. For details, please visit the master artist details page.

Application fee: $25
Click here to Apply!

 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.

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: 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.

 «Call for Sounds»
Summary:Science and music
Deadline: 11 February 2018
Date Posted: 20 September 2017
Details: The purpose of this call is to encourage artists to find creative new ways to convey scientific ideas through their music. Participants are invited to submit their creations as soundfiles* (with a maximal duration of 10’ minutes), which will be object of an open online voting process on the weeks following the the submission deadline of February 11th, 2018.

The pieces have to be inspired on some of the materials (images, animations, graphs) available at The ‘sound’ (piece/recording/sonification etc.) selected by the community as best conveying the scientific idea will be awarded with €2000.

1. Terms of application

1.1 Who can apply?

- composers of every age and nationality

1.2 What to submit

You can submit ‘sound works’ of any kind and genre. It could be a recording, an electroacoustic piece, a sonification or a combination of all those. We particularly encourage the use of a creative approach and the piece’s ability to convey the specific idea (image, animation, concept) by means of sound alone. The only limitations are:

Length: all submissions must be under 10’ minutes. A larger piece divided in different movements is not acceptable either; a submission must contain only 1 sound file.
Originality: Remixing someone else’s work, as well of any kind of copyright infringement is not acceptable. No transcriptions or arrangements (except arrangements of the composer's own works) will be eligible.

NOTE: Although the use of voice is perfectly fine, in the piece the music should speak for itself. If you have any questions concerning these limitations or any other aspects, don’t hesitate to email us at

1.3 Application material

1) Complete the online application form ( Applicants may submit up to 2 works to the Call4Sounds, regardless of their submissions to the other two categories (MAIN and MDW category).

2) Submit a short program note about the work (max. 1 page A4, in English) where you explain the connection between your piece and any the materials (image, idea, animation, concept, dataset etc.) available at that inspired you. The relevance of this connection will be, together with the quality of the music submitted, the primary evaluation criterion. It is therefore in the applicant’s best interest that the concept is clear, accurate, and related to one of the seven research lines (Nano carbon-metal hybrids, Nucleation, Polymers, 2D-Materials, Metallic glass, Ferroic Materials, Diffusion) presented on the website. Incomplete or vague applications will NOT be considered.

All materials should be submitted electronically. If unable to submit a digital application via the provided online form, please send us all application materials via e-mail with the SUBJECT: ‘Call4Sounds’. You are strongly encouraged to use Dropbox, Google Drive, or other free cloud storage for any extra materials as they may be too large to send as email attachments. Application deadline will be February 11th, 2018. Late applications will not be considered.

2. Online voting

On the five weeks following the submission deadline, an online voting process will begin. The process will be open, so anybody interested will be able to vote for their preferred piece at

3. Nomination

At the end of the voting process, the results will be announced by the organisation and the winner of the €2000 prize will be made public.

4. Interactive installation

Together with the winning piece, the organisation will select seven pieces to be part of an outdoors interactive installation at the the University of Vienna. Selected composers will be notified in advance and special participation diplomas will be issued for them.

5. Change of terms

The «Sounds of Matter» composition competition reserves the right to change these terms in the best interest of the project.

 Arts Letters & Numbers
Summary:Residency Programme
Deadline: None
Date Posted: 20 September 2017
Details: Arts Letters & Numbers is a place of creative urgency and intensity of purpose, a place to create new linkages, new thought processes, new path- ways of understanding that embody our best hopes and aspirations. It is a place where many elements come together to co-construct questions and works, of empathy, of ethics, of imagination; it is a place to explore the nuanced fragilities in our shared stories.

We strive to cultivate a space that encourages collaborative and individual creation: to think, make and act alongside others within a community. With our Residency Program, artists from wide range of disciplines will be able to come together, ask and engage their questions, create and share their work. When people are free to act, interact with and support one another, new works and ideas emerge.

We are situated within an enthusiastic and supportive community that is highly active in the short term programming of Arts Letters & Numbers, including Events, Courses, and Workshops that run in parallel to and interweave with the Residency Program. To further expand the conversation and space of Arts Letters & Numbers – both within the Residency Program and the broader community – as an Artist in Residence you will be encouraged to participate in and host some of these features, as well as proposing your own events to foster and enrich this dialogue, i.e. lectures, exhibitions, performances, etc.

Arts Letters & Numbers is constructed by us: not just those who are directly involved in its day to day operation, not just the fellows, participants, visiting artists and local community members, it has and continues to be built by everyone who sets foot in this remarkable place. It is being constructed by and between us. This aspect of Arts Letters & Numbers is foundational.

At the Mill we have a full metal and wood-working shop, and spaces for building, cooking, filming, photographing, performance, and large-scale drawing, sculpture and painting. Our spaces are flexible and you are invited to create your own. Currently, the second floor of the Mill is under construction and is unfortunately not to be used for creative work. However, the shop is still available for everyone to use. In addition to the Mill we also have our barn, located next to the house. This flexible indoor - outdoor space serves as our main studio space, with additional more private spaces to be found in the house.

One of our traditions has been the sharing of ideas over a great meal, and this has become a vital part of Arts Letters & Numbers. We will all share one kitchen and though you are individually responsible for your food, it is often the case that everyone in the house gathers to cook and share dinners together.


You will be hosted in the House on the Hill, in one of our nine bedrooms; these vary in size and, we offer both private and shared arrangements. We will do our best and try to give everyone the privacy they need.

The duration of your stay can vary from one week to three months. The fee per 2016/2017, covering accommodation and access to the facilities, starts at $175 per week.

We are accepting applications continuously and will review them on a rolling basis.

If you have any questions regarding our residency program, please send us an email.

We are looking forward to welcoming you to

Arts Letters & Numbers!

 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.


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,

Keep reading to find out more.

 Heriot-Watt University Composer Competition
Summary:Choir Call
Deadline: 01 February 2018
Date Posted: 13 September 2017
Details: An invitation to write an ensemble piece open to all un-published composers in SCOTLAND. No age limit.

The piece is to be written for the group, ‘Inchcolm New Music Ensemble’, based at Heriot-Watt University, Edinburgh. The INME has a policy of commissioning composers to write for a flexible ensemble. We have premiered over 50 new works in the last 19 years.

The composition starting point [inspiration] shall be the Celtic plainchant composed and sung on Inchcolm, an Island in the river Forth near Edinburgh where hundreds of years ago, Augustinian monks lived and worshiped in the Abbey.

The composition should have a duration of around ten minutes, and be written for voices and any combination of orchestral instruments [not keyboard]. Pieces must be written with flexibility of voicing and/or instrumentation in mind as the group that will perform the piece could be formed of any combination of voices and instruments.

The voice parts may be:

Four part: SATB

Three part: SAB

Two part: Mezzo sop and Baritone or ST singing in unison and AB singing in unison.

The instrumental parts must be written as part 1, 2, 3, 4 and 5. Parts one and two written in the treble clef for instruments such as flute, violin and oboe. Part three in the treble or alto clef for instruments such as viola, clarinet or horn. Parts four and five written in the bass clef for instruments such as bassoon, cello or double bass.

Please take into consideration that the standard of the ‘Inchcolm New Music Ensemble’, although amateur, is high.

1st Prize £500

Deadline for submissions: 1st February 2018.

For further information and sample plainchant music, please contact:

Steve King

Director of Music at Heriot Watt University


 Kalamazoo Mandolin and Guitar Orchestra
Summary:Mandolin and Guitar Call
Deadline: 01 February 2018
Date Posted: 13 September 2017
Details: The Kalamazoo Mandolin and Guitar Orchestra is issuing a Call for Scores for its 2017‐2018 season.

FIRST PRIZE: $250 and a Premier Performance by the KMGO

1. Must consist of the following make-up: Mandolin 1 (4), Mandolin 2 (9), Mandola (3), Mandocello (3), Contrabass (1), and Guitar (4). Divisi may be used as much as wanted but may not exceed the numbers listed above. Guitars are classical 6-string standard tuned guitars.
2. There is no restriction on length of the work.
3. The work must NOT make use of any soloists and must use the standard ensemble only as listed above.
4. Mandolas are to be scored in treble clef transposing at the octave.
5. Scores must be postmarked no later than February 1, 2018
6. Application must be included with the submission.
7. Please submit one score and one complete set of parts. A CD containing a recording of your work may be included but it is not mandatory. (Midi and mp3 files are acceptable.) Materials will not be returned. DO NOT send originals.
8. There is no fee required to enter this contest.
9. The applicants will be judged by a four member panel of KMGO members and last year’s winner, Chris Acquavella
10. The winner will be notified no later than March 31, 2018
11. Premier performance will take place during the 2018 season of the KMGO schedule.
12. Winning composition will become a permanent part of the KMGO music library.
13. Winning composition will be awarded a prize of $250.
14. Submitted compositions must NOT have been previously performed or published.


 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.


o Submission deadline: March 19th, 2018;
o Works written for:

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

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:


 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)


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:
Closing date: Monday 11th September 2017
Interview Date Monday 18th September between 4.30pm-8pm (30 minutes time slot)W

ebsite: 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.

 Ablaze Records
Summary:Multiple Opportunities
Deadline: None
Date Posted: 06 September 2017
Details: Orchestral Masters, Vol. 6
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
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
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
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
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
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
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.

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 .


2,000 euro and one public performances on June 30th 2018. The piece will be conducted by Ilan Volkov and recorded live.


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:


-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 and the social networks no later than May 15th 2018.


 ​​​​​​International Competition for Women Composers
Summary:Competition for women composers
Deadline: 31 January 2018
Date Posted: 30 August 2017
Details: The Brixworth Music Festival, England, announces an international competition for women composers.
We are looking for a work that is 6-8 minutes long and is scored for voice (soprano and/or baritone) and three to five instruments taken from the wind quintet formation (flute, oboe, clarinet, horn or bassoon) plus voice. The text should have some reference to William Shakespeare. There is no age limit for entrants.

The following prizes will be awarded:

1st Prize: £500
2nd Prize: £500
Honourable Mention

The prize-winning work (1st prize) will be played by the John Clare Wind Quintet at the next Brixworth Music Festival in April 25th 2018. The jury is not obliged to award all prizes.

The jury is made up of the following members:

Vivienne Olive (Composer)
Gwion Thomas (Baritone)
Chloe Thomas (Soprano)
Graham Tear (Flute player, John Clare Wind Quintet))
Peter Dunkley (Clarinettist, John Clare Wind Quintet)
External judge – Judith Weir (Composer)

The committee of the Brixworth Music Festival reserves the right to find a replacement for absent jury members.


 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.

• 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

• 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

• 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

 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.


For full details:

 Lake George Music Festival
Deadline: 31 January 2018
Date Posted: 02 August 2017
Details: 2018 Guidelines

• an original work of chamber music composed after January 1st, 2012.
• a complete work – no single movements of multi-movement works will be accepted.
• work must be in its original form – no arrangements; example: no piece originally intended for string orchestra submitted as a string quintet will be accepted.
• between 7 and 12 minutes in duration.
• scored for 3 to 8 players (not including a conductor, if applicable).
• written for the following instruments: violin, viola, cello, double bass, flute, piccolo, oboe, english horn, b-flat clarinet, A clarinet, bass clarinet, bassoon, horn, trumpet, trombone, bass trombone, tuba, piano, percussion.
• pieces scored for percussion must follow these additional guidelines.
• any combination of the above instruments is acceptable, however only two of the same instrument may be included; example: maximum of 2 flutes, 2 oboes, 2 percussionists, piano four hands, etc; with exceptions being a maximum of one tuba, one bass trombone. Works scored for up to 4 violins are acceptable. Works for two or more pianos are not acceptable.
• instrument doublings must adhere to the instrumentation restrictions, example: no alto flute, no contrabassoon.
• works may be written for amplified instruments, prepared piano, and off stage instruments.
• works may include non-interactive electroacoustic elements (e.g., CD playback).


The 2018 submission period will be from January 1st to January 31st. Please submit the following materials via ONE email with attachments to The subject line of the email should read “LGMF Composition Competition” followed by your full name.

• An anonymous .pdf file of the composition score. The score should be labeled with the title of the work and printed date of composition only. Multi-movement pieces should be submitted together as one joint .pdf file.
• An anonymous recording in mp3 format. Recordings must be complete (no excerpts) and must be labeled with the title of the work only and sent as an email attachment. Live instrumental recordings are strongly preferred over MIDI renditions. If submitting MIDI please take the time to create an audio file which sounds as realistic as is possible. Composers submitting a piece for electronics/amplified instruments must submit a live performance or studio recording (not MIDI). Multi-movement pieces should be submitted together as one joint .mp3 file. Please edit out any tuning/clapping.
• A PayPal receipt proving the application fee has been paid. Please pay application fee at the same time when submitting materials.

In the body of the email, please include the following information: composer name, date of birth, college or university affiliation, composer phone number,

All steps outlined above must be completed and submitted in their entirety by the deadline. No exceptions can be made whatsoever. If you wait until January 31st, we cannot guarantee any issues that arise during staff review, including missing or incorrect documents, will be resolved by the application deadline. Consequently, LGMF urges you to submit immediately.

$10 – Payment will be accepted via credit/debit card through PayPal by clicking the button below. PayPal accounts are not required. Application fee is not refundable, please review guidelines carefully.
Any questions regarding the competition should be directed to competition administrator Alexander Lombard at


 “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 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 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 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:
Entry Fee:€150

 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.

• 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.


 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,
Overseas applicants please contact


 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...

 3rd Keuris Composers Contest 2018
Summary:Orchestra and ensemble competition
Deadline: 01 February 2018
Date Posted: 12 July 2017
Details: The 3rd Keuris Composers Contest invites composers of all nationalities and ages to participate with compositions for youth symphony orchestra and ensemble (violin, cello and piano). The compositions should be challenging, but accessible and playable for the youth. All participating compositions will be anonymously judged. Six nominated pieces will be performed by Amersfoort Youth Orchestra and Keuris Ensemble during the Final Concert on 12 May 2018 in Flint, Amersfoort (Keuris' place of birth), The Netherlands.

6 Prizes of total € 5000, -

 All Score Illinois
Summary:String Quartet Competition
Deadline: 01 February 2018
Date Posted: 05 July 2017
Details: All Score Illinois is happy to announce TWO calls for works from composers in Illinois (Both with NO fees):

1. For all aspiring composers in Illinois not currently enrolled in a composition program (Due February 1, 2018):
Works for String Quartet (two violins, viola, cello), sub-groupings of those instruments, or fixed or live electroacoustic works (stereo only) will be selected for a performance at University of Illinois in late February 2018. (Pieces should have a maximum duration of about five minutes). As part of the performance, Champaign-based Fourth Street Records will record the pieces for the composers.
Email your score and parts (or audio for the electroacoustic works) to and fill out the Statewide Call for Works entry form:

2. For University of Illinois undergraduates, undergraduate alumni and Illinois Youth Summer Music attendees (Due September 15, 2017):
Works for String Quartet (two violins, viola, cello) or sub-groupings of those four instruments. (Pieces should have a maximum duration of about five minutes).
Works chosen will be performed during outreach concerts in Fall 2017 and composers will receive a recording of its performance.

Email your score and parts to and fill out the undegraduate/ISYM entry form:

 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.


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!

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

 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) 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.


 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:

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

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 (

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

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:


 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 THEORY 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?

 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.

 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!!

 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 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 for opportunities on Radio 3 and beyond.

 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!


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 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.

 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 ( 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.


 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.


-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)


"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


-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


-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
-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

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").


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


Composer $15,000
Librettist $10,000
Composer/Librettist (wrote both) $20,000

 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 with a description of the ensemble to get approval of the ensemble for which you wish to compose.

Instrumentation for the other ensembles follows.


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

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

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 Recordings are preferable but not essential, and please bear in mind rarescale's charitable remit to promote the alto and bass flute.

 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: Please do not send audio attachments.


 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 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.


 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:

electric guitar
double bass

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.


 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

 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.

 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

Mail submissions to

P.O. Box 698 - Cathedral Station
New York, NY 10025 – 0698